Every writer and poet has their own writing style. Ivan Bunin was a master of short prose. What stylistic devices does the author use in his works?
Ivan Bunin wrote his stories and poems on a certain range of topics. He never described social problems, and wrote only on philosophical. The writer liked to consider the mysteries of life and death, raised the problem of love, the problem of the interaction between man and nature.
Consider, for example, the story "Mr. from SF". In it, two characters are opposite to each other. One is interconnected by nature and is happy, while the other is opposed to it and therefore unhappy. The SF gentleman sees the city dark, all the girls short-legged and unattractive, but Lorenzo, who doesn't care how he lives tomorrow, sees a clear, sunlit city with attractive girls.
Let's move on to the accuracy, reliability of a detail capable of conveying smells, tastes, colors. This is the second, but important feature of Bunin. Let's remember the story Antonov apples", which is almost entirely based on descriptions and memories. Thanks to the details, we can imagine all the colors of that era, we can imagine the taste of those apples that the peasants eat.
In many stories, Bunin does not name the main characters. This is also an essential part. Bunin's prose. Recall the stories Clean Monday, gentleman from the Federation Council. In these stories, the main characters do not have names, but they are all important to the writer. He does not give a name to the master because it is not important, thereby emphasizing that it does not mean anything: neither name nor financial situation the hero does not give him respect and honor.
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Ivan Bunin, whose stories are included in school curriculum studying Russian literature, began to create at the end of the 19th century, in the 80s. He is from a galaxy of writers who grew up in noble estate, closely related to picturesque nature Central Russian strip. For work on the collection of lyrics "Falling Leaves", dedicated to rural nature, its natural beauty, Ivan Alekseevich Bunin in 1901 received the Pushkin Prize.
Bunin's stories differ in that they sometimes (for example, the story about Antonov apples) describe not a series of ongoing events, but the memories and impressions of the lyrical hero regarding life in a noble estate.
The writer can be called a master of poetic prose, he creates an elegiac atmosphere with the help of impressions and associative memories of a lyrical hero. There are many descriptions in the story. For example, bright picture impromptu fair in the garden, colorful landscape sketches morning, winter hunting and many others.
Bunin's stories characterize him as an observant, feeling author. He knew how to find a striking feature in the most everyday scenes of everyday life, something that people usually pass by without noticing. Using a wide variety of techniques, drawing with the help of details with thin or textured strokes, he conveys his impressions to the reader. While reading, you can feel the atmosphere and see the world through the eyes of the author.
Bunin's stories captivate us not with outward amusement and not with a mysterious situation, they are good because they meet the requirements put forward for good literature: an unusually figurative language in which various paths are woven. The author does not even give a name to many of his main characters, but they are obviously endowed with exclusivity, special sensitivity, vigilance and attentiveness inherent in the author.
As for the shades of colors, smells and sounds, all that “sensual and material” from which the world is created, then all the literature preceding Bunin and created by his contemporaries does not have samples of prose containing such subtle nuances as his.
An analysis of Bunin's story, for example, about Antonov apples, makes it possible to identify the means used by him to create images.
The picture of an early autumn morning was created by a chain of definitions, expressed by adjectives: quiet, fresh. The garden is large, golden, thinned, dried up. Smells join this picture: apples, honey and freshness, as well as sounds: the voices of people and the creak of moving carts. The visual picture is complemented by the image of the past Indian summer with flying cobwebs and a list of folk signs.
Apples in the story are eaten with a juicy crackle, at the mention of sending them there is a small digression - a picture of a night trip on a cart. Visual image: the sky in the stars; odors: tar and fresh air; sounds: the cautious creaking of carts. The description of the garden continues again. Additional sounds appear - the clucking of thrushes, and it is full because the birds graze on the coral rowan trees.
Bunin's stories are often full sad mood withering, desolation and dying, due to the theme. The sadness of the landscape, as it were, illustrates and creates one inseparable whole with the life of people. The author uses the same images in prose as in his landscape lyrics. Therefore, elegiac stories can be called poetry in prose form.
Ivan Alekseevich Bunin ascended the Olympus of the Russian classical literature as a talented prose writer, and no less talented poet. His work stood out among the work of his contemporaries, thanks to unique style, unique style of writing, as well as special topics covered by the author.
Special attention should be paid to the poetry of Ivan Alekseevich. Incredible sense of language and skillful use of the word - something that unanimously admired literary critics, Bunin's colleagues and ordinary lovers of poetry. And, until now, his poems are popular with people of all ages.
The central theme of I. Bunin's poetry, which went hand in hand with him throughout creative way, is the theme of nature. Like a skilled artist, the poet skillfully described the landscapes that inspired him. In each of his words, an all-consuming love for nature can be traced. Bunin's landscape lyrics seem to tell the reader: "Look how beautiful the world around is, enjoy the moment."
The image of autumn is the golden decoration of the poet's series of landscape lyrics. by the most a prime example is the poem "Falling Leaves", written in 1900. A series of colorful comparisons, epithets, personifications and other literary tropes turns an ordinary autumn forest into a real motley tower, and Autumn becomes its rightful mistress.
In addition to the theme of nature, Ivan Alekseevich also touched upon other issues in his work. The theme of man and his inner world, as well as the search for meaning human existence is reflected in the philosophical poetry of Bunin. In it, he tried to explore the problems of good and evil, questions of life and death, and talked about the subject of human existence.
Extraordinary artistic originality poetry Bunin lies in the masterful use of literary tropes and various artistic techniques, which he entered with surgical accuracy into the general outline of poems. Bunin paid special attention to epithets, through which he accurately conveyed to the reader colors, moods, weather conditions even smells and tastes. With a stroke of the pen, the poet created unforgettable images of both nature and man.
Thus, Ivan Alekseevich Bunin, for a long time creative life managed to develop his easily recognizable Bunin style. And also, not without the help of an excellent command of the word, he masterfully created a separate literary universe with its own special aesthetics.
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Bunin's work is characterized by an interest in ordinary life, saturation of the narrative with details. Bunin is considered to be the successor of Chekhov's realism. His realism, however, differs from Chekhov's in its extreme sensitivity. Like Chekhov, Bunin turns to eternal themes. According to him, the supreme judge is human memory. It is the memory that protects Bunin's heroes from the inexorable time, from death. Bunin's prose is considered a synthesis of prose and poetry. It has an unusually strong confessional beginning (“Antonov apples”). Often Bunin's lyrics replace plot basis- this is how the story-portrait appears (“Lirnik Rodion”).
Among Bunin's works there are stories in which the epic, romantic beginning is expanded, when the whole life of the hero falls into the writer's field of vision (“The Cup of Life”). Bunin is a fatalist, an irrationalist, pathos of tragedy and skepticism are inherent in his works, which echoes the concept of modernists about the tragedy of human passion. Like the Symbolists, Bunin's appeal to eternal themes love, death and nature. The cosmic coloring of his works brings his work closer to Buddhist ideas.
Bunin's love is tragic. Moments of love, according to Bunin, are the pinnacle of human life. Only by falling in love can a person truly feel another person, only a feeling justifies high demands on oneself and one's neighbor, only a lover is able to overcome natural egoism. The state of love is not fruitless for Bunin's heroes, it elevates souls. One example of an unusual interpretation of the theme of love is the story "Chang's Dreams" (1916).
The story is written in the form of a dog's memories. The dog feels the inner devastation of the captain, his master. In the story, the image of "distant working people" (Germans) appears. Based on a comparison with their way of life, the writer speaks skeptically about the possible ways of human happiness: to work in order to live and multiply, without knowing the fullness of life; endless love, which is hardly worth devoting yourself to, since there is always the possibility of betrayal; the path of eternal thirst, search, in which, however, according to Bunin, there is also no happiness. Reality in the story is opposed by the faithful memory of a dog, when there was peace in the soul, when the captain and the dog were happy. Moments of happiness are highlighted. Chang does not have in himself the idea of fidelity and gratitude. This, according to the writer, is the meaning of life that a person is looking for.
AT lyrical hero Bunin, the fear of death is strong, but in the face of death, many feel inner spiritual enlightenment, reconcile, do not want to disturb their loved ones with their death (“Cricket”, “Thin Grass”).
Bunin is characterized special way images of the phenomena of the world and spiritual experiences of a person by contrasting them with each other. So, in the story “Antonov apples”, admiration for the generosity and perfection of nature coexists with sadness over the dying of noble estates.
A number of Bunin's works are dedicated to the ruined village, in which hunger and death rule. The writer is looking for the ideal in the patriarchal past with its old world prosperity. The desolation and degeneration of noble nests, the moral and spiritual impoverishment of their owners cause Bunin to feel sadness and regret about the departed harmony of the patriarchal world, about the disappearance of entire estates (“Antonov apples”). In many stories of 1890-1900, images of "new" people appear. These stories are imbued with a premonition of imminent disturbing changes,
Early 1900s lyrical style early prose Bunina is changing. The story "The Village" (1911) reflects the writer's dramatic thoughts about Russia, about its future, about the fate of the people, about the Russian character. Bunin reveals a pessimistic view of the prospects folk life. The story "Su-khodol" raises the theme of the doom of the noble estate world, becoming a chronicle of the slow tragic death of the Russian nobility. Both the love and the hatred of the heroes of "Dry Valley" bear the seal of decay, inferiority - everything speaks of the regularity of the end. The death of old Khrushchev, who was killed by his illegitimate son, the tragic death of Pyotr Petrovich is predetermined by fate itself. There is no limit to the inertia of Sukhodolsk life, where everyone lives only in memories of the past. The final picture of the church cemetery, "lost" graves symbolizes the loss of an entire class. In Sukhodol, Bunin repeatedly conveys the idea that the souls of a Russian nobleman and a peasant are very close, that the differences are reduced only to the material side.
Bunin the prose writer did not belong to any fashionable literary movements or groupings, as he put it, "did not throw out any banners" and did not proclaim any slogans. Criticism noted the merits of Bunin's language, his art "to raise the everyday phenomena of life into the world of poetry." "Low" topics for the writer did not exist. The reviewer of the journal "Bulletin of Europe" wrote: "In terms of picturesque accuracy, Mr. Bunin has no rivals among Russian poets." He had a great sense of the Motherland, language, history. One of the sources of his creativity was vernacular. Many critics compared Bunin's prose with the works of Tolstoy and Dostoevsky, while noting that he brought new features and new colors to the realism of the last century, enriching it with the features of impressionism.
Individual style of I.A. Bunin: style features of the era and "your own voice"
The 130th anniversary of Ivan Alekseevich Bunin, without a doubt, is a significant reason to “take a mental look” at what has been written about him, to reflect on what we were able to comprehend in him as in brilliant artist words; re-read the immortal lines of his poetry and prose and look into your own soul already at the end of the rebellious twentieth century.
The 20th century, which has a special passion not only for naming, but even more so for renaming, renaming, characterizes Bunin's work without expressing itself more than revealing the secret of his writing. Such are often the disputes about his “impressionism” or the latest discussions about the “phenomenological novel”, in essence, having a distant relation to the style of I.A. Bunin, who was very skeptical about all sorts of theorizing, but unusually sensitive to the “Word”, to “sound”, to “rhythms”, “different warehouses” of speech. All this makes us return to the writer's reflections on the essence fiction, about the style of the era in which he lived and worked, to his own individual style.
One can cite many self-characteristics of Bunin's style, but, perhaps, Bunin's worldview, and the style, style of his lines given in diary entry 1923:
Grau, liber Freund, sind alle Theorien
Doch ewig grun das goldne Baum des Lebens.
He translates Goethe "close to the original" both figuratively and rhythmically, and even "descriptively":
All speculations, dear friend, are gray,
But the eternally green and golden Tree of Life (highlighted by me. - I.M.)1
It is no coincidence that these lines are given in the diary - they are a continuation of the polemic about the most important thing in the latest literary literature. Objecting to G. Adamovich, who was very critical of the “external pictoriality”, I.A. Bunin writes in the article “Instructing Young Writers”: “... what to do with this inner world without pictorialism, if you want to show it somehow, tell it? One exclamation? Inarticulate sounds?
The “dullness”, “incorporeality” of theories, speculations, both Goethe and Bunin, is opposed to the “greenness”, the vitality of the golden Tree of Life. It is no coincidence that color, visual, “descriptive” comparison is given by Bunin (compare with another translation, where “The theory is dry, my friend, / And the tree of life is lush green” and where this “visual” is removed). His own artistic and artistic nature in the broad sense (both as a painter, and as a musician, and as a Poet) is reflected in the upholding of “picturesqueness”.
We emphasize that in creative laboratory I.A. Bunin, a special place is occupied by the idea of \u200b\u200bartistic synthesis, awakened at the beginning of the 20th century, called by theorists of symbolism "new synthesis", "liturgical synthesis" (Vyach. Ivanov). We also note that, unlike the Symbolists who experimented “with synthesis” (an example of this is the symphony of Andrei Bely, the cycles of sonnets by Vyach. Ivanov himself, books of poems by K. Balmont, etc.), Bunin was not and was not known as an experimenter, although his renewal of the style Russian prose and poetry deserve our attention even today.
His striving for artistic synthesis, and not just for literary depiction, was reflected in a special approach to the portrait and icon, in a special “inclusion”, “introduction” of these proper pictorial genres into prose or poetic text. A.N. Veselovsky argued that "the history of the epithet is the history of style in an abridged edition." With all certainty, we can say that the “portrait” of I.A. Bunin, there is his "style in an abridged edition". An example would be those portrait descriptions that every reader is familiar with, from The Last Date: “... to see your dress, ... cambric, light, young ... your bare hands, almost black from the sun and from the blood of our ancestors, Tatar shining eyes - eyes that do not see me - a yellow rose in coal hair ... ”(Sh, 333). This is how she appears in Streshnev's memoirs, but how he sees her in this very " last date”: “Vera went out onto the porch in an expensive and light, but already dilapidated old-fashioned fur coat and in a summer hat made of black straw with hard, rusty-satin flowers” (Sh, 334).
The portrait of the heroine is born in the poetic "collision" of two metonymic descriptions that seem to contrast with each other. No less significant in the semantics of the story " easy breathing"portraits of Olya Meshcherskaya, in which everything is dynamic, and the boss, in which the author emphasizes "even parting in milky, neatly ruffled hair", "matte face", some kind of "marble", "porcelain", spiritual and spiritual lifelessness. “A new cross made of oak, strong, heavy, smooth ... A rather large, convex, porcelain medallion is embedded in the very cross, and in the medallion there is a photographic portrait of a schoolgirl with joyful, amazingly lively eyes” (Sh, 96, 94). It is clear that such a metonymic depiction serves to poetize Bunin's prose. The compositional antithesis of portraits transfers the semantic dominant from the plot as an obligatory and indispensable component of prose to extra-plot elements, to their associative convergence and repulsion. Whether the semantics Easy breathing”is contained in the plot, first of all, we would be dealing with a melodramatic banal story, but compositionally the author brings us back to the portrait. “This wreath, this mound, this oak cross! Is it possible that under him is the one whose eyes so immortally shine from this convex porcelain medallion on the cross ... "(Sh, 98) The beauty and joy of being, contrary to the human will, often the evil will, who wants to"frame" HER, the beauty. This is from the same definitions as Blok’s “No, you will never be mine and you will never be anyone’s”, and Bunin’s own:
God marked you. On earth you were not a tenant.
Beauty only in Eden knows no forbidden boundaries...
Icon and portrait often not only echo in Bunin's prose, they are mutually reflected. One of these good examples is the icon of Mercury of Smolensky in the “Dry Valley”, the “ancestral” icon of the Khrushchevs, reflected in the fate of everyone: “And it was terrible to look at the Suzdal image of a headless man holding in one hand a deathly bluish head in a helmet, and in the other the icon of the Guide, - on this, as they said, the cherished image of grandfather, who survived several terrible fires, split in the fire ... ”(Sh, 121). In this description of the icon, the plot is "compressed"3 of the whole story. Recall that Aunt Tonya goes through “mind-blowing love”, grandfather “will kill himself”, hitting his temple on the sharp corner of the table, Pyotr Petrovich “will order to cut her hair, disfigure her (Natalia), who has frowned her eyebrows in front of the mirror”, terrible death will overtake Pyotr Petrovich himself: the horse "crushed his whole face." I.A. Bunin almost never reproduces his favorite technique exactly. Let us compare the role of the portrait and the icon, for example, in the story "Natalie" or the role of the "frame", "gate", "gate", "window" in the story "Thin Grass" or "Clean Monday"4 and see how many shades there are in Bunin's dealing with the sacred and joyfully earthly. L.A. Avilova accurately and deeply defines the features of Bunin's style in one of her letters to him: “... you banished both the plot and a certain melody with all its tenderness, tenor notes and a breath of warmth. Instead of a melody, it became something that barrel-organs cannot play” (Sh, 654-655). The juxtaposition of the icon as a work of religious symbolism with an impressive symbolic component, in which the heavenly, transcendent, is seen, and the portrait, which captures a moment of earthly life, reveals something new in Bunin the artist, “that hurdy-gurdies cannot play”, even in the picturesque symphony opens. Such is the story “Saints” of 1914, about which Bunin himself wrote in his diary: “of the most “beloved, valuable” - “Saints” is the most” (Sh, 653). The plot of this story is "novelistic": framed by a joyful, radiant family holiday a “portrait” is given of a serf who came to visit the masters, during this holiday he stays in a dark and cold room, into which he beckons little barchas: the mysterious “lives” that Arsenich tells with tears cannot but amaze the child’s imagination. In the story, the author cites two such "hagiographic portraits": St. Helena and St. Boniface. However, the name itself can be understood both narrowly, as the history of the named saints, and broadly, when the “reflection of holiness” is reflected in verbal portraits touchingly naive kind-hearted children, and in the portrait of the “contrite heart” of the old man Arsenich. And yet, the semantic organizing center turns out to be “a large black picture ... in the corner instead of an image: in the hands of a barely visible Mother of God, naked Jesus was woodenly yellowed, taken down from the cross, with a dried wound under his heart, with his dead face thrown back” (Sh, 477 ). Wed with canvases on a religious theme European artists in the novel "The Idiot" by F.M. Dostoevsky. According to Bunin, human heart, full of love and light, open to the heavenly, living faith and is given to the sincere, whose images are revealed in the story "Saints".
But here, too, 3 types of portrait appear before the reader:
- gravitating towards the icon; (Compare with the icons "Searching for the Lost", "Guest of the Sinners", "Merciful", "Passionate", "Quick Listener");
- a portrait as the soul of a mortal, sinful, lived, grateful for life as a gift of God;
- sketches, not portraits of inexperienced children.
In addition, it is no coincidence that light, joyful laughter is compositionally touching, secret, languidly terrible; this light and laughter has at least two meanings: one is semantic, where the sin-holiness antinomy has no last value, this is a holiday of the earthly, worldly; the other, purely coloristic - the radiance, it seems, "surrounds" the faces of the saints. However, the “black picture”, where the Savior is dead, where the Mother of God is barely visible, is opposed to the living, reviving lives in the speech of Arsenich, who strives to speak “red”, connects and sometimes very naively and touchingly the realities and style different eras, "modernizes" the past, thereby not only distorts (as it distorts, while vividly reflecting, an apoctyph or even an icon) church dogma, but recreates it in its entirety and clarity, but what could be called a deviation from dogma, from the canon that is precisely the reason for the attraction of everything he tells. Another type of portrait is created by the writer in the story "I keep silent." The very title of the story is already a speech portrait. And here, as in the story "Saints", not last role a distortion of the name plays: Alexander (who is supposed to be an intercessor, protector) in the end turns out to be just Shasha. In the words he repeats, "I'm still silent," there is both a threat and the appearance of some secret knowledge, and almost ready to sound prophecies. "Shasha" is an image gravitating towards the image of a holy fool, who deliberately assumes the role of the vilified and persecuted. Ultimately, this image also “doubles”: the hero loses human image(both physically and spiritually), he becomes crippled, but he goes from being ordinary human life, where pride determines his whole being until the life of a holy fool, when exaltation is seen in belittling. So it turns out in the end that this very Shasha is both a cripple, a holy fool, and an accuser, and a martyr. The threat “I keep silent” is also resolved in the story with musical and poetic beggarly stichera, where the apocalyptic is the dominant:
Michael the Archangel
To kill the earthly creature,
He will blow the trumpets
Say to people:
Here you lived
With your free will
Haven't been to church
Woke up in the morning
They ate late lunch:
Here is paradise ready for you -
fires unquenchable,
The torments are unstoppable!
By the way, the image of a cripple given in the story “I keep silent” is reproduced differently in famous poem"Entrance to Jerusalem". As in the stories mentioned above, the juxtaposition of icons and portraits stimulates liturgical associations in prose work, where not only the religious and symbolic is important, but, we repeat, the musical and poetic. Of particular importance, as we have already seen, is the distortion of the name or the complete refusal to name their characters. Without a doubt, the removal of the name in Bunin's short stories gives them a universal meaning, akin to artistic sense poetry, poetry. And this feature Bunin's style, the absence of a name in other works of his contemporaries plays a completely different role than, for example, in "Red Laughter" by L. Andreev, "Sands" by A.S. Serafimovich).
However, the absence of a name in prose, and especially in poetry, strengthens the moral and social status of the hero, brings everyday life into the sphere of being: this is what happens with the heroes of the named poem. The gospel quotation that opens the poem precedes the emerging portrait of passions:
"Hosanna! Hosanna! Ridge
In the name of the Lord!”
And with a furious wheeze in the chest,
With the fire of hell
In sparkling purulent eyes,
Blowing up all the veins on the neck,
Shouting more and more ominously,
The cripple throws himself into the dust,
On knees,
Breaking through the noisy people
Chipped and foamy
And arms outstretched in prayer
Oh vengeance, oh vengeance
About a bloody feast for everyone,
Bypassed by fate (italics mine. - I.M.).
First, a “list” of characterizing features is given, then the appearance itself, then the status: cripple, and then the description turns into action: the cripple throws himself simultaneously into the dust and towards the Lord. This prosaic, detailed and affectively naturalistic portrait is contrasted with the Image, the Portrait of the Savior, strikingly reminiscent of the icon image of him on the festive icon "The Lord's Entry into Jerusalem":
And you, omnipotent,
Quiet evening light
You come in the midst of the deceived mob,
Bowing your sorrowful gaze,
You step on a meek donkey
In the fatal gates to shame,
To hell.
The poem begins with a “liturgical quotation” and also ends with a “liturgical quotation”, and not just a pictorial copy of a fresco or a festive icon, for there is nothing actually descriptive in the words characterizing Christ, but everything together has been known to every believer from time immemorial: both symbolic-religious and the pictorial proper and the poetic-musical are united in the cathartic “coming”: in it is the guarantee of a redemptive life and the coming Resurrection. So the absence of the name of the Savior in the poem, the “non-naming” of him directly, but indirectly, only enhances the universal Liturgical Cathedral meaning of the work. It is clear that we have pointed out some, but very significant features of the individual style of the brilliant stylist I.A. Bunin, but by no means completely exhausted the topic. In any case, approaches to artistic style, syllable, warehouse of poetic speech are prompted to us cultural era silver age. Having passed through the era of sociologism, even vulgar sociologism, we peer today into the “fabric artwork". The seer Bunin knew that this would be exactly the case:
And grass, and flowers, and bumblebees, and ears of corn,
And azure, and midday heat ...
The hour will come - the Lord of the prodigal son will ask:
“Were you happy in your earthly life?”
And I will forget everything, I will remember only these
Field paths between ears and grasses -
And from sweet tears I will not have time to answer,
Falling on merciful knees.
Literature
- Bunin I.A. Collected works in 6 vols., v.6. P.443. Further references to this edition are given in the text. Roman numeral denotes volume, Arabic page.
- See in detail: Mineralova I.G. Russian Literature of the Silver Age. Poetics of symbolism. M., 1999. Her: Bunin's Artistic Synthesis // Russian Journal of Literature. 1999, No. 12. S. 43-53).
- Mineralov Yu.I. Theory of artistic literature M., 1999.
- Mineralova I.G. I.A. Bunin. Clean Monday. Comments. Poetic portrait of the era.// Lessons of Russian literature: A.P. Chekhov Lady with a dog. I.A. Bunin. Clean Monday. I.A. Kuprin. Shulamith. Texts. Comments. Modeling lessons. M.: Vlados, 1999. 102-134.
