Abstract: Life and creative path of I.A.

The great Russian writer, Nobel Prize winner, poet, publicist, literary critic and prose translator. It is these words that reflect the activities, achievements and creativity of Bunin. The whole life of this writer was multifaceted and interesting, he always chose his own path and did not listen to those who tried to “rebuild” his views on life, he was not a member of any literary society, and even more so a political party. It can be attributed to those personalities who were unique in their work.

earliest childhood

On October 10 (according to the old style), 1870, a little boy Ivan was born in the city of Voronezh, and whose work in the future will leave a bright mark on Russian and world literature.

Despite the fact that Ivan Bunin came from an ancient noble family, his childhood did not pass at all in a big city, but in one of the family estates (it was a small farm). Parents could afford to hire a home teacher. About the time when Bunin grew up and studied at home, the writer recalled more than once during his life. He spoke only positively about this "golden" period of his life. With gratitude and respect, he remembered this student of Moscow University, who, according to the writer, awakened in him a passion for literature, because, despite such a young age, which little Ivan read, there were Odyssey and English Poets. Even Bunin himself later said that this was the very first impetus to poetry and writing in general. Ivan Bunin showed artistry early enough. The poet's creativity found expression in his talent as a reader. He excellently read his own works and interested the most dull listeners.

Studying at the gymnasium

When Vanya was ten years old, his parents decided that he had reached the age when it was already possible to send him to the gymnasium. So Ivan began to study at the Yelets gymnasium. During this period, he lived away from his parents, with his relatives in Yelets. Entering the gymnasium and studying itself became a kind of turning point for him, because the boy, who had lived with his parents all his life before and had practically no restrictions, was really difficult to get used to the new city life. New rules, strictness and prohibitions entered his life. Later, he lived in rented apartments, but he also did not feel comfortable in these houses. Studying at the gymnasium did not last long, because after 4 years he was expelled. The reason was non-payment of tuition and failure to appear from the holidays.

External path

After everything experienced, Ivan Bunin settles in the estate of his deceased grandmother in Ozerki. Guided by the instructions of his older brother Julius, he quickly passes the course of the gymnasium. Some subjects he taught more diligently. And he even took a university course. Julius, the elder brother of Ivan Bunin, has always been educated. Therefore, it was he who helped his younger brother in his studies. Julia and Ivan had a fairly trusting relationship. For this reason, it was he who became the first reader, as well as a critic of the earliest work of Ivan Bunin.

First lines

According to the writer himself, his future talent was formed under the influence of the stories of relatives and friends that he heard in the place where he spent his childhood. It was there that he learned the first subtleties and peculiarities of his native language, listened to stories and songs, which in the future helped the writer to find unique comparisons in his works. All this had the best effect on Bunin's talent.

He began writing poetry at a very early age. Bunin's work was born, one might say, when the future writer was only seven years old. When all the other children were just learning to read, little Ivan had already begun to write poetry. He really wanted to achieve success, mentally compared himself with Pushkin, Lermontov. I read with enthusiasm the works of Maikov, Tolstoy, Fet.

At the very beginning of professional creativity

Ivan Bunin first appeared in print, also at a fairly young age, namely at the age of 16. The life and work of Bunin in general have always been closely intertwined. Well, it all started, of course, small, when two of his poems were published: "Over the grave of S. Ya. Nadson" and "The village beggar." During the year, ten of his best poems and the first stories "Two Wanderers" and "Nefyodka" were published. These events became the beginning of the literary and writing activities of the great poet and prose writer. For the first time, the main theme of his writings was identified - man. In Bunin's work, the theme of psychology, the mysteries of the soul, will remain key to the last line.

In 1889, young Bunin, under the influence of the revolutionary-democratic movement of the intelligentsia - populists, moved to his brother in Kharkov. But soon he becomes disillusioned with this movement and quickly moves away from it. Instead of cooperating with the populists, he leaves for the city of Orel and there begins his work in the Oryol Bulletin. In 1891 the first collection of his poems was published.

First love

Despite the fact that throughout his life the themes of Bunin's work were diverse, almost the entire first collection of poems is saturated with the experiences of young Ivan. It was at this time that the writer had his first love. He lived in a civil marriage with Varvara Pashchenko, who became the author's muse. So for the first time love manifested itself in the work of Bunin. Young often quarreled, did not find a common language. Everything that happened in their life together, each time made him disappointed and wondered, is love worth such experiences? Sometimes it seemed that someone from above simply did not want them to be together. At first it was Varvara's father's ban on the wedding of young people, then, when they nevertheless decided to live in a civil marriage, Ivan Bunin unexpectedly finds a lot of minuses in their life together, and then he is completely disappointed in her. Later, Bunin concludes for himself that he and Varvara do not suit each other in character, and soon the young people simply part. Almost immediately, Varvara Pashchenko marries Bunin's friend. This brought many experiences to the young writer. He is disappointed in life and love completely.

Productive work

At this time, Bunin's life and work are no longer so similar. The writer decides to give up personal happiness, all given to work. During this period, tragic love comes through brighter in Bunin's work.

Almost at the same time, fleeing loneliness, he moved to his brother Julius in Poltava. There is a rise in the literary field. His stories are published in leading magazines, in writing he is gaining popularity. The themes of Bunin's work are mainly devoted to man, the secrets of the Slavic soul, the majestic Russian nature and selfless love.

After Bunin visited St. Petersburg and Moscow in 1895, he gradually began to enter into a large literary environment, in which he very organically fit in. Here he met Bryusov, Sologub, Kuprin, Chekhov, Balmont, Grigorovich.

Later, Ivan begins to correspond with Chekhov. It was Anton Pavlovich who predicted to Bunin that he would become a "great writer." Later, carried away by moral sermons, he makes his idol out of him and even tries to live according to his advice for a certain time. Bunin asked for an audience with Tolstoy and was honored to meet the great writer in person.

A new step on the creative path

In 1896, Bunin tries himself as a translator of works of art. In the same year, his translation of Longfellow's The Song of Hiawatha was published. In this translation, Bunin's work was seen by everyone from the other side. His contemporaries recognized his talent at its true worth and highly appreciated the work of the writer. Ivan Bunin received the Pushkin Prize of the first degree for this translation, which gave the writer, and now also the translator, a reason to be even more proud of his achievements. To receive such high praise, Bunin literally did a titanic work. After all, the translation of such works itself requires perseverance and talent, and for this the writer also had to learn English on his own. As the result of the translation showed, he succeeded.

Second attempt at marriage

Remaining free for so long, Bunin decided to marry again. This time, his choice fell on a Greek woman, the daughter of a wealthy emigrant A. N. Tsakni. But this marriage, like the last one, did not bring joy to the writer. After a year of married life, his wife left him. In marriage, they had a son. Little Kolya died very young, at the age of 5, from meningitis. Ivan Bunin was very worried about the loss of his only child. The further life of the writer developed in such a way that he had no more children.

mature years

The first book of short stories entitled "To the End of the World" was published in 1897. Almost all critics rated its content very positively. A year later, another poetry collection "Under the open sky" was published. It was these works that brought the writer popularity in the Russian literature of that time. Bunin's work was briefly, but at the same time capacious, presented to the public, which highly appreciated and accepted the author's talent.

But Bunin's prose really gained great popularity in 1900, when the story "Antonov apples" was published. This work was created on the basis of the writer's memories of his rural childhood. For the first time, nature is vividly depicted in Bunin's work. It was the carefree time of childhood that awakened in him the best feelings and memories. The reader plunges headlong into that beautiful early autumn that beckons the prose writer, just at the time of picking Antonov apples. For Bunin, according to him, these were the most precious and unforgettable memories. It was joy, real life and carelessness. And the disappearance of the unique smell of apples is, as it were, the extinction of everything that brought the writer a lot of pleasure.

Reproaches of noble origin

Many ambiguously regarded the meaning of the allegory “the smell of apples” in the work “Antonov apples”, since this symbol was very closely intertwined with the symbol of the nobility, which, due to Bunin’s origin, was not at all alien to him. These facts caused many of his contemporaries, such as M. Gorky, to criticize Bunin's work, saying that Antonov apples smell good, but they do not smell democratic at all. However, the same Gorky noted the elegance of literature in the work and Bunin's talent.

Interestingly, for Bunin, reproaches about his noble origin meant nothing. He was alien to swagger or arrogance. Many at that time were looking for subtexts in Bunin's works, wanting to prove that the writer regretted the disappearance of serfdom and the leveling of the nobility as such. But Bunin pursued a completely different idea in his work. He was not sorry for the change of the system, but it was a pity that all life is passing, and that we all once loved with all our hearts, but this is also a thing of the past ... He was sad that he no longer enjoys his beauty .

Wanderings of the writer

Ivan Bunin was in his soul all his life. Probably, this was the reason that he did not stay anywhere for a long time, he liked to travel to different cities, where he often drew ideas for his works.

Starting in October, he traveled with Kurovsky around Europe. Visited Germany, Switzerland, France. Literally 3 years later, with another friend of his - the playwright Naydenov - he was again in France, visited Italy. In 1904, having become interested in the nature of the Caucasus, he decides to go there. The journey was not in vain. This trip, many years later, inspired Bunin to a whole cycle of stories "The Shadow of a Bird" that are connected with the Caucasus. The world saw these stories in 1907-1911, and much later the story of 1925 “Many Waters” appeared, also inspired by the wondrous nature of this region.

At this time, nature is most clearly reflected in Bunin's work. It was another facet of the writer's talent - travel essays.

"Find your love, keep it..."

Life brought Ivan Bunin together with many people. Some passed and passed away, others stayed for a long time. An example of this was Muromtseva. Bunin met her in November 1906, at a friend's house. Clever and educated in many areas, the woman was indeed his best friend, and even after the death of the writer she prepared his manuscripts for publication. She wrote the book "The Life of Bunin", in which she placed the most important and interesting facts from the writer's life. He repeatedly told her: “Without you, I would not have written anything. I'd be gone!"

Here love and creativity in Bunin's life find each other again. Probably, it was at that moment that Bunin realized that he had found the one he had been looking for for many years. He found in this woman his beloved, a person who will always support him in difficult times, a comrade who will not betray. Since Muromtseva became his life partner, the writer wanted to create and compose something new, interesting, crazy with renewed vigor, this gave him vitality. It was at that moment that the traveler wakes up in him again, and since 1907 Bunin has traveled half of Asia and Africa.

World recognition

In the period from 1907 to 1912, Bunin did not stop creating. And in 1909 he was awarded the second Pushkin Prize for his Poems 1903-1906. Here we recall the person in Bunin's work and the essence of human actions, which the writer tried to understand. Many translations were also noted, which he did no less brilliantly than he composed new works.

On November 9, 1933, an event occurred that became the pinnacle of the writer's writing activity. He received a letter informing him that Bunin was being awarded the Nobel Prize. Ivan Bunin is the first Russian writer to receive this high award and prize. His work reached its peak - he received worldwide fame. Since then, he began to be recognized as the best of the best in his field. But Bunin did not stop his activities and, as a truly famous writer, he worked with redoubled energy.

The theme of nature in Bunin's work continues to occupy one of the main places. The writer writes a lot about love. This was an occasion for critics to compare the work of Kuprin and Bunin. Indeed, there are many similarities in their works. They are written in a simple and sincere language, full of lyrics, ease and naturalness. The characters of the heroes are spelled out very subtly (from a psychological point of view.) Here, to the best of sensuality, there is a lot of humanity and naturalness.

Comparison of the work of Kuprin and Bunin gives reason to highlight such common features of their works as the tragic fate of the protagonist, the assertion that there will be retribution for any happiness, the exaltation of love over all other human feelings. Both writers claim in their work that the meaning of life is in love, and that a person endowed with the talent to love is worthy of worship.

Conclusion

The life of the great writer was interrupted on November 8, 1953 in Paris, where he and his wife emigrated after starting in the USSR. He is buried in the Russian cemetery of Sainte-Genevieve-des-Bois.

It is simply impossible to briefly describe Bunin's work. He created a lot in his life, and each of his works is worthy of attention.

It is difficult to overestimate his contribution not only to Russian literature, but also to world literature. His works are popular in our time both among young people and among the older generation. This is really the kind of literature that has no age and is always relevant and touching. And now Ivan Bunin is popular. The biography and work of the writer cause many interest and sincere reverence.

Bunin is the greatest master of Russian realistic prose and an outstanding poet of the early 20th century. His literary activity began in the late 80s of the XIX century. In his first stories (“Kastryuk”, “On the Foreign Side”, “On the Farm” and others), the young writer depicts the hopeless poverty of the peasantry.
In the 90s, Bunin met Chekhov, Gorky. During these years, he tries to combine realistic traditions in his work with new techniques and principles of composition close to impressionism (blurred plot, creating a musical, rhythmic pattern). So in the story "Antonov apples" outwardly unrelated episodes of the life of the fading patriarchal-noble life, colored with lyrical sadness and regret, are shown. However, there is not only longing for the desolated “noble nests”. Beautiful pictures appear on the pages of the work, fanned by a feeling of love for the motherland, the happiness of the fusion of man with nature is affirmed.
But social problems still do not let Bunin go. Here we have the former Nikolaev soldier Meliton (“Meliton”), who was driven with whips “through the ranks”. In the stories “Ore”, “Epitaph”, “New Road”, pictures of hunger, poverty and the ruin of the village arise.
In 1911-1913, Bunin increasingly covers various aspects of Russian reality. In his works of these years, he raises the following topics: the degeneration of the nobility (“Dry Valley”, “The Last Date”), the ugliness of the petty-bourgeois life (“The Good Life”, “The Cup of Life”), the theme of love, which is often fatal (“Ignat”, "On the road"). In an extensive cycle of stories about the peasantry (“Merry Yard”, “Everyday Life”, “Victim” and others), the writer continues the “village” theme.
In the story "Dry Valley" the tradition of poetization of estate life, admiration for the beauty of the fading "noble nests" is resolutely revised. The idea of ​​the blood unity of the local nobility and the people is combined here with the author's idea of ​​the responsibility of the masters for the fate of the peasants, of their terrible guilt before them.
The protest against false bourgeois morality is heard in the stories "The Brothers", "The Gentleman from San Francisco". In the first work written by Bunin after a trip to Ceylon, images are given of a cruel, jaded Englishman and a young native rickshaw who is in love with a native girl. The ending is tragic: the girl ends up in a brothel, the hero commits suicide. The colonialists, the author tells readers, bring destruction and death with them.
In the story “The Gentleman from San Francisco,” the writer does not name the hero. The American millionaire, who spent his whole life in pursuit of profit, in his declining years, together with his wife and daughter, travels to Europe on the Atlantis, a luxurious steamer of those years. He is self-confident and anticipates in advance those pleasures that can be bought with money. But everything is insignificant before death. In a hotel in Capri, he suddenly dies. His corpse in an old soda box is sent back to the steamer. Bunin showed that the gentleman from San Francisco, this "new man with an old heart," is one of those who made their fortune by walking over the corpses of other people. Yes, now he and others like him drink expensive liquors and smoke expensive Havana cigars. As a kind of symbol of the falsity of their existence, the author showed a couple in love, which the passengers admired. And “only one captain of the ship knew that these were“ hired lovers ”playing love for a well-fed audience for money. And here is the contrast between the lives of the rich and the poor. The images of the latter are fanned with warmth and love. This is the bellboy Luigi, and the boatman Lorenzo, and the highlanders-pipers, opposing the immoral and deceitful world of the well-fed.
After 1917, Bunin went into exile. In Paris, he writes a cycle of short stories "Dark Alleys". The female images are especially attractive in these stories. Love, the author claims, is the highest happiness, but even it can be short-lived and fragile, lonely and bitter (“Cold Autumn”, “Paris”, “In a Foreign Land”).
The novel "The Life of Arseniev" is written on autobiographical material. It touches upon the themes of homeland, nature, love, life and death. The author sometimes poeticizes the past of monarchist Russia.
It seems to me that Bunin is close to Chekhov. Ivan Alekseevich was a wonderful short story writer, a master of detail, and an excellent landscape painter. Unlike Kuprin, he did not strive for captivating plots; his work is distinguished by deep lyricism.
A recognized master of prose, Bunin was also an outstanding poet. Here is the image of autumn (the poem “Falling Leaves”), a “quiet widow” entering the forest mansions:
Forest, like a painted tower,
Purple, gold, crimson,
Cheerful motley crowd
It stands over a bright meadow.
I especially like Bunin's poems “Giordano Bruno”, “Wasteland”, “Plowman”, “Haymaking”, “On Plyushchikha”, “Song” and others.
In addition, Bunin was an excellent translator (“Cain” and “Manfred” by Byron, “Crimean Sonnets” by Mickiewicz, “The Song of Hiawatha” by Longfellow and others).
For us, the high poetic culture of Bunin, his possession of the treasures of the Russian language, the high lyricism of his artistic images, the perfection of the forms of his works are important.

Introduction…………………………………………………………………………….2

Chapter I . The life and career of I. A. Bunin……………………...5

1.1.Childhood and youth of the writer…………………………………… 5

1.2. The beginning of creativity……………………………………………………6

1.3.Creative upsurge and growing popularity………………………8

1.4.Emigration…………………………………………………………… 9

1.5. The main themes of I. A. Bunin’s work…………………… 11

Chapter II . Russia and Moscow in the stories of Bunin I.A………………………..13

2.1. Bunin I. A. about Russia in the 1920s……………………………………13

2.2. The image of Moscow in the story "Clean Monday"…………… 14

2.3.The image of Moscow began XX century in the stories of Bunin I. A………19

2.4. The image of Moscow in the “Cursed Days”………………………………………………………………………………………………………………21

Conclusion…………………………………………………………………………25

List of sources and literature…………………………………………..27

Introduction.

Moscow has long attracted the gaze and attention of writers and poets of various eras and trends. This is due not only to the special role of this city in the history of our country, but also to the special Moscow spirit, the beauty of the national capital.

Many authors managed to create unique images of Moscow, forever remaining in the hearts of readers, it is enough to recall at least Bulgakov's Moscow. In this sense, Bunin also managed to create his own, completely amazing and unique image of Moscow, which still inspires and attracts readers.

Ivan Alekseevich Bunin is one of the most talented and prominent Russian writers. He was a man of complex and interesting fate, whose main dream until the last days was to return to his homeland, which he was forced to leave.

Not surprisingly, among other themes, one of the leading themes of his work was the motive of the motherland, Russia and Moscow. At the same time, Bunin's images of Russia and Moscow have a number of specific features closely related to the biography and worldview of the author himself.

Due to this circumstance, speaking about the image of Moscow in his stories, it is necessary to familiarize yourself with the biography of Ivan Alekseevich in order to understand some of the features and changes in the image of Moscow over the course of the writer's life.

Despite the great love of I. A. Bunin for Moscow and the frequent description of it in his works, even while in exile, there are very few special studies on this issue. Much more often in the research literature and literary criticism, other aspects of Bunin's work are considered.

That is why the study of the problem of depiction and features of the image of Moscow in the stories of I. A. Bunin seems to be not only an extremely interesting, but also a promising topic.

The main purpose of this study is to identify the features of Bunina's image of I. A. Moscow, as well as to trace how his approach to the formation of the image of Moscow, as well as Ivan Alekseevich's attitude to the city, changed over the course of his life and under the influence of life circumstances.

In accordance with the stated topic and the set goal, the proposed study was divided into two chapters. The first of them deals with a brief biography of the writer, features of his character and life principles, as well as creativity, closely related to them. The main tasks of the first chapter are to get acquainted with the features of life and work, character, characteristic of Ivan Alekseevich himself, as well as the circumstances under the influence of which they were formed.

In the second chapter of this work, a rather detailed study of individual stories by I. A. Bunin is carried out in the context of this topic. Among the main tasks here are: the need to analyze the text of Bunin's stories, designate the image of Moscow in each of them, as well as in the aggregate, change the image of Moscow in his works.

It should be noted that along with a detailed analysis of the text of some of the stories of I. A. Bunin, the second chapter also contains a rather detailed analysis of the Cursed Days, which is necessary in the context of this topic to understand the change in Bunin's attitude towards Moscow, as well as the features of its image in his later works.

As noted above, there are practically no special studies on this issue.

Nevertheless, it is worth noting that some aspects of the topic under consideration are touched upon in the works of critics and researchers of Ivan Alekseevich's work, dedicated to his work.

Important in the context of the topic under study are also works about the life of Ivan Alekseevich Bunin, from which biographical information can be gleaned.

Chapter I . Life and creative path of I. A. Bunin.

1.1.Childhood and youth of the writer.

Bunin Ivan Alekseevich (1870–1953) was a great Russian prose writer and poet, and an outstanding translator.

He was born on October 10 (22), 1870 in Voronezh in an old noble, but impoverished family. Ivan Alekseevich was distantly related to the brothers Kireevsky, Grots, Yushkovs, Voikovs, Bulgakovs and Soymonovs.

Speaking about the writer's parents, it is worth noting that his father was a very extravagant man who went bankrupt due to his addiction to wine and cards. In his youth, he participated in the Crimean War of 1853-1856, where he met with L. Tolstoy. Ivan Alekseevich's mother was a deeply religious woman, possessed a sad poetic soul. According to family tradition, she came from a princely family.

Bunin owes much to the main themes of his early work, the theme of perishing noble nests, precisely by his origin and the peculiarities of the characters of his parents.

When Bunin was three years old, the family was forced to move from Voronezh to the Yelets district, to the hereditary estate on the Butyrka farm, where the writer spent his childhood. Among the first childhood impressions were the stories of the mother, courtyards, wanderers, the elements of a folk tale, songs and legends, the living flesh of the original Russian speech, the blood connection with nature and the Central Russian landscape, and, finally. At the same time, the future writer is experiencing a great emotional shock - the death of his younger sister. It is from these childhood impressions that all the main themes of the future work of the writer grow.

In 1881, Bunin entered the first class of the Yelets Gymnasium, from where he was expelled in 1886 1886 for failing to appear from the holidays. At the age of 19, he left his father's house, in the words of his mother "with one cross on his chest."

The further fate of Ivan Alekseevich was largely determined by two important circumstances. Firstly, being a nobleman, he did not even receive a gymnasium education, and secondly, after leaving his parental shelter, he never had his own house and spent his whole life in hotels, other people's houses and rented apartments.

The simultaneous attraction to noble traditions and repulsion from them largely determined not only the features of his work, but the whole style of life. Bunin himself wrote about this period of his life in one of his works: “Do I have a homeland now? If there is no work for the motherland, there is no connection with it. And I don’t even have this connection with my homeland - my corner, my haven ... And I quickly grew old, weathered morally and physically, became a vagabond in search of work for a piece of bread, and devoted my free time to melancholic reflections on life and death, eagerly dreaming about some indefinite happiness ... This is how my character developed, and my youth passed so simply.

1.2. The beginning of creativity.

A very special influence on the formation of Bunin's personality was exerted by his elder brother Julius, a populist publicist, under whose guidance Ivan Alekseevich studied the gymnasium program.

In 1889, I. A. Bunin moved to his brother in Kharkov, where he found himself in a populist environment, which he later sarcastically described in the novel Life of Arseniev (1927–1933).

Speaking about the beginning of the creative path of Ivan Alekseevich Bunin, it is worth noting that he began to write his first poems at the age of 7–8 years, imitating Pushkin and Lermontov. Bunin's debut as a poet took place in 1887, when the capital's newspaper "Rodina" published his poem "Above Nadson's Grave", and in 1891 his first poetic book "Poems of 1887-1891" was published.

In the 1890s, Bunin experienced a serious passion for Tolstoyism, "had been ill" with the ideas of simplification. He visited the colonies of the Tolstoyans in the Ukraine and even wanted to "simplify himself" by taking up the cooper's craft. From such a step, the young writer was dissuaded by Leo Tolstoy himself, a meeting with whom took place in Moscow in 1894. It is worth saying that despite the ambiguous assessment of Tolstoyism as an ideology, the artistic power of Tolstoy the prose writer forever remained an unconditional reference point for Bunin, as well as the work of A.P. Chekhov.

At the beginning of 1895 in St. Petersburg, and then in Moscow, Bunin gradually entered the literary environment, met A.P. Chekhov, N.K. Mikhailovsky, became close to V.Ya. Bryusov, K.D. Balmont, F. Sologub.

In 1901, Bunin even published a collection of lyrics “Leaf Fall” in the symbolist publishing house “Scorpion”, but this was the end of the writer’s closeness to modernist circles, and in the future his judgments about modernism were invariably harsh. Ivan Alekseevich Bunin realized himself as the last classic, defending the precepts of great literature in the face of the "barbaric" temptations of the "Silver Age".

1.3.Creative upsurge and growing popularity.

The 1890s-1900s were a time of hard work and rapid growth in Bunin's popularity. During this period, his book "To the End of the World and Other Stories" (1897), a collection of poems "Under the open sky" (1898) was published.

Having learned English on his own, Bunin translated and published in 1896 the poem "The Song of Hiawatha" by the American writer G. Longfellow. This work was immediately rated as one of the best in the Russian translation tradition, and for it in 1903 the Russian Academy of Sciences awarded Bunin the Pushkin Prize, and already in 1902-1909. Znanie publishing house publishes his first collected works in five volumes.

In November 1906, Bunin met V. N. Muromtseva (1881–1961), who became his wife. In the spring of 1907, Bunin and his wife set off on a trip to Egypt, Syria and Palestine. Impressions from travels of different years subsequently formed the book "Shadow of a Bird" (1931). It is worth noting that by this time, in the minds of readers and critics, Bunin was one of the best writers in Russia. In 1909 he was again awarded the Pushkin Prize, he was elected an honorary academician of the Russian Academy of Sciences.

The outbreak of the First World War was perceived by Bunin as the greatest shock and an omen of the collapse of Russia. He met both the February Revolution and the October Revolution with sharp hostility, capturing his impressions of these events in the diary-pamphlet Cursed Days, published in 1935 in Berlin.

1.4. Emigration.

In January 1920, Bunin left Russia and settled in Paris. It is worth saying that in the pre-revolutionary period, I. A. Bunin never participated in political events. Nevertheless, during the emigrant period, he is actively involved in the life of Russian Paris. So, since 1920, he headed the Union of Russian Writers and Journalists, made appeals and appeals, and led a regular political and literary column in the Vozrozhdenie newspaper in 1925–1927. In Grasse, he created a semblance of a literary academy, which included young writers N. Roshchin, L. Zurov, G. Kuznetsova.

Bunin I. A. turned out to be the only emigrant writer who, despite the creative damage suffered, managed to overcome the crisis and continued to work in unusual, extremely unfavorable conditions for any writer, improving his own artistic method.

During the years of emigration, Bunin wrote ten new books in prose, including The Rose of Jericho (1924), Sunstroke (1927), The Tree of God (1931), the story Mitina's Love (1925). In 1943, the top book of his short prose, the collection of short stories "Dark Alleys", was published, which was completely published in 1946.

Having found himself in a foreign land in his mature years, in the eyes of the first generation of Russian emigration, Bunin became the personification of loyalty to the best traditions of Russian literature. At the same time, even during Bunin's lifetime, they started talking about him as a brilliant master of not only Russian, but also world-class. It was to him in 1933 that the first of our compatriots was awarded the Nobel Prize in Literature, which was awarded on December 10.

In the Nobel diploma, made especially for Bunin in the Russian style, it was written that the prize was awarded "for artistic skill, thanks to which he continued the traditions of Russian classics in lyrical prose".

At the same time, it is worth noting that not everyone reacted so unambiguously and favorably to the award of the Nobel Prize to Bunin. So, A. Tolstoy emphasized: “I read the last three books of Bunin - two collections of short stories and the novel “The Life of Arseniev”. I was dejected by the deep and hopeless fall of this master ... his work becomes an empty shell, where there is nothing but regrets about the past and misanthropy.

Bunin spent the years of World War II in Grasse, in dire need. After 1917, Bunin always remained an implacable opponent of the Soviet regime, but, nevertheless, unlike many eminent Russian emigrants, he was never on the side of the Nazis.

Returning to Paris after the war, Bunin visited the Soviet embassy, ​​gave an interview to the pro-Moscow newspaper "Soviet Patriot" and left the Paris Union of Russian Writers and Journalists, when he decided to exclude from its ranks all those who accepted Soviet citizenship. Largely thanks to these steps, the gradual return of I. A. Bunin's books to their homeland in the 1950s became possible. At the same time, the Russian emigration perceived Bunin's demarche as an apostasy, then many close people turned away from him.

Nevertheless, Ivan Alekseevich did not return to Soviet Russia, despite the pain of separation from his homeland, which had not left him all these years. Most likely, this was due, first of all, to the fact that Bunin was well aware that his life had already been lived and he did not want to be a stranger in his beloved homeland. He himself said: “It is very difficult and hard to return as a deep old man to his native places, where he once jumped like a goat. All friends, all relatives are in the grave. You will walk like a cemetery.”

The last years of Bunin's life, an inwardly lonely, bilious and biased person, were imbued with a desire to condemn everything that seemed alien to him, and therefore deceitful and vulgar. Bunin died on November 8, 1953 in Paris and was buried in the Russian cemetery of Sainte-Genevieve-des-Bois near Paris.

1.5. The main themes of I. A. Bunin's work.

Covering more than sixty years, Bunin's work testifies to the constancy of his nature. All Bunin's works, regardless of the time of their creation, are full of interest in the eternal mysteries of human existence, marked by a single circle of lyrical and philosophical themes. Among the main themes of his works (both lyrical and prose) one should single out the themes of time, memory, heredity, love and death, the immersion of a person in the world of unknown elements, the doom of human civilization, the unknowability of the final truth on earth, as well as the homeland.

I. A. Bunin went down in history as a unique "archaic innovator". He managed to combine in his work the high tradition of the Russian word with the subtlest transfer of experience of the tragically broken, joined to the irrational, but seeking the integrity of the human personality of the 20th century. At the same time, this experience did not decompose the language of the classics, but obeyed it and believed them.

Chapter II . Russia and Moscow in the stories of Bunin I. A.

2.1. Bunin I. A. about Russia in the 1920s.

The pain of separation from the motherland and the unwillingness to come to terms with the inevitability of this separation led to the flowering of Bunin's work during the period of emigration, his skill reaches the limit of filigree. Almost all the works of these years are about the former, pre-revolutionary Russia.

At the same time, in his works there is no nostalgic oil and memories of "Golden-domed Moscow" with the ringing of bells. In Bulgakov's prose there is a different sense of the world, a different perception of Russia.

Gap I.A. Bunin with Russia was quite specific, like a break with Soviet Russia. The ideas of socialism, which remained absolutely alien to I.A. Bunin theoretically turned out to be even more unacceptable in their practical implementation. The established statehood claimed to guide culture, to create a culture of a new type, but the canons of proletarian culture were absolutely far away for I.A. Bunin, as well as the very principle of state management of literary creativity.

Domestic and foreign literary criticism has always been evaluated by I.A. Bunin as a Russian writer, but it was the writer's commitment to the ideals of old Russia that turned out to be unclaimed in Soviet Russia. Even the presentation of the Nobel Prize to Bunin was a blow to the Soviet leadership.

Therefore, the Russianness of I.A. Bunin was in demand outside of Russia, in the West. To some extent, the Nobel Prize that the writer received was a kind of political protest of the cultural community in Europe against Bolshevism and Sovietism, but at the same time the prize was given, indeed, to a brilliant writer.

One of the main principles outlined by Ivan Alekseevich back in “The Life of Arseniev”: “From generation to generation my ancestors punished each other to remember and keep your blood: be worthy of your nobility in everything”, the writer adhered to all his life. In many ways, precisely because of this attitude to life, perhaps the leading theme of his work during the emigrant period was Russia - its history, culture and environment.

In "Cursed Days" I.A. Bunin recalls the preservation of memory and a real assessment of the events that preceded the establishment of Soviet power in Russia. In The Life of Arseniev, the writer tries to say that it is impossible to build the future by destroying the past, he wants the people to remember Russia as it was before the revolution, so that they do not forget their past, because without it there is no future.

2.2. The image of Moscow in the story "Clean Monday".

In the story of I.A. Bunin's "Clean Monday" Moscow appears to the reader as a city, temptingly mysterious and charming with its beauty. This mystery affects its inhabitants, it is no coincidence that the image of Moscow is associated with the inner world of the main character of the story.

It is worth saying that the many specific Moscow addresses that are indicated in Clean Monday determine its geographical space. Such a definition, at the same time, creates a detailed image of the era, helps the reader to understand the culture and life of Moscow at the beginning of the 20th century.

The artistic space of the story is heterogeneous and includes recurring realities that form a kind of plot “rings”, reflecting two images of Moscow. The first of them is the image of Moscow as the ancient capital of Holy Rus', and the second - as the center of literary and artistic bohemia. In addition, the designated geographical space of the story largely contributes to the disclosure of the inner world of the heroine, shows the fullness and complexity of her nature: “You are a gentleman, you cannot understand all this Moscow the way I do.”

In one of the final episodes of the story, the hero and heroine are riding a sleigh through snow-covered Moscow at night: “For a full month I dived in the clouds above the Kremlin, “some kind of luminous skull,” she said. On the Spasskaya Tower, the clock struck three, - she also said:

What an ancient sound - something tin and cast iron. And just like that, the same sound struck three in the morning in the fifteenth century. And in Florence, the same battle, he reminded me of Moscow there ... ".

Bunin's relatively short story is extremely rich in Moscow toponyms. So, in "Clean Monday" one, and sometimes several times, are mentioned: the Red Gate, the Cathedral of Christ the Savior, the restaurants "Prague", "Hermitage", "Metropol", "Yar", "Strelna", a vegetarian canteen on the Arbat , Art circle, Okhotny Ryad, Iverskaya chapel, St. Basil's Cathedral, Cathedral of the Savior-on-Bora, Art Theatre, Novodevichy Convent, Rogozhskoye Cemetery, Egorov's Tavern, Ordynka, Martha and Mary Convent, Conception Monastery, Miracles Monastery, Spasskaya Tower, Archangelsky Cathedral.

It should be noted that the “set” of Moscow addresses indicated in the story by the author cannot be called random, it was selected and carefully thought out by him to create the image of Moscow.

All listed architectural motifs are quite simply divided into three groups. The first group is formed by toponyms that prompt the reader to recall the pre-Petrine, "Old Believer" capital: Red Gates, Okhotny Ryad, Iverskaya Chapel, St. Basil's Cathedral, Cathedral of the Savior on Bora, Arbat, Novodevichy Convent, Rogozhskoye Cemetery, Ordynka, Zachatievsky Monastery, Chudov Monastery, Spasskaya Tower, Archangel Cathedral. The second group contains toponyms - symbols of the newest appearance, modernist Moscow: "Prague", "Hermitage", "Metropol", Art Circle, Art Theater. And, finally, the third group consists of buildings of the 19th-early 20th centuries, stylized as Russian "Byzantine" antiquity: the Cathedral of Christ the Savior and the Marfo-Mariinsky Convent.

In addition to the already indicated semantic, associative load, most of the architectural motifs included in the first group are also closely linked in the story with the East.

Motives of the second, "modernist" group are invariably associated with the West. It is worth noting that it is no coincidence that the author of "Clean Monday" selected for his story the names of those Moscow restaurants that sound exotic, "foreign". In this selection, Ivan Alekseevich was guided by the famous book by V. Gilyarovsky "Moscow and Muscovites", which, along with Bunin's personal memoirs, served as the basic source for the Moscow component of the story.

Speaking about the motives of the third group, it should be noted that they appear in the story as a material embodiment of the attempts of the modernist and pre-modernist era to reproduce the style of the Byzantine Moscow antiquity. As an example of this statement, one can cite a not too warm description of the Cathedral of Christ the Savior: “too new bulk of Christ the Savior, in the golden dome of which the jackdaws eternally curled around it were reflected with bluish spots ...”.

Speaking about the differences between these motives, it is also worth noting that the motives of all three groups do not just get along side by side in the urban space, but reflect each other.

So, for example, in the name of the Moscow tavern "Yar", given in 1826 in honor of a French restaurateur who bore such a surname, Old Slavic overtones are clearly heard. A very striking example, in this sense, there will also be an episode when the hero and heroine go to eat the last pancakes at Yegorov's tavern on Okhotny Ryad, where you can not smoke, because it is kept by an Old Believer. Very accurate is the replica of the heroine herself in this regard: “Good! Below are wild men, and here are pancakes with champagne and the Virgin of Three Hands. Three hands! After all, this is India!

"Wild men", French champagne, India - all this is bizarre and absolutely naturally coexists in an eclectic, absorbing the most diverse influences, Moscow.

Speaking about the features of the image of Moscow in the stories of I. A. Bunin, and, in particular, in the story “Clean Monday”, one cannot ignore the fact that a number of researchers note that the image of the heroine of the story is a metonymy of Russia. It is no coincidence that the hero-narrator demonstrates to the reader exactly her, never revealed secret: “... she was mysterious, incomprehensible to me, our relationship with her was also strange».

It is interesting that at the same time, in a similar way, Bunin's Moscow appears as a metonymy for the image of the heroine, endowed with "Indian, Persian" beauty, as well as eclectic tastes and habits. The heroine of Clean Monday has been tossing about for a long time, trying to choose between the ancient Russian East and the modernist West. A clear evidence of this is the constant movement of the heroine from monasteries and churches to restaurants and skits, and then back.

At the same time, even within the framework, so to speak, of her Byzantine, religious line of behavior, the heroine behaves extremely inconsistently. So, for example, on Forgiveness Sunday, she quotes the Lenten prayer of Ephraim the Syrian, and then, a few minutes later, she violates one of the prescriptions of this prayer, condemning the hero: “... I, for example, often go in the mornings or evenings when you don’t carry me to restaurants, to Kremlin cathedrals, and you don’t even suspect it.”

At the same time, he reproaches the hero for idleness, when choosing entertainment, he takes the initiative: “Where to now? In "Metropol" maybe? »; “We’ll drive a little more,” she said, “then we’ll go eat the last pancakes at Yegorov’s ...”; “Wait. Come see me tomorrow night no earlier than ten. Tomorrow is the "skit" of the Art Theater".

At the same time, the hero himself, with a slight degree of discontent and irritation, speaks about these throwing of the heroine, between the Eastern and Western beginnings: “And for some reason we went to Ordynka, drove for a long time along some alleys in the gardens”. Such an attitude of his is quite natural, since it is he who will have to make a decisive moral choice filled with “Eastern” stoicism in the finale of “Clean Monday”: “I turned around and quietly walked out of the gate”.

Speaking about the metonymic similarity between the heroine and Moscow, it should be noted that it is especially clearly emphasized by the author in the hero’s internal monologue: “Strange love!” - I thought, and while the water was boiling, I stood and looked out the windows. The room smelled of flowers, and for me it connected with their scent; behind one window lay low in the distance a huge picture of the riverside snow-gray Moscow; in the other, to the left, the too-new bulk of Christ the Savior was white, in the golden dome of which the jackdaws eternally curling around it were reflected in bluish spots ... “A strange city! - I said to myself, thinking about Okhotny Ryad, about Iverskaya, about St. Basil the Blessed. - Basil the Blessed - and Spas-on-Bora, Italian cathedrals - and something Kyrgyz in the tips of the towers on the Kremlin walls ... "".

Thus, the author, as it were, emphasizes the inconsistency, but, at the same time, the integrity of Moscow, in its eclecticism in architecture, traditions, and history. It is thanks to its eclecticism, and partly despite it, that Moscow appears before the readers of the story as a mysterious, enigmatic and alluring city, the secrets of which can never be unraveled.

2.3.The image of Moscow began XX century in the stories of Bunin I. A.

Speaking about the image of Moscow in various stories by Bunin, it is worth noting that in each of them, there is a certain direction in the description of the city, associated with the artistic need for a particular plot, as well as a close relationship between the most diverse strokes to the Moscow portrait and the inner world of the main characters, events occurring in the story.

At the same time, there are a number of common features that are steadily emphasized by the author in various intonation and semantic strokes, which creates a multifaceted, subtle and charming image of Moscow. At the same time, it can be most fully understood and felt only by reading a fairly large number of stories by Ivan Alekseevich, since in each of them the author adds necessary and important touches to the portrait of Moscow.

Speaking about the general features of the description of Moscow in various stories, we can give the following example. As noted above, in "Clean Monday" Bunin repeatedly emphasizes the idleness of the life of the main characters (at least at the beginning of the story). The writer describes the various amusements of the heroes, among which trips to restaurants and theaters occupy a prominent place. One gets the impression of a certain amount of frivolity and lightness in the life of the heroes. At the same time, considering and analyzing the text of the story as a whole, it becomes clear that in this way the author showed not only mental anguish and an attempt by the heroine to choose the path between West and East, but also a certain lifestyle of Muscovites.

This becomes fully clear after reading the story “The River Inn”, where Bunin I. A. also points out: “It was empty and quiet - until a new revival by midnight, before leaving theaters and dinners at restaurants, in the city and outside the city ". Thus, Moscow appears to us, to a certain extent, as an idle city, whose inhabitants spend a lot of time in amusements and entertainment.

Nevertheless, perceiving the stories of I. A. Bunin as integrity, works that complement each other, it should be said that, despite such a seemingly negative feature as idleness, Moscow is all attractive - it is not depraved in its idleness, but according to - kind and charming.

In this work, it has been repeatedly emphasized that the descriptions of Moscow and its inhabitants by I. A. Bunin largely reflect the inner world, state and events that occur with the main characters. A vivid example of this can also be the story "Caucasus", where Moscow appears as a real prison for the main characters, from where they flee in an attempt to find happiness.

The description of Moscow in the story fully corresponds not only to its circumstances, but also to the state of the heroes and in every possible way emphasizes their desire to escape from the city: “Cold rains fell in Moscow, it looked like summer had already passed and would not return, it was dirty, wet and black shone with the open umbrellas of passers-by and the tops of cabbies raised, trembling on the run.

2.4. The image of Moscow in the Cursed Days.

"Cursed Days" is a kind of diary, which reflects the reality that surrounded the writer in his last years of life in his homeland. The narration in the diary is in the first person, the entries are dated and go in sequential order, one after another, but sometimes there are quite long breaks (up to a month or more).

It is worth noting that "Cursed Days" were the writer's personal notes and were not originally intended for publication. Because of this, the diary is mainly addressed to the events of personal and social life, which are of particular importance for the writer.

Here Bunin is not only an observer, but also a participant in all the events taking place. He could also suffer at the hands of the rampant people, like any other person, he felt the first consequences of the revolution (the division of property, the prohibition of using electricity, inflation, unemployment, hunger, the destruction of historical monuments, robberies, drunkenness, criminality, dirt and blood on the streets). “There was no longer life in Moscow, although there was an imitation of some supposedly new system, a new rank and even a parade of life on the part of the new rulers, crazy in its stupidity and feverishness.” The work is dominated by a sense of unreality, creepiness, the writer's rejection of everything that happens. In the Fatherland.

"Cursed Days" consists of two parts, in the first of them, the Moscow part, descriptions of the events seen prevail among the records: street incidents, rumors, dialogues, newspaper articles. Reading these notes, one gets the impression that the writer has not yet fully realized the scale and danger for him personally of the events taking place in the city and country. In the second, Odessa part, the author mostly thinks about what he saw, about dreams, forebodings, experiences, which results in a dispute about the fate of Russia.

Speaking directly about the author's perception of Moscow during this period, as well as about the image of the city that appears before the readers of Cursed Days, it is worth noting that this image is not entirely unambiguous and, in a way, strange. Throughout all the Moscow recordings, Moscow appears before us as an awkward combination of the old - that which ended so suddenly and senselessly for Ivan Alekseevich, and the new - that so unceremoniously invaded and destroyed the former life.

At the beginning of the Moscow notes, Bunin, in describing Moscow, is still, one might say, cautious, since he himself has not yet fully realized what happened: tree. How unnecessary this guard now seems! ". Bunin speaks not only about external changes in the city, in particular, on Red Square, but emphasizes the very essence of what is happening - the absurdity of the guard in the current situation, and also notes the absurdity of the guard himself.

Further, throughout the entire Moscow part of the Cursed Days, I. A. Bunin's formulations change significantly, becoming more rigid and intolerant. At the same time, the change in the tone of the entries refers to a wide variety of topics, including the topic of changing the city itself. At the same time, it is worth noting that these records cannot be called sharp in any way - rather, they show bewilderment, confusion and irritation from the inability to change anything, as well as from the absurdity and absurdity of what is happening.

“From the mountain behind the Butcher's Gate - a gray-gray distance, piles of houses, golden domes of churches. Ah, Moscow! The square in front of the station is melting, the whole square is shining with gold and mirrors. Heavy and strong kind of dray halter with drawers. Is it really the end of all this power and excess? A lot of men, soldiers in different, in what horrible overcoats and with different weapons - some with a saber on their side, some with a rifle, some with a huge revolver at their waist ... Now the owners of all this, the heirs of all this colossal inheritance they are ... ".

Reading "Cursed Days" it becomes clear how, over time, a sense of the inevitable gradually accumulated in the writer, but he still did not fully realize what was happening and did not fully understand its consequences. Having already decided on the need to leave Moscow, he writes: “Get out of Moscow!” But it’s a pity. During the day, she is now surprisingly vile. The weather is wet, everything is wet, dirty, there are pits on the sidewalks and pavements, bumpy ice, and there is nothing to say about the crowd. And in the evening, at night, it is empty, the sky from rare lanterns turns black dull and gloomy. But here is a quiet side street, completely dark, you go - and suddenly you see an open gate, behind them, in the back of the courtyard, a beautiful silhouette of an old house, gently darkening in the night sky, which is completely different here than above the street, and in front of the house there is a hundred-year-old tree, black the pattern of his huge sprawling tent."

Thus, sadness and timid hope for the return of bygone times was fully expressed in the description of Moscow. In "Cursed Days" the city appears before us frightened, perplexed. Throughout the text of the notes, we see how at first Moscow was still itself - old Moscow, when, against the background of its ancient splendor, the “new element” looked ridiculous, out of place. By the end of the Moscow part, the old Moscow becomes the exception rather than the rule - gradually reminding of itself through all the dirt and repulsive reality of what is happening.

Conclusion.

Having examined in detail not only the stories of Ivan Alekseevich Bunin in the context of this topic, but also his biography, following his creative path, a number of important conclusions can be drawn.

First of all, it should be noted that his attitude towards Moscow and Russia as a whole was formed under the influence of a number of very different factors in his biography. In general, all his work was to some extent autobiographical and based on his life principles and experience.

Speaking about the features of Bunin's depiction of Moscow at the beginning of the 20th century, it should be noted that in fact it did not change in his stories over time, but was only supplemented and honed in each story by Bunin.

This state of affairs is connected with the life attitudes of the writer. Here it is worth emphasizing once again his great love in Russia and Moscow, as well as his deepest hostility to the new, Bolshevik power and revolution. In this sense, the image of Moscow presented by I. A. Bunin in “Cursed Days” is very indicative, where a “disheveled” city appears before readers - not yet completely freed from its former grandeur, pathos and scope, with difficulty getting used to new conditions.

In Cursed Days, Moscow is unfriendly, more gloomy and unattractive. But through this "overgrown" dirt, traces of the past, of what Ivan Alekseevich loved so much, are constantly visible.

In all likelihood, it was precisely because of this, because of his boundless devotion to old Russia and Moscow, that in the subsequent years of emigration the writer in his numerous stories wrote the image of Moscow from memory - the way he remembered it in the pre-revolutionary period. Bunin does not want to remember and describe the horror and anarchy that reigned in Moscow before his departure from Russia.

In the stories of I. A. Bunin, Moscow is a magical place that attracts to itself, it is a mysterious city that attracts people from all over the world. The soul of this city is incomprehensible, like the soul of a woman - you can only love it, but it is impossible to fully understand it. It is woven from contradictions, bright and expressive, funny and arrogant, friendly and cruel, varied and constant. This inconsistency and the presence of often opposite qualities in the spirit of Moscow lies, in part, its secret.

Bunin I.A., speaking of the impossibility of unraveling Moscow, woven from contradictions and mysteries, he nevertheless gives some explanation for his reverent attitude towards this city. The secret of Moscow and its attraction lies, first of all, in its eclecticism, a combination of eastern and western principles. In this sense, Moscow is very similar to Russia itself, located at the junction of European and Asian civilizations.

These two beginnings, at first glance, incompatible, create a special atmosphere in the city, giving its appearance a special mystery and originality.

List of sources and literature:

Sources:

1. Bunin I. A. Without a clan-tribe. / Bunin I. A. Stories. M.; Soviet Russia, 1978.

2. Bunin I. A. Diaries./Collected works in 6 volumes. T. VI. M.; Fiction, 1988.

3. Bunin I. Life of Arseniev. Collected works in 6 volumes. T. V., M.; Syntax, 1994.

4. Bunin I. A. Kavkaz. / Bunin I. A. Stories. M.; Soviet Russia, 1978.

5. Bunin I. A. Cursed days. / Russian writers-Nobel Prize winners. Ivan Bunin. M.; Young Guard, 1991.

6. Bunin I. A. Manual inn. / Bunin I. A. Stories. M.; Soviet Russia, 1978.

7. Bunin I. A. Clean Monday. / Bunin I. A. Novels and stories. L.; Lenizdat, 1985.

8. Tolstoy A. N. Collected works in 10 volumes. T. X. M.; Hood. lit.-ra, 1961.

Literature:

1. Arkhangelsky A. The last classic. / Russian writers, Nobel Prize winners. Ivan Bunin. M.; Young Guard, 1991.

2. Baboreko A. K. Bunin. Materials for a biography (from 1870 to 1917). M.; Hood. Lit.-ra, 1983.

3. Dolgopolov L.K. The story "Clean Monday" in the system of creativity of I. Bunin of the emigrant period. / Dolgopolov L.K. At the turn of the century. On Russian Literature of the Late 19th - Early 20th Centuries. M.; Soviet writer, 1985.

4. Emelyanov L. I. A. Bunin (1870-1953)./I. A. Bunin Novels and stories. L.; Lenizdat, 1985.

5. Lekmanov O. Florence in Moscow (“Italian” architectural motifs in “Clean Monday” by I. Bunin). http://www.library.ru/help/guest.php?PageNum=2438&hv=2440&lv=2431

6. Mikhailov O. About Ivan Bunin and this book./I. A. Bunin. Stories. M.; Soviet Russia, 1978.

7. Polonsky V. Encyclopedia "Circumnavigation"./ http://www.krugosvet.ru/articles/104/1010414/1010414a1.htm

8. Saanyakyants A. A. About I. A. Bunin and his prose. / Bunin I. A. Stories. M.; True, 1983.

Bunin I. A. Without a clan-tribe. / Bunin I. A. Stories. M.; Soviet Russia, 1978. Bunin I. A. Diaries./Collected works in 6 volumes. T. VI. M.; Fiction, 1988. Bunin I. Life of Arseniev. Collected works in 6 volumes. T. V., M.; Syntax, 1994.

Tolstoy A. N. Collected works in 10 volumes. T. X. M.; Hood. lit.-ra, 1961.

Bunin I. A. Caucasus. / Bunin I. A. Stories. M.; Soviet Russia, 1978. Bunin I. A. Cursed days. / Russian writers, Nobel Prize winners. Ivan Bunin. M.; Young Guard, 1991. Bunin I. A. Manual inn. / Bunin I. A. Stories. M.; Soviet Russia, 1978. Bunin I. A. Clean Monday. / Bunin I. A. Novels and stories. L.; Lenizdat, 1985.

Lekmanov O. Florence in Moscow (“Italian” architectural motifs in “Clean Monday” by I. Bunin). http://www.library.ru/help/guest.php?PageNum=2438&hv=2440&lv=2431

Saanyakyants A. A. About I. A. Bunin and his prose. / Bunin I. A. Stories. M.; Pravda, 1983. Dolgopolov L.K. The story "Clean Monday" in the system of creativity of I. Bunin of the emigrant period. / Dolgopolov L.K. At the turn of the century. On Russian Literature of the Late 19th - Early 20th Centuries. M.; Soviet writer, 1985. Emelyanov L. I. A. Bunin (1870-1953)./I. A. Bunin Novels and stories. L.; Lenizdat, 1985.

Mikhailov O. About Ivan Bunin and this book./I. A. Bunin. Stories. M.; Soviet Russia, 1978. Baboreko A. K. Bunin. Materials for a biography (from 1870 to 1917). M.; Hood. Lit.-ra, 1983. Arkhangelsky A. The last classic. / Russian writers, Nobel Prize winners. Ivan Bunin. M.; Young Guard, 1991.

Mikhailov O. About Ivan Bunin and this book./I. A. Bunin. Stories. M.; Soviet Russia, 1978. S. 6-7.

Bunin I. A. Pure Monday./Bunin I. A. Novels and stories. L.; Lenizdat, 1985. S. 614-615.

Bunin I. A. Pure Monday./Bunin I. A. Novels and stories. L.; Lenizdat, 1985. S. 618.

Bunin I. A. Pure Monday./Bunin I. A. Novels and stories. L.; Lenizdat, 1985. S. 617.

Dolgopolov L.K. The story "Clean Monday" in the system of creativity of I. Bunin of the emigrant period. / Dolgopolov L.K. At the turn of the century. On Russian Literature of the Late 19th - Early 20th Centuries. M.; Soviet writer, 1985. S. 321-322.

Bunin I. A. Pure Monday./Bunin I. A. Novels and stories. L.; Lenizdat, 1985. S. 611.

Bunin I. A. Pure Monday./Bunin I. A. Novels and stories. L.; Lenizdat, 1985. S. 613-614.

Bunin I. A. Manual inn. / Bunin I. A. Stories. M.; Soviet Russia, 1978. S. 273.

Bunin I. A. Caucasus. / Bunin I. A. Stories. M.; Soviet Russia, 1978. S. 166.

Bunin I. A. Cursed Days. / Russian writers, Nobel Prize winners. Ivan Bunin. M.; Young Guard, 1991. S. 122.

Bunin I. A. Cursed Days. / Russian writers, Nobel Prize winners. Ivan Bunin. M.; Young Guard, 1991. S. 65.

Bunin I. A. Cursed Days. / Russian writers, Nobel Prize winners. Ivan Bunin. M.; Young Guard, 1991. P.76.

Bunin I. A. Cursed Days. / Russian writers, Nobel Prize winners. Ivan Bunin. M.; Young Guard, 1991. S. 84-85.

Ivan Alekseevich Bunin was born on October 22, 1870 in Voronezh into a noble family. His childhood and youth were spent in the impoverished estate of the Oryol province.

He spent his early childhood in a small family estate (the Butyrki farm in the Yelets district of the Oryol province). Ten years old he was sent to the Yelets gymnasium, where he studied for four and a half years, was expelled (for non-payment of tuition fees) and returned to the village. The future writer did not receive a systematic education, which he regretted all his life. True, the older brother Julius, who graduated with flying colors from the university, went through the entire gymnasium course with Vanya. They were engaged in languages, psychology, philosophy, social and natural sciences. It was Julius who had a great influence on the formation of Bunin's tastes and views.

An aristocrat in spirit, Bunin did not share his brother's passion for political radicalism. Julius, feeling the literary abilities of his younger brother, introduced him to Russian classical literature, advised him to write himself. Bunin enthusiastically read Pushkin, Gogol, Lermontov, and at the age of 16 he began to write poetry himself. In May 1887, Rodina magazine published the poem "The Beggar" by sixteen-year-old Vanya Bunin. Since that time, his more or less constant literary activity began, in which there was a place for both poetry and prose.

Since 1889, an independent life began - with a change of professions, with work both in provincial and metropolitan periodicals. Collaborating with the editorial office of the Orlovsky Vestnik newspaper, the young writer met the newspaper's proofreader Varvara Vladimirovna Pashchenko, who married him in 1891. The young spouses, who lived unmarried (Pashchenko's parents were against marriage), subsequently moved to Poltava (1892) and began to serve as statisticians in the provincial government. In 1891, Bunin's first collection of poems, still very imitative, was published.

1895 was a turning point in the life of the writer. After Pashchenko agreed with Bunin's friend A.I. Bibikov, the writer left the service and moved to Moscow, where he made literary acquaintances with L.N. Tolstoy, whose personality and philosophy had a strong influence on Bunin, with A.P. Chekhov, M. Gorky, N.D. Teleshov.

Since 1895 Bunin has been living in Moscow and St. Petersburg. Literary recognition came to the writer after the publication of such stories as “On the Farm”, “News from the Motherland” and “At the End of the World”, dedicated to the famine of 1891, the cholera epidemic of 1892, the resettlement of peasants to Siberia, and impoverishment and the decline of the petty nobility. Bunin called his first collection of short stories At the End of the World (1897). In 1898, Bunin published a poetry collection Under the Open Air, as well as a translation of Longfellow's Song of Hiawatha, which received a very high appraisal and was awarded the Pushkin Prize of the first degree.

In 1898 (some sources indicate 1896) he married Anna Nikolaevna Tsakni, a Greek woman, the daughter of a revolutionary and emigrant N.P. Click. Family life again turned out to be unsuccessful and in 1900 the couple divorced, and in 1905 their son Nikolai died.

On November 4, 1906, an event occurred in Bunin's personal life that had an important impact on his work. While in Moscow, he met Vera Nikolaevna Muromtseva, the niece of the same S.A. Muromtsev, who was chairman of the First State Duma. And in April 1907, the writer and Muromtseva went on their "first long journey" together, visiting Egypt, Syria, and Palestine. This journey not only marked the beginning of their life together, but also gave birth to a whole cycle of Bunin's stories "The Shadow of a Bird" (1907 - 1911), in which he wrote about the "light-bearing countries" of the East, their ancient history and amazing culture.

In December 1911, in Capri, the writer completed the autobiographical story "Sukhodol", which, being published in Vestnik Evropy in April 1912, was a huge success with readers and critics. On October 27-29 of the same year, the entire Russian public solemnly celebrated the 25th anniversary of I.A. Bunin, and in 1915 in the St. Petersburg publishing house A.F. Marx published his complete works in six volumes. In 1912-1914. Bunin took a close part in the work of the "Book Publishing House of Writers in Moscow", and collections of his works were published in this publishing house one after another - "John Rydalets: stories and poems 1912-1913." (1913), "The Cup of Life: Stories 1913-1914." (1915), "The Gentleman from San Francisco: Works 1915-1916." (1916).

The First World War brought Bunin "a great spiritual disappointment." But it was precisely during this senseless world slaughter that the poet and writer especially acutely felt the meaning of the word, not so much journalistic as poetic. In January 1916 alone, he wrote fifteen poems: "Svyatogor and Ilya", "Land without history", "Eve", "The day will come - I will disappear ...", etc. In them, the author fearfully expects the collapse of the great Russian state. Bunin reacted sharply negatively to the revolutions of 1917 (February and October). The pathetic figures of the leaders of the Provisional Government, as the great master believed, were only capable of leading Russia to the abyss. This period was devoted to his diary - the pamphlet "Cursed Days", first published in Berlin (Sobr. soch., 1935).

In 1920, Bunin and his wife emigrated, settling in Paris and then moving to Grasse, a small town in southern France. About this period of their life (until 1941) can be read in the talented book by Galina Kuznetsova "Grasse Diary". A young writer, a student of Bunin, she lived in their house from 1927 to 1942, becoming the last very strong hobby of Ivan Alekseevich. Infinitely devoted to him, Vera Nikolaevna made this, perhaps the biggest sacrifice in her life, understanding the emotional needs of the writer (“Being in love is even more important for a poet than traveling,” Gumilyov used to say).

In exile, Bunin creates his best works: "Mitina's Love" (1924), "Sunstroke" (1925), "The Case of Cornet Elagin" (1925) and, finally, "The Life of Arseniev" (1927-1929, 1933). These works have become a new word in Bunin's work, and in Russian literature as a whole. And according to K. G. Paustovsky, "The Life of Arseniev" is not only the pinnacle work of Russian literature, but also "one of the most remarkable phenomena of world literature."
In 1933, Bunin was awarded the Nobel Prize, as he believed, primarily for "The Life of Arseniev." When Bunin arrived in Stockholm to receive the Nobel Prize, in Sweden he was already recognized by sight. Bunin's photographs could be seen in every newspaper, in shop windows, on the cinema screen.

With the outbreak of World War II, in 1939, the Bunins settled in the south of France, in Grasse, at the Villa Jeannette, where they spent the entire war. The writer closely followed the events in Russia, refusing any form of cooperation with the Nazi occupation authorities. He experienced the defeat of the Red Army on the eastern front very painfully, and then sincerely rejoiced at its victories.

In 1945, Bunin returned to Paris again. Bunin repeatedly expressed a desire to return to his homeland, calling the decree of the Soviet government of 1946 "On the restoration of citizenship of the USSR subjects of the former Russian Empire ..." called "a generous measure." However, the Zhdanov decree on the magazines "Zvezda" and "Leningrad" (1946), which trampled on A. Akhmatova and M. Zoshchenko, forever turned the writer away from the intention to return to his homeland.

Although Bunin's work received wide international recognition, his life in a foreign land was not easy. Written in the dark days of the Nazi occupation of France, Dark Alleys, the latest collection of short stories, has gone unnoticed. Until the end of his life, he had to defend his favorite book from the "Pharisees". In 1952, he wrote to F. A. Stepun, the author of one of the reviews of Bunin’s works: “It’s a pity that you wrote that in Dark Alleys there is a certain excess of looking at female seductions ... What an “excess” there! I gave only a thousandth how men of all tribes and peoples "consider" everywhere, always women from their ten years of age until they are 90 years old.

At the end of his life, Bunin wrote a number of more stories, as well as the extremely caustic Memoirs (1950), in which Soviet culture is sharply criticized. A year after the appearance of this book, Bunin was elected the first honorary member of the Pen Club. representing writers in exile. In recent years, Bunin also began work on memoirs about Chekhov, which he was going to write back in 1904, immediately after the death of a friend. However, the literary portrait of Chekhov remained unfinished.

Ivan Alekseevich Bunin died on the night of November 8, 1953 in the arms of his wife in dire poverty. In his memoirs, Bunin wrote: “I was born too late. If I had been born earlier, my writing memories would not have been like that. , Stalin, Hitler ... How not to envy our forefather Noah! Only one flood fell to his lot ... "Bunin was buried in the cemetery of Sainte-Genevieve-des-Bois near Paris, in a crypt, in a zinc coffin.

The first works of I. A. Bunin appeared in print in 1889, and the first book - a youthful collection of lyrics - in 1891. Bunin had more than a sixty-year path in literature, which would be divided into two chronologically approximately equal parts - pre-October and emigrant. But although the life of the writer after the catastrophic events of 1917 will be dramatically complicated, his work will retain the highest degree of unity. Already during his lifetime, people will talk about Bunin as a brilliant master of not only Russian, but also global scale. It was he who in 1933 was the first Russian writer to be awarded the Nobel Prize in Literature.

Bunin was born on 22 (10 old style) October 1870 in Voronezh in a poor noble family. The childhood years of the future writer were spent on the estates of the Bunins, Butyrka and Ozerki, Yelets district, Oryol province. Having received a home primary education, he in 1881-1886. studied at the Yelets gymnasium, which he did not finish. He took a gymnasium course at home under the guidance of his older brother Julius. Difficult material conditions in the family prompted Bunin to start working on his own early. In 1889-1895. he was a journalist in the Oryol periodical, an employee of the zemstvo council in Poltava, where his older brother lived; sent his first literary experiments - poems and stories to the capital's newspapers and magazines. During these years, Bunin was seriously influenced by the ethical teachings of L.N. Tolstoy, who later became the main artistic authority for the writer.

The turning point in the fate of the novice writer was 1895, when he left the service in Poltava and moved first to St. Petersburg and then to Moscow, where he formed a wide circle of acquaintances among writers. Especially important were the acquaintance with A.P. Chekhov and rapprochement with the participants of the Moscow literary circle "Wednesday" (at the end of the century, the circle included M. Gorky, A.I. Kuprin, L.N. Andreev, N.D. Teleshov and others young writers-debutants of the 1890s). From the second half of the 1890s. Bunin is actively published, gradually creating a reputation for himself as a primary realist writer. In the 1900s most of Bunin's poems and stories were published in the publications of the Znanie publishing house, which was led by M. Gorky, who valued cooperation with the brightest, as he considered, the talent of his writing generation. One of the first to predict an extraordinary literary fate for Bunin was A.P. Chekhov. Chekhov’s friendly participation gave the young writer a lot, and the prediction soon began to be confirmed: Bunin’s poetry collection “Leaf Fall”, published in 1901, was awarded the Pushkin Academic Prize, the appearance of his new works was approved by most of the influential critics, and in 1909 the writer was honored to be elected an honorary member of the Russian Academy of Sciences.

In Bunin's character there is a dislike for domesticity, a persistent desire to change places, the desire to constantly diversify the circle of life and artistic impressions. Perhaps Bunin's main life passion is a love of travel. Already in the 1880s - 1890s. he traveled a lot in Russia, and at the beginning of the new century he traveled around Europe, wandered around the Middle East, and visited many Asian countries. Not surprisingly, as material for his works, Bunin often used not only impressions of the life of the Russian hinterland (he knew and understood this life exceptionally deeply), but also his foreign observations.

At the same time, the expansion of the subject did not hinder, but rather helped the vigilance of the outlook on the life of Russia, contributed to the growth of the historical and philosophical scale of this outlook. Against the background of Russian realism at the beginning of the 20th century. Bunin's position in relation to Russian life looked unusual: to many of his contemporaries, the writer seemed to be an imperturbable "Olympian" - a "cold", albeit a brilliant master, and his judgments about Russia, Russian people, Russian history - too distant, external. Indeed, with a constant and acute sense of belonging to Russian culture, “the family of his fathers”, experiencing the antiquity and greatness of Rus', Bunin tried to distance himself from momentary social anxieties, avoided publicism in his pre-revolutionary work (which markedly distinguished him from M. Gorky, A. I. Kuprin, L.N. Andreev and from some symbolist poets). When looking at Russia, Bunin always needed a distance - chronological, and sometimes geographical. It is interesting, for example, that in Italy, on Capri, Bunin created stories and novels about the Russian village, and while in Russia, he wrote about India, Ceylon, and the Middle East.

A noticeable feature of Bunin's work is his universalism. The writer equally brightly showed himself as a prose writer, and as a poet, and as a translator. Translation work was accompanied by writer's growth: even before the publication of his first poems and stories, he in 1886-1887. he enthusiastically translated Shakespeare's Hamlet, and in subsequent years he translated Petrarch, Heine, Verhaarn, Mickiewicz, Tennyson, Byron, Musset and many other foreign classics. Bunin's main translation work was The Song of Hiawatha by G. Longfellow, published in 1896. The school of poetic translation, with its search for the only possible word, is one of the sources of Bunin's exceptional verbal skill. Work on poetic translations helped Bunin to master the form of classical Russian verse to perfection.

In life, the writer highly valued personal independence. Therefore, even collaborating with M. Gorky (and at the beginning of his writing with the symbolists V. Ya. Bryusov and K. D. Balmont), he avoided participating in collective writers' actions and retained the independence of his artistic principles. He was also characterized by a thirst for primacy: he could only agree in literature to the role of a soloist, often speaking harshly about the merits of his fellow writers, and in his emigre years he was jealous of possible contenders for the place of the “first” Russian writer.

In the 1910s Bunin became an established artist with a stable reputation as one of the best masters of the word in Russia. If in the 1890-1900s. the main place in Bunin's work was occupied by poetic creativity, then later prose came to the fore, absorbing the lyricism inherent in the writer's talent. The pre-revolutionary decade was the time of the creation of such masterpieces by Bunin as the stories "The Village" and "Dry Valley", the stories "Brothers", "The Gentleman from San Francisco", "Chang's Dreams", "Zakhar Vorobyov", "Light Breath", "Grammar of Love ", etc. By this time, the most important principles of his worldview and creativity are finally determined, "branded" style techniques reach perfection.

The establishment of a new political system in Russia forced the writer to leave Moscow in 1918, and in 1920 he finally left his homeland. Bunin immediately and finally condemned the October Revolution. His diary of the revolutionary years, published in exile under the title Cursed Days, best explains the reasons that forced the writer to emigrate: Bunin's notes are distinguished by a high concentration of passionate hostility to Bolshevism. The emigrant period of Bunin's life and work is associated with France. The writer spent most of his émigré years in Grasse, not far from Nice. Unlike other Russian emigrants, Bunin did not believe that an artist could not fully create in isolation from his homeland. Almost everything that he wrote in exile belongs to his best creations. Interestingly, if before the revolution he created many stories on "foreign" material, then in emigration almost all the works are about Russia. The masterpieces of the emigrant period of creativity were the story "Mitina's Love", the autobiographical book "The Life of Arseniev" (one of the most "Bunin's" works), the collection of love stories "Dark Alleys" and the artistic and philosophical treatise "The Liberation of Tolstoy". The last book on which Bunin worked and which he failed to complete was "On Chekhov".

The writer died on November 8, 1953. He was buried in the Russian cemetery of Sainte-Genevieve-des-Bois near Paris.