The theme of love in the works of I.A. Bunin I.A. Bunin "Clean Monday" "Easy breathing" "Sunstroke" "Dark alleys" "Mitina's love" "Grammar of love" Author of the work: Deputy Director for UVR, teacher of Russian language and literature Secondary school 924 of the Southern Administrative District of Moscow Meshcheryakova Natalya Alexandrovna
If no one knows why we smile, And no one knows why we cry. If no one knows why we are born, And no one knows why we die... If we move towards the abyss, where we will cease to be, If the night before us is mute and silent... Let's, let's at least love! Perhaps though it will not be in vain... Amado Nervo
"Dark Alleys" () is the highest creative achievement. The collection "Dark Alleys" () I. Bunin considered his highest creative achievement. the world collapses when reality is unbearable - stable, permanent, eternal” “... Most of the stories in this cycle were created during the Second World War. When the world is collapsing, when reality is unbearable, Bunin turns to the theme of love, i.e. stable, permanent, eternal "D. Malysheva
The focus of the author in all the stories of the "Dark Alleys" cycle is the love of a man and a woman, shown through the prism of time.
In each story, I. Bunin finds more and more shades of love feeling: A feeling of adoration ("Natalie") A feeling of adoration ("Natalie") A feigned game-love (Riviera) A feigned game-love (Riviera) Selling love ("Young lady Clara "Selling love ("Lady Clara" Love-enmity ("Saratov steamer") Love-enmity ("Saratov steamer") Love-despair ("Zoyka and Valeria") Love-despair ("Zoyka and Valeria" ) Love-witchcraft ("Iron Wool") Love-witchcraft ("Iron Wool") Love-self-forgetfulness ("Cold Autumn") Love-self-forgetfulness ("Cold Autumn") Love-pity, love-compassion Love-pity, love- compassion ("Three rubles") ("Three rubles") Bunin's love is not only spiritual unity, but also physical closeness, and love never lasts, does not develop into a state of lasting earthly bliss
Easy Breath, 1916 Read the three statements about the story and match them. K. Paustovsky: “This is not a story, but an insight, life itself with its awe and love, the writer’s sad and calm reflection is an epitaph for girlish beauty” N. Klyuchevsky: ““Light breathing” is not just and not only an “epitaph for girlish beauty” , but also - an epitaph to the spiritual "aristocratism" of being, which in life is opposed by the rough and helpless power of the "plebeians". I. Bunin: “... we call it uterine, and I called it light breathing there. Such naivete and lightness in everything, both in impudence and in death, and there is light breathing, “bewilderment” ”How do you explain the meaning of the story’s title? What is the symbolism of the name "Light Breath"?
"Grammar of Love" What is the peculiarity of the title of the story? What event is the story based on? What question does the hero (a certain Ivlev) ask when entering the house of a recently deceased landowner? Did he solve this mystery? And what is this secret? With what mood does the hero observe everything in the house? How does it feel to leave? How to explain why the son of Khvoshchinsky, at first refusing to sell the book, still sells it?
"Dark Alleys" How is the story structured? What is its plot? Why did the love of the heroes of this story not take place? What is the source of the tragedy that accompanies this love? Compare the description of the appearance of the characters. What impression do they make? Re-read the episode of the meeting of heroes. Why did Nadezhda so accurately determine the time during which they did not see each other? Why didn't this beautiful and not yet old woman get married? How do the characters feel after the breakup? What features of the plot and composition can be noted in this story?
Clean Monday, 1944 How is the story structured? What is its plot? In what time period does the story take us, what testifies to this? What is known about the hero and heroine? When do the main events of the story take place? Explain the meaning of the title of the story. Is the conflict in the soul of the characters resolved?
List of used literature and Internet sources: 1. Yandex-images slide N.V. Egorova, I.V. Zolotarev "Lesson developments in Russian literature grade 11". Moscow "Vako" 2003 "Purework developments in Russian literature, grade 11." Moscow "Vako" 2003
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QUESTIONS TO BUNIN'S STORIES
"Sunstroke"
Can you convey in a few words what happened to the characters? What is the mood of the story and the state of the characters at the beginning of the story? What do they set them up for or what questions do the words “and blissfully and terribly sank the heart”; “For many years they later recalled this moment: neither one nor the other had ever experienced anything like this in their entire lives”? Why is the morning of the next day called lucky? What word becomes the key, conveying the state of the lieutenant at parting? When does the break in the story occur? About what “a strange, incomprehensible feeling that did not exist at all while they were together” writes I.A. Bunin? Why did it come only when the heroes parted? What torments the hero the most? What would change if the heroine told the lieutenant her first and last name? Why does the author describe in such detail the day spent by the lieutenant in the county town, waiting for the steamer? Is the hero experiencing happiness or suffering? Why does he feel ten years older at the end of the story? Why, of the two definitions of what happened, given by the heroine (“sunstroke” and “eclipse”), was the first one chosen as the title of the story?
"Clean Monday"
Why don't the characters have names? What is the atmosphere of the beginning of the story and by what means is it created? What is the main feeling in the story about the relationship of the characters? What words can be called keywords? What caused the hero's happiness and torment? How do the episodes related to religion and the life of Moscow bohemia combine in the story? Does the heroine fit equally well into them? Why, deciding on intimacy with her beloved, the heroine “ lifeless ordered” him to release the crew? Why is the hero waiting at the door of the bedroom “with his heart fading as if over an abyss”? What becomes for the heroes of the night spent together? Why, in the morning, when his passion has found a solution, when he has achieved what he so desired, is the hero close to despair? Why I.A. Bunin does not explain the motives of the heroine's act? Does the heroine's act seem paradoxical to you and what is its paradox? What colors are dominant in this story and how does this help reveal the author's intention of the work? How does their ratio in the depiction of the world and the heroine change throughout the story? Clean Monday - Christian concept symbolism? Did the heroine go to the monastery, and how does the fact that the story is told from the hero's point of view reveal the author's intention? What is the tragic mistake of the heroine?
"Sir from San Francisco"
Why does the story quite unexpectedly end with a seemingly inappropriate and, however, completely “natural”, and by no means allegorical appearance of the Devil
(“The devil was as big as a rock, but the ship was big too…”)? What images in the story are symbolic? In which country does the story "The Gentleman from San Francisco" take place? What is hidden behind the description of the life of the Atlantis passengers? What is the meaning of the allusion to the Titanic catastrophe (the name of the ship - "Atlantis" focused two "reminders": about the place of death - in the Atlantic Ocean, the mythical island-state that Plato mentions, and the real unsinkable "Titanic" in 1912) ? Why does fate (and in her person the author) punish the hero, the gentleman from San Francisco, so cruelly? Why are there so few characters in the story? What remains beyond the control of the modern New Man, according to the author's intention of the story? What is the reaction of the passengers of the Atlantis to the death of a gentleman from San Francisco? What role does the description of the ocean and the dancing couple play in the story? How does the story describe the state of the hero's spirit and how does it correlate with the motive of the impending catastrophe? How does the author interpret the problem of death and the meaning of life? How does the world appear through the eyes of a man without a name (= gentleman from S-F)?
"Easy breath" Why is the novella called "Light Breath"? What light breathing are we talking about here? To whom does it belong? What "this breath" is referred to at the end of the novel? To whom does it belong? Why is this breath "scattered again in the world"? Has it disappeared somewhere from the world? If it disappeared, where and why did it return? Who owns the point of view expressed in the last paragraph? Reproduce (in writing) the sequence of all the main events of the work. You probably noticed that their chronology is violated by the author. Now try to write down all the highlighted events in chronological order. Compare your reconstruction of events with the author's version of their deployment. Why do you think (for what purpose) does the author tell the story of the life and death of Olya Meshcherskaya in such an unusual way? Why does he refuse a more natural and familiar at first glance, the course of the narrative? By the way, what is the most important event for the author, the heroine, and the reader? Read the first five paragraphs of the novel carefully. Watch for the change in the position of the narrator. Whose point of view is conveyed in his words? Who at the beginning of the novel looks at the grave, cross, photograph of Olya Meshcherskaya, peers into her eyes? And whose point of view is depicted in the fifth paragraph? Try to substantiate your assumptions with text analysis. Why is the story being told from this (and not from another) point of view? You must have already noticed that it is important for the author not to tell about his heroine in general, but somehow in a special way. It is on the ratio of points of view that he manipulates (ie, on the features of the composition of the entire work) that the artistic meaning of "Easy Breath" depends. List all the main points of view that illuminate the life of the heroine. To whom do they belong? Why did the author need to correlate so many different points of view in one small work? What role does time play in the story (calendar, natural, biographical)? Using the list of the main events in the short story, try to determine the movement of the narrative from the present (at the grave) to the restoration of the past (Oli's gymnasium life) and beyond. Why does Bunin’s time, on the one hand, seem to be stopped (on the grave), and on the other hand, it moves unevenly and even in different directions (set in which ones)? Can it be argued that the author in this work speaks of "lightness" as a liberation, firstly, from the usual course of time in general and, secondly, from the traditional reader's interest, which is usually expressed in questions like "What will happen next? "And" How will it all end? "Justify your point of view. Why does the author break off event connections: he does not tell what the attempted suicide of the high school student Shenshin led to, how the conversation between Olya and the boss, interrupted by the narrator on a dramatic note, ended, what happened to the arrested murderer Olya How did the relationship between Olya and her parents develop with their friend and her seducer Malyutin? What open places of action are connected with the landscapes of the story? How does the life of Olya Meshcherskaya "fit" into these landscapes? What closed places of action form the interiors? How does the life of Olya Meshcherskaya "fit in" in these interiors? Name the portraits and portrait details that you met in this work. What is their role? Why does the narrator pay so much attention to the portrait characteristics of the heroine? How are these characteristics connected with the landscapes of the novel? Find air motifs in the landscapes, interiors and portraits of the novel. / wind // breath What meaning does the author attach to them? List all the episodes of the story where the crowd is mentioned. In what cases does the narrator pay attention to the fact that Olya Meshcherskaya merges with the crowd, and when to the fact that she stands out from the crowd? What is the meaning of the motives of memory // death // of the book word in the short story (see Olya's conversation with her friend about "easy breathing")? How are they related to the above motives? How do the images of the world and man in the realistic works known to you and Bunin's Easy Breath differ from each other?
The story of the great Russian writer Ivan Alekseevich Bunin "Clean Monday" is included in his outstanding book of love stories "Dark Alleys". Like all the works of this collection, this is a story about love, unhappy and tragic. We offer a literary analysis of Bunin's work. The material can be used to prepare for the exam in literature in grade 11.
Brief analysis
Year of writing– 1944
History of creation- Researchers of Bunin's work believe that the reason for writing "Clean Monday" for the author was his first love.
Theme - In "Clean Monday" the main idea of the story is clearly traced- this is the theme of the lack of meaning in life, loneliness in society.
Composition– The composition is divided into three parts, in the first of which there is an acquaintance with the characters, the second part is devoted to the events of Orthodox holidays, and the shortest third is the denouement of the plot.
Genre- "Clean Monday" belongs to the "short story" genre.
Direction- Neorealism.
History of creation
The writer emigrated to France, this distracted him from unpleasant moments in life, and he is fruitfully working on his collection "Dark Alleys". According to researchers, in the story Bunin describes his first love, where the prototype of the main character is the author himself, and the prototype of the heroine is V. Pashchenko.
Ivan Alekseevich himself considered the story “Clean Monday” to be one of his best creations, and in his diary he praised God for helping him create this magnificent work.
This is a brief history of the creation of the story, the year of writing is 1944, the first publication of the novel was in the New Journal in New York City.
Subject
In the story "Clean Monday", the analysis of the work reveals a large the theme of love and novel ideas. The work is devoted to the theme of true love, real and all-consuming, but in which there is a problem of misunderstanding by the characters of each other.
Two young people fell in love with each other: this is wonderful, because love pushes a person to noble deeds, thanks to this feeling, a person finds the meaning of life. In Bunin's short story, love is tragic, the main characters do not understand each other, and this is their drama. The heroine found a divine revelation for herself, she was spiritually cleansed, finding her calling in serving God, and went to the monastery. In her understanding, love for the divine turned out to be stronger than physiological love for her chosen one. She realized in time that by connecting her life with a marriage bond with a hero, she would not receive complete happiness. Her spiritual development is much higher than physiological needs, the heroine has higher moral goals. Having made her choice, she left the worldly fuss, surrendering to the service of God.
The hero loves his chosen one, loves sincerely, but he is unable to understand the tossings of her soul. He cannot find an explanation for her reckless and eccentric actions. In Bunin's story, the heroine looks like a more alive person, she somehow, through trial and error, is looking for her meaning in life. She rushes about, rushes from one extreme to another, but, in the end, she finds her way.
The main character, throughout all these relationships, simply remains an outside observer. He, in fact, has no aspirations, everything is convenient and comfortable for him when the heroine is nearby. He cannot understand her thoughts, most likely, he does not make an attempt to understand. He simply accepts everything that his chosen one does, and that's enough for him. From this follows the conclusion that every person has the right to choose, whatever he may be. The main thing for a person is to decide what you are, who, and where you are going, and you should not look around, fearing that someone will condemn your decision. Confidence in yourself, and in your own abilities, will help you find the right decision and make the right choice.
Composition
The work of Ivan Alekseevich Bunin includes not only prose, but also poetry. Bunin himself considered himself a poet, which is especially felt in his prose story "Clean Monday". His expressive artistic means, unusual epithets and comparisons, various metaphors, his special poetic style of narration, give this work lightness and sensuality.
The title of the story gives a lot of meaning to the story. The concept of “clean” speaks of the purification of the soul, and Monday is the beginning of a new one. It is symbolic that the culmination of events takes place on this day.
Composition structure The story is in three parts. The first part introduces the characters and their relationships. The masterful use of expressive means gives a deep emotional coloring to the image of the characters, their pastime.
The second part of the composition is more built on dialogues. In this part of the story, the author brings the reader to the very idea of the story. The writer is talking here about the choice of the heroine, about her dreams of the divine. The heroine expresses her secret desire to leave a luxurious secular life, and retire into the shadow of the monastery walls.
Climax is the night after Pure Monday, when the heroine is determined to become a novice, and the inevitable separation of the heroes occurs.
The third part comes to the denouement of the plot. The heroine has found her purpose in life, she serves in the monastery. The hero, after separation from his beloved, led a dissolute life for two years, mired in drunkenness and revelry. Over time, he comes to his senses, and leads a quiet, calm life, in complete indifference and indifference to everything. One day fate gives him a chance, he sees his beloved among the novices of God's temple. Meeting her gaze, he turns and walks away. Who knows, maybe he realized the whole pointlessness of his existence, and went to a new life.
Main characters
Genre
Bunin's work was written in novelistic genre, which is characterized by a sharp turn of events. In this story, this is exactly what happens: the main character changes her worldview, and abruptly breaks with her past life, changing it in the most radical way.
The short story is written in the direction of realism, but only the great Russian poet and prose writer Ivan Alekseevich Bunin could write about love in such words.
Artwork test
Analysis Rating
Average rating: 4.3. Total ratings received: 541.
Illustration by G. D. Novozhilov
Every evening in the winter of 1912, the narrator visits the same apartment opposite the Cathedral of Christ the Savior. There lives a woman whom he loves madly. The narrator takes her to chic restaurants, gives her books, chocolates and fresh flowers, but does not know how it will all end. She doesn't want to talk about the future. There has not yet been a real, last intimacy between them, and this keeps the narrator "in insoluble tension, in painful expectation." Despite this, he is happy next to her.
She studies at historical courses and lives alone - her father, a widowed enlightened merchant, settled "at rest in Tver." She accepts all the gifts of the narrator carelessly and absent-mindedly.
It seemed that she wanted nothing: no flowers, no books, no dinners, no theaters, no dinners outside the city.
She has her favorite flowers, she reads books, she eats chocolate and dine with great pleasure, but her only real weakness is "good clothes, velvet, silks, expensive furs."
Both the narrator and his beloved are young and very beautiful. The narrator looks like an Italian, bright and agile. She was swarthy and black-eyed like a Persian. He is "prone to talkativeness and simple-hearted gaiety", she is always reserved and silent.
The narrator often recalls how they met at Andrei Bely's lecture. The writer did not give a lecture, but sang it, running around the stage. The narrator "twisted and laughed so much" that he attracted the attention of a girl sitting in a nearby chair, and she laughed with him.
Sometimes she silently, but without resisting, allows the narrator to kiss "her hands, her feet, her body, amazing in its smoothness." Feeling that he can no longer control himself, she pulls away and leaves. She says she is not fit for marriage, and the narrator doesn't talk to her about it again.
Our incomplete intimacy sometimes seemed unbearable, but even here - what was left for me but hope for time?
The fact that he looks at her, accompanies her to restaurants and theaters, is torment and happiness for the narrator.
So the narrator spends January and February. Carnival arrives. On Forgiveness Sunday, she orders to pick her up earlier than usual. They go to the Novodevichy Convent. On the way, she tells that yesterday morning she was at the schismatic cemetery, where their archbishop was buried, and recalls the whole ceremony with delight. The narrator is surprised - until now he did not notice that she is so religious.
They arrive at the cemetery of the Novodevichy Convent and walk between the graves for a long time. The narrator looks at her with adoration. She notices this and is sincerely surprised: he really loves her so much! In the evening they eat pancakes in the tavern of Okhotny Ryad, she again tells him with admiration about the monasteries that she managed to see, and threatens to leave for the most remote of them. The narrator does not take her words seriously.
The next evening, she asks the narrator to take her to a theatrical skit, although she considers such gatherings to be extremely vulgar. All evening she drinks champagne, looks at the antics of the actors, and then famously dances the polka with one of them.
Late at night, the narrator brings her home. To his surprise, she asks to let the coachman go and go up to her apartment - she did not allow this before. They are finally getting closer. In the morning, she tells the narrator that she is leaving for Tver, promises to write and asks to leave her now.
The narrator receives the letter in two weeks. She says goodbye to him and asks not to wait and not to look for her.
I won’t return to Moscow, I’ll go to obedience for now, then, maybe, I’ll decide to be tonsured ... May God give me the strength not to answer me - it’s useless to prolong and increase our torment ...
The narrator grants her request. He begins to disappear through the dirtiest taverns, gradually losing his human appearance, then long, indifferently and hopelessly comes to his senses.
Two years pass. On New Year's Eve, the narrator, with tears in his eyes, repeats the path that he once traveled with his beloved on Forgiveness Sunday. Then he stops at the Marfo-Mariinsky Convent and wants to enter. The janitor does not let the narrator: inside there is a service for the Grand Duchess and the Grand Duke. The narrator still comes in, slipping a ruble to the janitor.
In the courtyard of the monastery, the narrator sees a religious procession. It is headed by the Grand Duchess, followed by a string of singing nuns or sisters with candles near their pale faces. One of the sisters suddenly raises her black eyes and looks directly at the narrator, as if sensing his presence in the darkness. The Narrator turns and quietly exits the gate.
Composition
Life without illusions is the recipe for happiness.
A. France
In Bunin's work, there are several main themes that particularly excited the writer and, one might say, succeeded each other. The first period of Bunin's work was devoted mainly to the image of the Russian village, poor and miserable. All the sympathies of the author in the village stories were on the side of the poor, exhausted by hopeless need and hunger, the peasants. Bunin's best work about the village is the story "The Village". The first Russian revolution (1905-1907) deeply shocked the writer and changed his views on life. The second stage of Bunin's work begins, when the writer moves away from the image of modern Russian life, from its topical problems and turns to "eternal" topics - philosophical reflections on the meaning of life, about life and death in the stories "Brothers", "Master from San Francisco" , "Chang's Dreams". The third stage of Bunin's work begins with emigration from Russia (1920). Now the writer pays the greatest attention to the depiction of love, which occupies an important place in the novel The Life of Arseniev (1933) and becomes the main theme of the collection Dark Alleys (1946). Although "Sunstroke" was written in 1925, in terms of idea and artistic methods, it is very close to the stories from the named collection.
The collection "Dark Alleys" includes 38 love stories. All of them, as has been noted many times in critical literature, are built according to the same plot scheme: the meeting of heroes (men and women), their rapprochement, a passionate scene, parting and understanding this love story. Critics even claim that Bunin did not invent new plots at all: "Sunstroke" resembles "Lady with a Dog" by A.P. Chekhov, "Clean Monday" - "Noble Nest" by I.S. Turgenev, etc. The stories in the collection describe mainly situations that are not attached to a specific place and time. From the texts it is only clear that all events take place somewhere in Russia before 1917. Rare exceptions include the story "Clean Monday", where the action takes place in Moscow in 1912.
In Bunin's stories about love, there is practically no backstory of the characters. The writer is not at all interested in their former, ordinary life. He omits all the usual biographical details - profession, social status, financial situation, age of the characters - and leaves one or two details to keep the plausibility. The hero of "Sunstroke" is a lieutenant, and "Clean Monday" is a Penza master (both without a name). And the heroines of the stories, respectively, are a pretty lady returning home from Anapa, and a female student (both again without a name). The appearance of the characters is described in the most general terms. The lieutenant from "Sunstroke" has the usual gray officer's face, and the lady is a small "beautiful stranger", as she called herself. The hero of "Clean Monday" is described briefly: young and handsome with non-Russian beauty, "some kind of Sicilian." The heroine of "Clean Monday" gets a more detailed portrait, because the narrator in love cannot figure out this strange girl in any way: she has black eyes and hair, bright crimson lips, an amber complexion - "she had some kind of Indian, Persian beauty."
So, for Bunin, in stories about love, the place or signs of the place of action, time or signs of time, the appearance of the characters, their social status are not important. All the attention of the writer is focused on the image of the feeling of love. Consequently, all the stories in the collection "Dark Alleys" are psychological, as they describe the various feelings of a man in love. At the same time, the main characters of all stories are women, who are watched by male storytellers. Thus, Bunin uses two different methods to depict a person's feelings - a careful description for the feelings of the narrator and psychological details for describing the experiences of the heroine, which the narrator can only guess.
Love, according to Bunin, is the strongest feeling, therefore the experiences of the hero are usually very rich, his psychological state is inflated. The vast majority of "Sunstroke" is the description of the lieutenant's experiences after the departure of the "beautiful stranger": at first he carelessly ponders the night adventure (obviously not the first in his life) and only then he suddenly realizes that such a meeting will never happen again, that it was happiness.
The plot originality of Bunin's stories about love was expressed in the interweaving of psychological images and philosophical ideas: the stories present the writer's view of the "eternal" topic - what is love in a person's life? Love, which European philosophy for centuries considered the decoration and meaning of life, brings, according to Bunin, only suffering and sadness. “There is always a taste of bitterness in happiness, the fear of losing it, the almost certain knowledge that you will lose it!” Bunin writes in his diary. A saving conclusion follows from this: in order for there to be less suffering in human life, one must not desire anything, not be attached to anything by the soul, not love anyone (Buddhism preaches such salvation from suffering). But Bunin's heroes in love stories do not follow this wisdom; they fall in love and consequently suffer, but they will never agree to give up either this happiness or beautiful sadness.
According to Bunin, beautiful love must be fleeting, otherwise it will be reborn into a boring and vulgar story. After a long deliberation, the lieutenant from "Sunstroke" agrees with the stranger: their meeting was like a sunstroke, like an eclipse, there was nothing like it in their lives; in order to preserve this extraordinary impression, one must part. A short, so unexpectedly broken romance with an incomprehensible student student remains memorable for a lifetime for the hero-narrator from Clean Monday: on the night of the last day of Shrovetide on Clean Monday, he received proof of her love and immediately - eternal separation. Thus, love makes the life of Bunin's heroes not only more significant, but also more tragic because of the brevity of a happy moment that will never happen again.
Bunin's stories about love reflect the tragedy of the time in which the writer lived. The happiness of love turns out to be very fragile for the heroes, it is destroyed by death, historical cataclysms, and the vulgarity of life. The heroine of “Clean Monday” speaks about this, repeating the words of Platon Karataev: “Our happiness, my friend, is like nonsense: you pull it - it puffed up, you pull it out - there’s nothing.” So the pursuit of happiness is useless? So, we must look for the purpose of life in another? And in what? Bunin's answer to this philosophical question is in the story "Clean Monday" - in avoiding the bustle of worldly life, in turning to God. The heroine of the story has the contradictory nature of a Russian person; Western rationalism and Eastern unsteadiness and inconsistency are combined in her. This inconsistency of the Russian character, according to the writer, determines the complexity of the historical fate of Russia. In the story, Bunin shows how the heroes on the eve of the world war and revolutions determine the main life values for themselves: the hero-narrator sees the meaning of life in the torment and happiness of earthly love, and the heroine sees the meaning of life in the rejection of earthly passions and in accomplishing a spiritual feat.
Summing up, it should be noted that Bunin's philosophical understanding of life is tragic. Such a view logically follows from the writer's conviction that human life is tragic from the very beginning because of its transience, the illusory nature of goals, and the unresolved mystery of being. This philosophical view manifested itself in Bunin's love stories.
However, there is a paradox in Bunin's love stories. The writer, who was fond of Buddhism, knows that for happiness it is necessary to give up desires, but at the same time he paints love experiences with extraordinary art that shake the souls of the characters. In other words, Buddhist self-restraints lead to opposite results: Bunin feels the joy of being, the uniqueness and greatness of love in the human soul even more sharply and skillfully conveys these feelings.
