Helping a student. Compositions Bunin's attitude to love

08.10.2021

At all times, the theme of love was the main one, many writers sang about the relationship between a man and a woman. Ivan Alekseevich was no exception, in many stories he writes about love. Love is the purest and brightest feeling in the world. The theme of love is eternal in any era.

In the works of Bunin, the writer describes the innermost and secret things that happen between two people. The work of Ivan Alekseevich can be divided into periods. So the collection "Dark Alleys" written during the World War is devoted entirely to love. The collection contains so much love and warm feelings, it is simply filled with love.

Bunin believes that love is a great feeling, even if this love is unrequited. The writer believes that any love has the right to life. Also, after reading the stories of Ivan Alekseevich, you can see that love in his works goes along with death. He draws a line, as it were, that death can stand behind a great bright feeling.

In some of his stories, Bunin writes that love is not always beautiful and sunny, and maybe the love story will end tragically. So, for example, in the story "Sunstroke" his characters meet on a steamboat, where a wonderful feeling flares up between them. The girl in love tells the lieutenant that the feeling that visited them is like a sunstroke that overshadowed their mind. She says she's never experienced anything like it and probably never will. Unfortunately, the lieutenant realizes very late how much he fell in love with the girl, because he did not even know her last name and where she lives.

The lieutenant was ready to die for the sake of one more day spent with the girl he loved so much. He was overwhelmed with feelings, but they were big and bright.

In another story, Bunin describes the unrequited love of a young guy for a girl who does not pay any attention to him. Nothing makes a girl happy and even a guy’s love doesn’t make her happy. At the end of the novella, she goes to a monastery, where she thinks she will find happiness.

In another story, Ivan Alekseevich writes about a triangle in which a guy cannot choose between passion and love. The whole story he rushes between the girls and everything ends tragically.

In the works of Bunin, where he writes about love, all aspects of this feeling are described. After all, love is not only joy and happiness, but also suffering and sorrow. Love is a great feeling, for which you often have to fight.

Composition The theme of love in Bunin's work

The theme of love has always been and is an integral part of any work. I. A. Bunin revealed it especially vividly in his stories. The writer described love as a tragic and deep feeling, he tried to reveal to the reader all the secret corners of this strong attraction.

In Bunin's works, such as "Dark Alleys", "Cold Autumn", "Sunstroke", love is shown from several sides. On the one hand, this feeling, capable of bringing great happiness, on the other hand, a bright and ardent feeling inflicts deep wounds on the soul of a person, delivering days only suffering.

For the author, love was not just a naive feeling, it was strong and real, often accompanied by tragedy, and in some moments even death. The theme of love, in different ways of his creative path, was revealed from different angles. At the beginning of his work, Bunin described love between young people as something light, natural and open. She is beautiful and gentle, but at the same time can bring disappointment. For example, in the story "Dawn all night" he describes the strong love of a simple girl for a young man. She is ready to give all her youth and soul to her beloved, to completely dissolve in him. But reality can be cruel, and as often happens, falling in love passes and a person begins to look at many things differently. And in this work, he clearly describes the breakup of relations that brought only pain and disappointment.

At a certain period of his time, Bunin emigrated from Russia. It was at this time that love for him became a mature and deep feeling. He began to write about her with sadness and longing, recalling his past years of life. This is clearly displayed in the novel "Mitina's Love" written by him in 1924. At first everything goes well, the feelings are strong and reliable, but later they will lead the main character to death. Bunin wrote not only about the mutual love of two young people, but in some of his works one can also find a love triangle: “The Caucasus” and “The Most Beautiful Sun”. The happiness of some inevitably brings heartache and disappointment to the third.

Love played a special role in his great work, written during the war years, Dark Alleys. In it, she is displayed as a great happiness, despite the fact that in the end it ends in tragedy. The love of two people who met each other already in adulthood is shown in the story "Sunstroke". It was during this life period that they so needed to experience this true feeling. The love of a lieutenant and a mature woman was doomed in advance and could not unite them for life. But after parting, she left in their hearts the sweet bitterness of pleasant memories.

In all his stories, Bunin sings of love, its difference and contradictions. If there is love, a person becomes infinitely radiant, the true beauty of his inner world, values ​​in relation to a loved one, manifests itself. Love in Bunin's understanding is a true, selfless, pure feeling, even if, after a sudden outbreak and attraction, it can lead to tragedy and deep disappointment.

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  • Every day, students are given lessons, just like me. And every day it is new, and almost all lessons are given homework. For starters, I come home from school and go to lunch.

Goalslesson: to acquaint students with the works of the writer of love themes; show the originality of stories, novelty in the depiction of the psychological state of a person; see the ambiguity of interpretations of stories.

methodicaltricks: teacher's story, “analytical conversation; presentation of stories; expressive reading of excerpts.

Equipmentlesson: texts of stories; photographs by I. Bunin, V. Muromtseva. Picture 1, Figure 2

movelesson

1. Wordteachers

The theme of love is one of the main themes in Russian literature and one of the leading themes in the work of Ivan Bunin. In almost all works on this topic, the love story appears through the memories of the characters and the outcome of love is tragic. This tragic character of love is emphasized by death. "Don't you already know that love and death are inextricably linked?" - one of the heroes of Bunin's stories asks a question.

The writer sees the eternal mystery of love and the eternal drama of lovers in the fact that a person is unwilling in his love passion: love is a feeling that is initially spontaneous, inevitable, and happiness often becomes unattainable.

Love in Bunin's works is fleeting and elusive. The heroes of his works never find eternal happiness, they can only taste the forbidden fruit, enjoy it, and then lose their joys, hopes and even life. Why is this happening? Everything is very simple. The fact is that, according to Ivan Bunin, love is happiness, and happiness is fleeting, impermanent, therefore love cannot be permanent, otherwise it will become a habit, a routine, and this is impossible. But, despite the short duration, love is still eternal: it will forever remain in the memory of the heroes as the most vivid and wonderful memory.

2. Conversation By story "Easy breath" Figure 2.

How is the story structured? What are the features of the composition?

(The composition of the story is closed, circular. This is its peculiarity. We learn at the very beginning of the story about the tragic death of the young schoolgirl Olya Meshcherskaya. Bunin begins and ends the story with a description of the grave cross on Olya's grave.)

What is the relationship between plot and plot of a story?

(The plot of the story is a banal everyday drama - a murder out of jealousy. The author turned this banality into a story about the mysterious attractiveness, charm, femininity embodied in the image of Olya. The plot is centered on the “light breath” of femininity. This is the main thing, according to the author, than a woman must possess, this is part of her beauty, beautiful, elusive, ephemeral and fragile. And in contact with realities, this “light breathing” disappears, it is interrupted, as the “deceived” Olya officer did).

(The main thing in the heroine is “grace, elegance, lightness”, which distinguished her from all the girls of the gymnasium. Olya constantly seems to live with a sense of celebration, happiness, joy. I. Bunin focuses on her eyes: “joyful, amazingly alive”, "clear shine of the eyes", "shining eyes", "the eyes shine so immortally", "pure look". Olya is able to live without pretending, without pretentiousness, naturally and simply. That is why the lower grades loved her so much. She herself is still a child, internally pure, direct, naive).

What is the main compositional device used by Bunin in the story?

(The main technique is opposition. Olya, lively, impetuous, unpredictable, living by imagination, is opposed to the everyday life of the real, vulgar world, represented by the inability to be a natural classy lady Olya; the handsome aristocrat Malyutin, who seduced Olya, is opposed by a plebeian Cossack officer; ease of life and "easy breathing" the heroine is contrasted with the "strong, heavy cross" on her grave).

How do you understand the title of the story? (discussion)

On an April day, I left the people.
Gone for a century humbly and silently -
And yet I was not in vain in my life.
I didn't die for love.
I.A. Bunin

3. Wordteachers

Consider another story about the versatility and diversity of manifestations of love in the story "Sunstroke".

4. Messagestudent

The student outlines the plot of the story "Sunstroke", while paying special attention to the linguistic features of the work.

5 . AnalyticalconversationBycontentstory

What is the peculiarity of the plot of the story?

(There is no introduction to the story, it seems that the story is “snatched” from life, the characters have neither names nor ages. It is “he” and “she”, a man and a woman).

Why does the writer not give names to his heroes, does not tell their backstory?

(For Bunin, names are unimportant, because the main thing is the very feeling of love, passion and what it does to a person).

What is the portrait of the heroine, what is its peculiarity?

(Bunin does not describe the appearance of the heroine, but highlights the main thing - “a simple, lovely laugh”, talks about how “everything was lovely in this little woman.” And after a night in the room “She was as fresh as at seventeen”, “ she was still simple, cheerful and - already reasonable").

How does the stranger describe what happened to them?

(“It was as if an eclipse had hit me ... Or, rather, we both got something like a sunstroke.” The woman was the first to understand the acuteness of what had happened and the impossibility of continuing this too strong feeling).

What has changed in the room since she left?

(“The room without her seemed somehow completely different than it was with her. It was still full of her - and empty.” Only the smell of good English cologne and an unfinished cup remained, “but she was already gone ...”)

What impression did this make on the lieutenant?

(The lieutenant's heart "suddenly contracted with such tenderness that he hurried to light a cigarette and walked up and down the room several times. The lieutenant laughs at his "strange adventure", and at the same time tears well up in his eyes).

What new feelings did the lieutenant have?

(All the lieutenant's feelings seem to be sharpened. He "remembered her all, with all her slightest features, remembered the smell of her tan and canvas dress, her strong body, the lively, simple and cheerful sound of her voice." And another new feeling, previously not experienced, torments the lieutenant: this is a strange, incomprehensible feeling... He does not know "how to live the whole next day without her", he feels unhappy).

Why is the hero trying to free himself from the feeling of love?

(“The sunstroke” that hit the lieutenant was too strong, unbearable. Both the happiness and the pain that accompanied it turned out to be unbearable).

Why is too much love dramatic and even tragic?

(It is impossible to return a loved one, but it is also impossible to live without it. The hero cannot get rid of sudden, unexpected love, “sunstroke” leaves an indelible mark on the soul).

How did the experience of the past day affect the hero?

(The hero feels ten years older. The instantaneousness of the experienced impression made him so sharp that it seems that almost a whole life is contained in it.

There is no happiness in life
there are only lightning bolts of it, -
appreciate them, live them.
L.N. Tolstoy

6. teacher's word

Let's turn to another story about love - "Grammar of Love"

7. AnalyticalconversationBycontent

How do you understand the title of the story?

(The word grammar is from the scientific lexicon. The words in the title of the story are paradoxically related. This is an oxymoron. Grammar means “the art of reading and writing letters.” Bunin’s story talks about the art of loving, although is it possible to learn to love from a textbook?)

What is known about the life of Khvoshchinsky?

(We learn about his life from the words of neighbors. He is poor, is considered an eccentric, “he has been

obsessed with love for his maid Lushka", "idolized her".)

What role did Lushka play in the fate of Ivlev?

(Ivlev recalls the impression Khvoshchinsky's story made on him as a child. He was "almost in love" with the "legendary Lushka").

Do you agree with the expression: “A beautiful woman should occupy the second step; the first belongs to a lovely woman"?

What details play an important role in the story?

Wedding candles are a symbol of eternal, unquenchable love. Khvoshchinsky could not marry a serf, but he wanted it with all his heart. Wedding candles are a symbol of the union between a man and a woman, fixed and consecrated by the church.

Books from Khvoshchinsky’s library reveal to Ivlev “what that lonely soul ate that forever closed itself from the world in this closet and left it so recently ...”

Lushka's necklace - "a low set of cheap blue balls that look like stone ones" so excited Ivlev that his "heartbeat tingled in his eyes."

What is the content of "Grammar of Love"?

The book consists of "short elegant, sometimes very accurate maxims" about love;

What is the value of this book?

This is the most important detail that gave the title to the whole story. Its value is that it was dear to Khvoshchinsky and became dear to Ivlev himself as a shrine.

What makes it possible to say that the image of Lushka is really becoming a shrine?

The story constantly repeats words from religious vocabulary, expressions that speak of the legendary image of Lushka: Khvoshchinsky “attributed literally everything that happened in the world to Lushka’s influence: a thunderstorm sets - this is Lushka sends a thunderstorm, war is declared - so Lushka decided, crop failure happened - the peasants did not please Lushka ... ”; Ivlev sees a "God's tree" at the place where, according to legend, Lushka drowned herself; it seems to him that “Lushka lived and died not twenty years ago, but almost in time immemorial”; the little book "Grammar of Love" looks like a prayer book; leaving the Khvoshchinsky estate, Ivlev recalls Lushka, her necklace and experiences a feeling “similar to what he once experienced in an Italian town when looking at the relics of a saint.” Thanks to this technique, Lushka's life becomes like a life, and her image is almost deified.

What kind of person is Khvoshchinsky - really crazy or someone who has the talent to love?

(class discussion)

(Life with a loved one becomes a “sweet tradition”, life without a loved one turns into eternal service to that holy image that remains in memory).

Who do you think is the main character of the story?

(class discussion)

(The main character is Khvoshchinsky. His soul was lit up with fantastic love for many years. Perhaps the main character is Lushka. After all, it was she who took the “first step” in Khvoshchinsky’s life, determined his fate? Or maybe the main character is Ivlev? After all the story of Khvoshchinsky's love for his serf influenced Ivlev in his childhood.In his view, Lushka was "legendary" and "she entered forever into my life."An alien love story became a part of Ivlev's life.

What understanding of love is embodied in this story?

Love is a great value. She is always pure and chaste. But a person can only count on a moment of happiness, but this moment remains in the soul forever. Figure 3 .

8. Summing upresultslesson

Wordteachers

Thus, we can conclude that love in Bunin's works is something elusive and natural, blinding a person, acting on him like a sunstroke. Love is a great abyss, mysterious and inexplicable, strong and painful.

9. homemadeexercise:

prepare an essay plan on the topic “Love in the understanding of I. Bunin”.

The theme of love in Bunin's works for the first time in the history of Russian literature reveals not only the Platonic, but also the physical side of love relationships. The writer tries in his work to correlate what is going on in a person’s heart with the requirements that society places on him, whose life is built on sales and purchase relationships and in which dark wild instincts often come to the fore. Nevertheless, the author deals with the intimate side of relations between people with extraordinary tact.

The theme of love in Bunin's works is the first bold statement that bodily passion does not always come after a soul impulse, which sometimes happens in life and vice versa. For example, this happens with the heroes of his story "Sunstroke". Ivan Alekseevich in his creations describes love in all its versatility - either it appears in the guise of great joy, or it turns into a cruel disappointment, it is both spring and autumn in a person’s life.

Early work

The theme of love in Bunin's works of the early period of his work cannot leave indifferent. The stories "Dawn all night", "In August", "Autumn" and several others are very short, simple, but significant. The feelings experienced by the characters are most often ambivalent. Bunin's characters rarely come to harmonious relations - their impulses disappear much more often, without having time to really arise. However, the thirst for love continues to burn in their hearts. A sad farewell to a beloved ends with daydreams (“In August”), a date leaves a strong imprint in the memory, because it indicates a touch of a real feeling (“Autumn”). And, for example, the heroine of the story “Dawn All Night” is imbued with a premonition of strong love that a young girl is ready to pour out on her future chosen one. However, disappointment comes to young heroes as quickly as the passion itself. Bunin reveals this difference between reality and dreams with extraordinary talent. After the full singing of the nightingales and the spring-like gentle trembling of the night in the garden, through a dream, Tata hears the sounds of shots. Her fiancé shoots jackdaws, and the girl suddenly realizes that she is not able to love this ordinary, down-to-earth person.

"Mitya's Love" (1924) - one of Bunin's best works about love

In the 1920s, during the period of the writer's emigration, the theme of love in Bunin's works was enriched with new shades. In his story "Mitya's Love" (1924), the author consistently talks about how the spiritual formation of the protagonist is gradually carried out, how life leads him from love to collapse. The lofty feelings in this story closely echo reality. Mitya's love for Katya and his bright hopes seem to be overshadowed by a vague feeling of anxiety. A girl dreaming of a career as a great actress finds herself at the epicenter of a fake metropolitan life and cheats on her lover. Even a connection with another woman - a down-to-earth, albeit prominent Alyonka - failed to alleviate Mitya's spiritual torment. As a result, the hero, unprotected, unprepared to face the cruel reality, decides to lay hands on himself.

The theme of love triangles in the work of I. Bunin

Sometimes the theme of love in Bunin's works is revealed from the other side, they show the eternal problem of love triangles (husband-wife-lover). Vivid examples of such stories can serve as "Caucasus", "Ida", "The most beautiful of the sun." Marriage in these creations becomes an insurmountable barrier to the desired happiness. It is in these stories that the image of love as a “sunstroke” first appears, which finds its further development in the cycle “Dark Alleys”.

"Dark Alleys" - the most famous cycle of stories of the writer

The theme of love in this cycle (“Dark Alleys”, “Tanya”, “Late Hour”, “Rusya”, “Business Cards”, etc.) is an instant flash, bodily pleasures, to which genuine hot passion pushes the characters. But it doesn't end there. "Sunstroke" gradually leads the characters to inexpressible selfless tenderness, and then to true love. The author refers to the images of lonely people and ordinary life. And that is why the memories of the past, covered with romantic impressions, seem so wonderful for his heroes. However, even here, after people get closer both spiritually and physically, it is as if nature itself leads them to an inevitable separation, and sometimes to death.

"The Gentleman from San Francisco" is a bold interpretation of a love relationship

The skill of describing the details of life, as well as touching the living description of love, inherent in all the stories of the cycle, reaches its climax in 1944, when Bunin finishes work on the story “Clean Monday”, which tells about the fate of a woman who left life and love in a monastery.

And especially brightly the theme of love in the understanding of Bunin was revealed with the help of the story "The Gentleman from San Francisco". This is a story about the lowest and ugliest manifestations of a distorted great feeling. The falseness, deceit, automatism and lifelessness that caused the inability to love are especially strongly emphasized in the images of "The Gentleman from San Francisco".

Bunin himself considered love to be the feeling that frees a person from the captivity of everything superficial, makes him unusually natural and brings him closer to nature.

Bunin is a unique creative personality in the history of Russian literature of the late 19th - first half of the 20th century. His brilliant talent, the skill of a poet and prose writer, which has become a classic, amazed his contemporaries and conquers us, living today. In his works, the real Russian literary language, which is now lost, is preserved.

A large place in the work of Bunin in exile is occupied by works about love. The writer has always been concerned about the mystery of this strongest of human feelings. In 1924, he wrote the story "Mitya's Love", the following year - "The Cornet Elagin Case" and "Sunstroke". And in the late 30s and during World War II, Bunin created 38 short stories about love, which made up his book “Dark Alleys”, published in 1946. Bunin considered this book to be his “best work in terms of conciseness, painting and literary skill ".

Love in the image of Bunin is striking not only by the power of artistic depiction, but also by its subordination to some internal laws unknown to man. Infrequently they break through to the surface: most people will not experience their fatal effects until the end of their days. Such an image of love unexpectedly gives Bunin's sober, "merciless" talent a romantic glow. The closeness of love and death, their conjugation were obvious facts for Bunin, they were never in doubt. However, the catastrophic nature of life, the fragility of human relations and existence itself - all these favorite Bunin themes after the gigantic social cataclysms that shook Russia, were filled with a new formidable meaning, as can be seen, for example, in the story "Mitya's Love". "Love is beautiful" and "Love is doomed" - these concepts, finally combined, coincided, carrying in the depths, in the grain of each story, the personal grief of Bunin the emigrant.

Bunin's love lyrics are not large quantitatively. It reflects the poet's confused thoughts and feelings about the mystery of love... One of the main motives of love lyrics is loneliness, inaccessibility or impossibility of happiness. For example, “How bright, how elegant spring is! ..”, “A calm look, similar to the look of a doe ...”, “At a late hour we were with her in the field ...”, “Loneliness”, “The sadness of eyelashes, shining and black ...” and etc.

Bunin's love lyrics are passionate, sensual, saturated with a thirst for love and are always full of tragedy, unfulfilled hopes, memories of past youth and departed love.

I.A. Bunin has a very peculiar view of love relationships that distinguishes him from many other writers of that time.

In Russian classical literature of that time, the theme of love has always occupied an important place, and preference was given to spiritual, "platonic" love.

before sensuality, carnal, physical passion, which was often debunked. The purity of Turgenev's women has become a household word. Russian literature is predominantly the literature of "first love".

The image of love in Bunin's work is a special synthesis of spirit and flesh. According to Bunin, the spirit cannot be comprehended without knowing the flesh. I. Bunin defended in his works a pure attitude towards the carnal and bodily. He did not have the concept of female sin, as in Anna Karenina, War and Peace, Kreutzer Sonata by L.N. Tolstoy, there was no wary, hostile attitude towards the feminine, characteristic of N.V. Gogol, but there was no vulgarization of love. His love is an earthly joy, a mysterious attraction of one sex to another.

The theme of love and death (often in contact with Bunin) is devoted to works - “Grammar of Love”, “Light Breath”, “Mitina Love”, “Caucasus”, “In Paris”, “Galya Ganskaya”, “Heinrich”, “Natalie”, "Cold Autumn", etc. It has long been and very correctly noted that love in Bunin's work is tragic. The writer is trying to unravel the mystery of love and the mystery of death, why they often come into contact in life, what is the meaning of this. Why does the nobleman Khvoshchinsky go crazy after the death of his beloved, the peasant woman Lushka, and then almost deifies her image (“Grammar of Love”). Why does the young high school student Olya Meshcherskaya, who, as it seemed to her, have an amazing gift of “easy breathing” die, just starting to blossom? The author does not answer these questions, but through his works he makes it clear that there is a certain meaning to human earthly life in this.

The complex emotional experiences of the hero of the story "Mitya's Love" are described by Bunin with brilliance and tremendous psychological stress. This story caused controversy, the writer was reproached for excessive descriptions of nature, for the implausibility of Mitya's behavior. But we already know that Bunin's nature is not a background, not a decoration, but one of the main characters, and especially in "Mitya's Love". Through the depiction of the state of nature, the author surprisingly accurately conveys Mitya's feelings, his mood and feelings.

You can call "Mitya's Love" a psychological story in which the author accurately and correctly embodied Mitya's confused feelings and the tragic end of his life.

An encyclopedia of love dramas can be called "Dark Alleys" - a book of stories about love. “She speaks of the tragic and of many tender and beautiful things - I think that this is the best and most original thing that I wrote in my life ...” Bunin admitted to Teleshov in 1947.

The heroes of "Dark Alleys" do not oppose nature, often their actions are absolutely illogical and contrary to generally accepted morality (an example of this is the sudden passion of the heroes in the story "Sunstroke"). Bunin's love "on the verge" is almost a transgression of the norm, going beyond the ordinary. This immorality for Bunin, one might even say, is a certain sign of the authenticity of love, since ordinary morality turns out, like everything established by people, to be a conditional scheme that does not fit into the elements of natural, living life.

When describing risky details related to the body, when the author must be impartial so as not to cross the fragile line that separates art from pornography, Bunin, on the contrary, worries too much - to a spasm in the throat, to a passionate trembling: “... it just went dark in eyes at the sight of her pinkish body with a tan on her shiny shoulders ... her eyes turned black and widened even more, her lips parted feverishly ”(“ Galya Ganskaya ”). For Bunin, everything connected with sex is pure and significant, everything is shrouded in mystery and even holiness.

As a rule, the happiness of love in "Dark Alleys" is followed by parting or death. Heroes revel in intimacy, but

it leads to separation, death, murder. Happiness cannot be eternal. Natalie "died on Lake Geneva in a premature birth". Galya Ganskaya was poisoned. In the story “Dark Alleys”, the master Nikolai Alekseevich abandons the peasant girl Nadezhda - for him this story is vulgar and ordinary, and she loved him “all century”. In the story "Rusya", the lovers are separated by the hysterical mother of Rusya.

Bunin allows his heroes only to taste the forbidden fruit, to enjoy it - and then deprives them of happiness, hopes, joys, even life. The hero of the story "Natalie" loved two at once, but did not find family happiness with any of them. In the story "Heinrich" - an abundance of female images for every taste. But the hero remains alone and free from the "wives of men."

Bunin's love does not go into a family channel, it is not resolved by a happy marriage. Bunin deprives his heroes of eternal happiness, deprives them because they get used to it, and the habit leads to the loss of love. Love out of habit cannot be better than lightning-fast love, but sincere. The hero of the story "Dark Alleys" cannot bind himself by family ties with the peasant woman Nadezhda, but by marrying another woman of his circle, he does not find family happiness. The wife cheated, the son is a wast and a scoundrel, the family itself turned out to be "the most ordinary vulgar story." However, despite the short duration, love still remains eternal: it is eternal in the memory of the hero precisely because it is fleeting in life.

A distinctive feature of love in the image of Bunin is a combination of seemingly incompatible things. It is no coincidence that Bunin once wrote in his diary: “And again, again, such indescribably - sweet sadness from that eternal deception of another spring, hopes and love for the whole world, which you want with tears

gratitude to kiss the earth. Lord, Lord, why do you torment us like this.

The strange connection between love and death is constantly emphasized by Bunin, and therefore it is no coincidence that the title of the collection "Dark Alleys" here does not mean "shady" at all - these are dark, tragic, intricate labyrinths of love.

G. Adamovich rightly wrote about the book of stories “Dark Alleys”: “All love is a great happiness, a gift of the gods, even if it is not shared. That is why Bunin's book breathes with happiness, that is why it is imbued with gratitude for life, for the world in which, for all its imperfections, this happiness happens.

True love is a great happiness, even if it ends in separation, death, tragedy. To this conclusion, albeit late, but many Bunin's heroes come, who have lost, overlooked or destroyed their love themselves. In this late repentance, late spiritual resurrection, the enlightenment of heroes, there lies that all-cleansing melody that speaks of the imperfection of people who have not yet learned to live, recognize and value real feelings, and of the imperfection of life itself, social conditions, the environment, circumstances that often interfere with truly human relationships, and most importantly - about those high emotions that leave an unfading trace of spiritual beauty, generosity, devotion and purity.

Love is a mysterious element that transforms a person's life, giving his fate a uniqueness against the background of ordinary everyday stories, filling his earthly existence with a special meaning.

This mystery of being becomes the theme of Bunin's story "Grammar of Love" (1915). The hero of the work, a certain Ivlev, having stopped on his way to the house of the recently deceased landowner Khvoshchinsky, reflects on “incomprehensible love, which turned a whole human life into some kind of ecstatic life, which, perhaps, should have been the most ordinary life”, if not for the strange charm of the maid Lushki. It seems to me that the mystery lies not in the appearance of Lushka, who “was not at all good in herself,” but in the character of the landowner himself, who idolized his beloved. “But what kind of person was this Khvoshchinsky? Crazy or just some kind of dazed, all-on-one soul?” According to neighbors-landlords. Khvoshchinsky “was known in the county as a rare clever man. And suddenly this love fell on him, this Lushka, then her unexpected death, - and everything went to dust: he shut himself up in the house, in the room where Lushka lived and died, and sat on her bed for more than twenty years ... ” Is this twenty years of seclusion? Madness? For Bunin, the answer to this question is not at all unambiguous.

The fate of Khvoshchinsky strangely fascinates and worries Ivlev. He understands that Lushka entered his life forever, awakened in him “a complex feeling, similar to what he once experienced in an Italian town when looking at the relics of one saint.” What made Ivlev buy from the heir of Khvoshchinsky “for a high price” a small book “Grammar of Love”, with which the old landowner did not part, cherishing the memories of Lushka? Ivlev would like to understand what the life of a madman in love was filled with, what his orphaned soul fed for many years. And following the hero of the story, the “grandchildren and great-grandchildren” who heard the “voluptuous legend about the hearts of those who loved” will try to uncover the secret of this inexplicable feeling, and with them the reader of Bunin’s work.

An attempt to understand the nature of love feelings by the author in the story “Sunstroke” (1925). “A strange adventure”, shakes the soul of the lieutenant. After parting with a beautiful stranger, he cannot find peace. At the thought of the impossibility of meeting this woman again, “he felt such pain and the uselessness of his entire future life without her that he was seized by horror and despair.” The author convinces the reader of the seriousness of the feelings experienced by the hero of the story. The lieutenant feels "terribly unhappy in this city." "Where to go? What to do?" he thinks lostly. The depth of the hero's spiritual insight is clearly expressed in the final phrase of the story: "The lieutenant sat under a canopy on the deck, feeling ten years older." How to explain what happened to him? Maybe the hero came into contact with that great feeling that people call love, and the feeling of the impossibility of loss led him to realize the tragedy of being?

The torment of a loving soul, the bitterness of loss, the sweet pain of memories - such unhealed wounds are left in the fate of Bunin's heroes by love, and time has no power over it.

The story "Dark Alleys" (1935) depicts a chance meeting of people who loved each other thirty years ago. The situation is rather ordinary: the young nobleman easily broke up with the serf girl Nadezhda, who was in love with him, and married a woman of his circle. And Nadezhda, having received freedom from the masters, became the mistress of the inn and never married, had no family, children, did not recognize ordinary worldly happiness. “No matter how much time passed, she lived all the same,” she admits to Nikolai Alekseevich. - Everything passes, but not everything is forgotten ... I could never forgive you. Just as I didn’t have anything more valuable than you in the world at that time, so I didn’t have it later. ” She could not change herself, her feeling. And Nikolai Alekseevich realized that he had lost in Nadezhda "the most precious thing that he had in life." But this is a momentary insight. Leaving the inn, he “remembered with shame his last words and the fact that he had kissed her hand, and was immediately ashamed of his shame.” And yet it is difficult for him to imagine Nadezhda as his wife, the mistress of the Petegbug house, the mother of his children ... This gentleman attaches too much importance to class prejudices to prefer genuine feeling to them. But he paid for his cowardice with a lack of personal happiness.

How differently the heroes of the story comprehend what happened to them! For Nikolai Alekseevich, this is “a vulgar, ordinary story,” but for Nadezhda, it is undying memories, long-term devotion to love.

A passionate and deep feeling permeates the last, fifth book of the novel "The Life of Arseniev" - "Lika". It was based on the transformed experiences of Bunin himself, his youthful love for V.V. Pashchenko. In the novel, death and oblivion recede before the power of love, before the heightened feeling - the hero and the author - of life.

In the theme of love, Bunin reveals himself as a man of amazing talent, a subtle psychologist who knows how to convey the state of the soul, wounded by love. The writer does not avoid complex, frank topics, depicting the most intimate human experiences in his stories. Over the centuries, many artists of the word dedicated their works to the great feeling of love, and each of them found something unique, individual to this theme. It seems to me that the peculiarity of Bunin the artist is that he considers love a tragedy, a catastrophe, madness, a great feeling, capable of both infinitely elevating and destroying a person.

Yes, love has many faces and is often inexplicable. This is an eternal riddle, and each reader of Bunin's works is looking for his own answers, reflecting on the secrets of love. The perception of this feeling is very personal, and therefore someone will treat what is depicted in the book as a “vulgar story”, and someone will be shocked by the great gift of love, which, like the talent of a poet or musician, is not given to everyone. But one thing is certain: Bunin's stories, which tell about the most secret, will not leave readers indifferent. Every young person will find in Bunin's works something consonant with their own thoughts and feelings, they will touch the great secret of love. This is what makes the author of Sunstroke always a contemporary writer of deep reader interest.

Literature abstract

Topic: “The theme of love in the works of Bunin”

Fulfilled

Student “” class

Moscow 2004

Bibliography

1. O.N.Mikhailov - “Russian literature of the XX century”

2. S.N.Morozov - “The life of Arseniev. Stories”

3. B.K.Zaitsev - "Youth - Ivan Bunin"

4. Literary-critical articles.

What is love? “Strong attachment to whom, ranging from inclination to passion; strong desire, desire; the election and preference of someone or something at will, by will (not by reason), sometimes completely unconsciously and recklessly, ”V. I. Dahl’s dictionary tells us. However, every person who has experienced this feeling at least once will be able to supplement this definition with something of his own. "All pain, tenderness Come to your senses, come to your senses!" - I. A. Bunin would add.

The great Russian émigré writer, prose poet has a very special love. It is not the same as it was described by his great predecessors: N. I. Karamzin, V. A. Zhukovsky, I. A. Goncharov, I. S. Turgenev. According to I. A. Bunin, love is not an idealized feeling, and his heroines are not “Turgenev young ladies” with their naivety and romanticism. However, Bunin's understanding of love does not coincide with today's interpretation of this feeling. The writer does not consider only the physical side of love, as the media do for the most part today, and with them many writers, considering it to be in demand. He (I. A. Bunin) writes about love, which is a fusion of "earth" and "heaven", the harmony of two opposite principles. And it is this understanding of love that seems to me (as, I think, to many who are familiar with the writer's love lyrics) the most truthful, true and necessary for modern society.

In his narration, the second does not hide anything from the reader, does not keep silent about anything, but at the same time does not stoop to vulgarity. Speaking about intimate human relationships, I. A. Bunin, thanks to his highest skill, ability to choose the only right, right words, never crosses the line that separates high art from naturalism.

Before I. A. Bunin, in Russian literature, so much about love "has never been written by anyone." He not only decided to show the sides of the relationship between a man and a woman that have always remained secret. His works about love have also become masterpieces of the classical, strict, but at the same time expressive and capacious Russian language.

Love in the works of I. A. Bunin is like a flash, insight, "sunstroke". Most often, it does not bring happiness, followed by separation or even the death of heroes. But, despite this, Bunin's prose is a glorification of love: each story makes you feel how wonderful and important this feeling is for a person.

The cycle of stories "Dark Alleys" is the pinnacle of the writer's love lyrics. “She speaks of the tragic and of many tender and beautiful things - I think that this is the best and most original thing that I have written in my life,” said I. A. Bunin about his book. And, indeed, the collection, written in 1937-1944 (when I. A. Bunin was about seventy), can be considered an expression of the writer's formed talent, a reflection of his life experience, thoughts, feelings, personal perception of life and love.

In this research work, I set myself the goal of tracing how Bunin's philosophy of love was born, considering its evolution and, at the end of my research, formulating the concept of love according to I. A. Bunin, highlighting its main points. To achieve this goal, I needed to solve the following tasks.

First, to consider the writer's early stories, such as "At the Dacha" (1895), "Velga" (1895), "Without a clan-tribe" (1897), "Autumn" (1901), and, identifying their characteristic features and finding common features with the later work of I. A. Bunin, answer the questions: “How did the theme of love originate in the writer’s work? What are they, these thin trees, from which “Dark Alleys” will grow forty years later?

Secondly, my task was to analyze the stories of the writer of the 1920s, paying attention to which features of I. A. Bunin’s work, acquired during this period, were reflected in the writer’s main book about love, and which were not. In addition, in my work I tried to show how in the works of Ivan Alekseevich, relating to this period of time, two main motives intertwine, which became fundamental in the later stories of the writer. These are the motives of love and death, which in their combination give rise to the idea of ​​the immortality of love.

I took the method of systematic and structural reading of Bunin's prose as the basis of my research, considering the formation of the author's philosophy of love from early works to later ones. Factor analysis was also used in the work.

Literature review

I. A. Bunin was called “a poet in prose and a prose writer in poetry”, therefore, in order to show his perception of love from different angles, and somewhere in order to confirm my assumptions, in my work I turned not only to collections of short stories writer, but also to his poems, in particular to those published in the first volume of the collected works of I. A. Bunin.

The work of I. A. Bunin, like any other writer, is in undoubted connection with his life, fate. Therefore, in my work, I also used the facts of the writer's biography. They were suggested to me by the books of Oleg Mikhailov “The Life of Bunin. Life is given only to the word "and Mikhail Roshchin" Ivan Bunin.

“Everything is known in comparison,” these wise words prompted me to turn to the positions of other famous people: writers and philosophers in a study on the philosophy of love in the works of I. A. Bunin. “Russian Eros or the Philosophy of Love in Russia”, compiled by V.P. Shestakov, helped me to do this.

To find out the opinion of literary critics on issues of interest to me, I turned to the criticism of various authors, for example, the articles of the journal "Russian Literature", the book of Doctor of Philology I. N. Sukhikh "Twenty Books of the 20th Century" and others.

Undoubtedly, the most important part of the source material for my research, its basis and inspiration were the very works of I. A. Bunin about love. I found them in such books as "I. A. Bunin. Tales, stories”, published in the series “Russian classics about love”, “Dark alleys. Diaries 1918-1919 ”(World Classics series”), and collected works edited by various authors (A. S. Myasnikov, B. S. Ryurikov, A. T. Tvardovsky and Yu. V. Bondarev, O. N. Mikhailov , V.P. Rynkevich).

The philosophy of love in the works of I. A. Bunin

Chapter 1

“The problem of love has not yet been developed in my works. And I feel an urgent need to write about it,” says I. A. Bunin in the fall of 1912 to the correspondent of Moskovskaya Gazeta. 1912 - the writer is already 42 years old. Had he not been interested in the love theme before that time? Or perhaps he himself did not experience this feeling? Not at all. By this time (1912), Ivan Alekseevich had experienced many happy days, as well as those full of disappointment and suffering from unrequited love days.

We then - you were sixteen,

I am seventeen years old,

But do you remember how you opened

Door to moonlight? - this is how I. A. Bunin writes in a poem of 1916 “On a quiet night, the late month came out.” It is a reflection of one of those hobbies that I. A. Bunin experienced while still very young. There were many such hobbies, but only one of them grew into a really strong, all-consuming love, became the sadness and joy of the young poet for four whole years. It was love for the doctor's daughter Varvara Pashchenko.

He met her in the editorial office of the Oryol Herald in 1890. At first he took her hostilely, considered her “proud and foppish”, but they soon became friends, and a year later the young writer realized that he was in love with Varvara Vladimirovna. But their love was not cloudless. I. A. Bunin adored her frantically, passionately, but she was changeable towards him. Everything was further complicated by the fact that Varvara Pashchenko's father was much richer than Ivan Alekseevich. In the autumn of 1894, their painful relationship ended - Pashchenko married a friend of I. A. Bunin, Arseny Bibikov. After the break with Varya, I. A. Bunin was in such a state that his relatives feared for his life.

If only it were possible

Love yourself alone

If we forget the past,

Everything that you already forgot

I wouldn't embarrass, I wouldn't scare

Eternal dusk of eternal night:

Quenched eyes

I would love to close! - I. A. Bunin will write in 1894. However, despite all the suffering associated with her, this love and this woman will forever remain in the soul of the writer as something tragic, but still beautiful.

On September 23, 1898, I. A. Bunin hastily marries Anna Nikolaevna Tsakni. Two days before the wedding, he ironically writes to his friend N. D. Teleshov: “I am still single, but - alas! “I will soon be married.” The family of I. A. Bunin and A. N. Tsakni lasted only a year and a half. At the beginning of March 1900, their final break took place, which I. A. Bunin experienced very hard. “Don't be angry at the silence - the devil will break his leg in my soul,” he wrote at that time to a friend.

Several years have passed. The bachelor life of I. A. Bunin has exhausted itself. He needed a person who could support him, an understanding partner who shared his interests. Such a woman in the life of the writer was Vera Nikolaevna Muromtseva, the daughter of a professor at Moscow University. The date of the beginning of their union can be considered April 10, 1907, when Vera Nikolaevna decided to go with I. A. Bunin on a trip to the Holy Land. “I changed my life drastically: from a settled life I turned it into a nomadic one for almost twenty whole years,” V. N. Muromtseva wrote about this day in her Conversations with Memory.

So, we see that by the age of forty, I. A. Bunin managed to experience a passionate love for V. Pashchenko to oblivion, and an unsuccessful marriage with Anya Tsakni, many other novels, and, finally, a meeting with V. N. Muromtseva. How could these events, which, it seems, should have brought the writer so many experiences related to love, not be reflected in his work? They were reflected - the theme of love began to sound in Bunin's works. But why, then, did he state that it was “not developed”? To answer this question, let us consider in more detail the stories written by I. A. Bunin before 1912.

Almost all the works written by Ivan Alekseevich during this period are of a social nature. The writer tells the stories of those who live in the countryside: small landowners, peasants - he compares the village and the city and the people living in them (the story "News from the Motherland" (1893)). However, these works are not without love themes. Only the feelings experienced by the hero for a woman disappear almost immediately after they appear, and are not the main ones in the plots of the stories. The author does not seem to allow these feelings to develop. “In the spring, he noticed that his wife, a cheeky-beautiful young woman, began to start some special conversations with the teacher,” writes I. A. Bunin in his story “Teacher” (1894). However, literally two paragraphs later on the pages of this work, we read: “But relations somehow did not start between her and the teacher.”

The image of a beautiful young girl, and with it the feeling of light love, appear in the story “At the Country House” (1895): “Either smiling, or grimacing, she absently looked with her blue eyes at the sky. Grisha passionately wanted to come up and kiss her on the lips. “Her”, Marya Ivanovna, we will see on the pages of the story only a few times. I. A. Bunin will make her feeling for Grisha, and him for her nothing more than flirting. The story will be of a socio-philosophical nature, and love will play only an episodic role in it.

In the same year, 1895, but a little later, "Velga" (originally "Northern Legend") also appeared. This is a story about the girl Velga's unrequited love for her childhood friend Irvald. She confesses her feelings to him, but he replies: “Tomorrow I will go to sea again, and when I return, I will take Sneggar by the hand” (Sneggar is Velga’s sister). Velga is tormented by jealousy, but when she finds out that her beloved has disappeared into the sea and that only she can save him, she swims away to the "wild cliff at the end of the world", where her beloved is languishing. Velga knows that she is destined to die and that Irwald will never know about her sacrifice, but this does not stop her. “He instantly woke up from a scream,” the voice of a friend touched his heart, but, looking, he saw only a seagull flying up screaming over the boat,” writes I. A. Bunin.

By the emotions caused by this story, we recognize in it the predecessor of the Dark Alleys cycle: love does not lead to happiness, on the contrary, it becomes a tragedy for a girl in love, but she, having experienced the feeling that brought her pain and suffering, does not regret anything “joy resounds in her lamentations.”

In style, "Velga" differs from all the works written by I. A. Bunin, both before and after it. This story has a very special rhythm, which is achieved by inversion, the reverse order of words (“And Velga began to sing ringing songs on the seashore through her tears”). The story resembles a legend not only in the style of speech. The characters in it are depicted schematically, their characters are not spelled out. The basis of the narrative is a description of their actions and feelings, but the feelings are rather superficial, clearly indicated by the author, often even in the speech of the characters themselves, for example: “I want to cry that you have been gone for so long, and I want to laugh that I see you again” (words Velgi).

In his first story about love, I. A. Bunin is looking for a way to express this feeling. But the poetic, in the form of a legend, narration does not satisfy him - there will be no more such works as "Velga" in the writer's work. I. A. Bunin continues to search for words and form to describe love.

In 1897, the story "Without a clan-tribe" appears. It, unlike "Velga", was already written in the usual Bunin manner - emotional, expressive, with a description of many shades of mood that add up to a single feeling of life at one time or another. In this work, the main character becomes the narrator, which we will see later in almost all Bunin's stories about love. However, when reading the story “Without a clan-tribe”, it becomes clear that the writer has not yet finally formulated for himself the answer to the question: “What is love?” Almost the entire work is a description of the state of the hero after he learns that Zina, the girl he loves, is marrying another. The author's attention is focused precisely on these feelings of the hero, but love itself, the relationship between the characters is presented in the light of the breakup that has occurred and is not the main thing in the story.

There are two women in the life of the protagonist: Zina, whom he loves, and Elena, whom he considers his friend. Two women and various, unequal attitudes towards them that appeared in I. A. Bunin in this story can also be seen in "Dark Alleys" (the stories "Zoyka and Valeria", "Natalie"), but in a slightly different light.

At the end of the conversation about the appearance of the theme of love in the work of I. A. Bunin, one cannot fail to mention the story "Autumn", written in 1901. “Made by a non-free, strained hand,” A.P. Chekhov wrote about him in one of his letters. In this statement, the word "tense" sounds like criticism. However, it is precisely the tension, the concentration of all feelings in a short period of time and the style, as if accompanying this situation, "not free", that make up the whole charm of the story.

"Well, I have to go!" she says and leaves. He is next. And, full of excitement, unconscious fear of each other, they go to the sea. “We quickly went through the leaves and puddles, along some high alley to the cliffs,” we read at the end of the third part of the story. "alley" - as if a symbol of future works, "Dark Alleys" of love, and the word "cliff" seems to personify everything that should happen between the characters. And indeed, in the story "Autumn" for the first time we see love as it appears before us in the later works of the writer - a flash, insight, a step over the edge of a cliff.

“Tomorrow I will remember this night with horror, but now I don’t care. I love you,” says the heroine of the story. And we understand that he and she are destined to part, but that both of them will never forget those few hours of happiness that they spent together.

The plot of the story "In Autumn" is very similar to the plots of "Dark Alleys", as well as the fact that the author does not indicate the names of either the hero or the heroine and that his character is barely outlined, while she occupies the main place in the story. This work combines with the cycle "Dark Alleys" also how the hero, and with him the author, treats a woman - reverently, with admiration: "she was incomparable", "her pale, happy and tired face seemed to me the face of an immortal ". However, all these obvious similarities are not the main thing that makes the story "Autumn" similar to the stories of "Dark Alleys". There is something more important. And this is the feeling that these works evoke, a feeling of unsteadiness, transience, but at the same time, the extraordinary power of love.

Chapter 2

The work of I. A. Bunin in the 1920s

Works about love, written by Ivan Alekseevich Bunin from autumn 1924 to autumn 1925 ("Mitina's Love", "Sunstroke", "Ida", "The Case of the Elagin Cornet"), with all the striking differences, are united by one idea underlying each of them. This idea is love as a shock, a “sunstroke”, a fatal feeling that brings moments of joy and great suffering, which fills the entire existence of a person and leaves an indelible mark on his life. Such an understanding of love, or rather its prerequisites, can also be seen in the early stories of I. A. Bunin, for example, in the story "Autumn", considered earlier. However, the theme of the fatal predestination and tragedy of this feeling is truly revealed by the author precisely in the works of the 1920s.

The hero of the story "Sunstroke" (1925), a lieutenant who is accustomed to easily relate to love adventures, meets a woman on a steamer, spends the night with her, and in the morning she leaves. “There has never been anything even similar to what happened to me, and there will never be again. It's like an eclipse hit me. Or, rather, we both got something like a sunstroke, ”she tells him before leaving. The lieutenant "somehow easily" agrees with her, but when she leaves, he suddenly realizes that it was not a simple road adventure. This is something more, which makes one feel “pain and uselessness of the whole future life without her”, without this “little woman”, who remained a stranger to him.

“The lieutenant sat under a canopy on the deck, feeling ten years older,” we read at the end of the story, and it becomes clear that the hero experienced a strong, all-consuming feeling. Love, Love with a capital letter, capable of becoming the most precious thing in a person's life and at the same time his torment, tragedy.

Love-instant, love-flash, we will see in the story "Ida", also written in 1925. The hero of this work is a middle-aged composer. He has a “stocky torso”, “a broad peasant face with narrow eyes”, a “short neck” - the image of a seemingly rather rude person, incapable, at first glance, of lofty feelings. But this is only at first glance. Being in a restaurant with friends, the composer leads his story in an ironic, mocking tone, he is embarrassed, unusual to talk about love, he even attributes the story that happened to him to his friend.

The hero talks about events that took place several years ago. In the house where he lives with his wife, her friend Ida often visited. She is young, pretty, with "rare harmony and naturalness of movements", lively "violet eyes". It should be noted that it was the story "Ida" that can be considered the beginning of the creation by I. A. Bunin of full-fledged female images. In this short work, as if in passing, between times, those features that the writer extolled in a woman are noted: naturalness, following the aspirations of one's heart, frankness in one's feelings towards oneself and towards a loved one.

However, back to the story. The composer does not seem to pay attention to Ida, and when one day she stops visiting their house, he does not even think to ask his wife about her. Two years later, the hero accidentally meets Ida at the railway station and there, among the snowdrifts, “on some of the farthest, side platforms”, she unexpectedly confesses her love to him. She kisses him "with one of those kisses that I remember later not only to the grave, but also in the grave," and leaves.

The narrator says that when he met Ida at that station, when he heard her voice, “he understood only one thing: that, it turns out, he has been brutally in love with this very Ida for many years.” And it is enough to look at the end of the story to understand that the hero still loves her, painfully, tenderly, nevertheless knowing that they cannot be together: entire area:

My sun! My beloved! Hurrah!

And in "Sunstroke" and "Ida" we see the impossibility of happiness for lovers, a kind of doom, doom that weighs on them. All these motifs are also found in two other works by I. A. Bunin, written around the same time: "Mitya's Love" and "The Case of Cornet Elagin". However, in them, these motives are, as it were, concentrated, they are the basis of the narrative and, as a result, lead the heroes to a tragic denouement - death.

"Don't you already know that love and death are inextricably linked?" - wrote I. A. Bunin and convincingly proved this in one of his letters: “Every time I experienced a love catastrophe, - and there were many of these love catastrophes in my life, or rather, almost every one of my loves was a disaster, “I was close to suicide.” These words of the writer himself can perfectly show the idea of ​​such his works as "Mitina's Love" and "The Case of Cornet Elagin", become a kind of epigraph for them.

The story "Mitya's Love" was written by I. A. Bunin in 1924 and became a commemoration of a new period in the writer's work. In this work, for the first time, he examines in detail the evolution of his hero's love. As an experienced psychologist, the author captures the slightest changes in the feelings of a young man.

The narrative is built only to a small extent on external moments, the main thing is the description of the thoughts and feelings of the hero. It is on them that all attention is focused. However, sometimes the author makes his reader, as it were, look around, see some, at first glance, insignificant, but characterizing the inner state of the hero, details. This feature of the narrative will manifest itself in many of the later works of I. A. Bunin, including Dark Alleys.

The story "Mitya's Love" tells about the development of this feeling in the soul of the main character - Mitya. When we meet him, he is already in love. But this love is not happy, not careless, it speaks of this, the very first line of the work sets it up: "In Moscow, Mitya's last happy day was on the ninth of March." How to explain these words? Perhaps this is followed by the separation of the heroes? Not at all. They continue to meet, but Mitya "stubbornly seems that something terrible has suddenly begun, something has changed in Katya."

At the heart of the whole work lies the internal conflict of the protagonist. The beloved exists for him, as it were, in a double perception: one is close, beloved and loving, dear Katya, the other is “genuine, ordinary, painfully different from the first.” The hero suffers from this contradiction, which is subsequently joined by the rejection of both the environment in which Katya lives and the atmosphere of the village where he will leave.

In "Mitya's Love" for the first time, an understanding of the surrounding reality as the main obstacle to the happiness of lovers is clearly traced. The vulgar artistic environment of St. Petersburg, with its "falsehood and stupidity", under the influence of which Katya becomes "all alien, all public", is hated by the protagonist, just like the village one, where he wants to go to "give himself a rest". Running away from Katya, Mitya thinks that he can also run away from his painful love for her. But he is mistaken: in the village, where everything would seem so nice, beautiful, expensive, the image of Katya haunts him all the time.

Gradually, the tension builds up, the psychological state of the hero becomes more and more unbearable, step by step leading him to a tragic denouement. The ending of the story is predictable, but no less terrible: “She, this pain, was so strong, so unbearable, that wanting only one thing - to get rid of her at least for a minute, he fumbled and pushed the drawer of the night table, caught a cold and heavy lump of a revolver and, with a deep and joyful sigh, he opened his mouth and fired with force, with pleasure.

On the night of July 19, 1890, in the city of Warsaw, in the house number 14 on Novgorodskaya Street, the cornet of the hussar regiment Alexander Bartenev shot from a revolver shot the artist of the local Polish theater Maria Visnovskaya. Soon the offender confessed to his deed and said that he had committed the murder at the insistence of Visnovskaya herself, his lover. This story was widely covered in almost all the newspapers of that time, and I. A. Bunin could not help but hear about it. It was the Bartenev case that served as the basis for the plot of the story, created by the writer 35 years after this event. Subsequently (this will be especially evident in the cycle "Dark Alleys"), when creating stories, I. A. Bunin will also turn to his memories. Then it will be enough for him to have an image flashed in his imagination, a detail, in contrast to the "Cornet Elagin Case", in which the writer will leave the characters and events practically unchanged, trying, however, to identify the true reasons for the cornet's act.

Following this goal, in "The Case of Cornet Elagin" I. A. Bunin for the first time will focus the reader's attention not only on the heroine, but also on the hero. The author will describe in detail his appearance: “a small, frail, reddish and freckled man, on crooked and unusually thin legs”, as well as his character: “a man very fond of, but as if always expecting something real, unusual”, “he used to modest and shyly secretive, then he fell into some recklessness, bravado. However, this experience turned out to be unsuccessful: the author himself wanted to name his work, in which it is the hero, and not his feeling, that occupies a central place, “Boulevard novel” I. A. Bunin will no longer return to this type of narration - in his further works about love , in the cycle "Dark Alleys" we will no longer see stories where the spiritual world and the character of the hero would be considered in such detail - all the author's attention will be focused on the heroine, which will serve as a reason for recognizing "Dark Alleys" as "a string of female types".

Despite the fact that I. A. Bunin himself wrote about the “Cornet Elagin Case”: “It’s just very stupid and simple,” this work contains one of the thoughts that became the basis of Bunin’s formed philosophy of love: “Is it really not known what is strange property of any strong and generally not quite ordinary love, even how to avoid marriage? Indeed, among all the subsequent works of I. A. Bunin, we will not find a single one in which the characters would come to a happy life together, not only in marriage, but in principle. The cycle "Dark Alleys", which is considered the pinnacle of the writer's work, will be devoted to love that dooms suffering, love as a tragedy, and the prerequisites for this should undoubtedly be sought in the early works of I. A. Bunin.

Chapter 3

It was a wonderful spring

They were sitting on the beach

She was in her prime,

His mustache was barely black

Around the wild rose scarlet bloomed,

There was an alley of dark lindens

N. Ogarev "Ordinary Tale".

These lines, once read by I. A. Bunin, evoked in the writer's memory what one of his stories begins with - Russian autumn, bad weather, a high road, a tarantass and an old military man passing through it. “The rest all somehow came together, was invented very easily, unexpectedly,” I. A. Bunin will write about the creation of this work, and these words can be attributed to the entire cycle, which, like the story itself, bears the name “Dark alleys".

"Encyclopedia of love", "encyclopedia of love dramas" and, finally, according to I. A. Bunin himself, "the best and most original" that he wrote in his life - all this is about the cycle "Dark Alleys". What is this cycle about? What is the philosophy behind it? What ideas unite the stories?

First of all, this is the image of a woman and her perception by a lyrical hero. The female characters in "Dark Alleys" are extremely diverse. These are “simple souls” devoted to their beloved, such as Styopa and Tanya in the works of the same name; and bold, self-confident, sometimes extravagant women in the stories "Muse" and "Antigone"; and heroines who are spiritually rich, capable of a strong, lofty feeling, whose love is capable of giving unspeakable happiness: Rusya, Heinrich, Natalie in the stories of the same name; and the image of a restless, suffering, languishing "some kind of sad thirst for love" woman - the heroine of "Clean Monday". However, for all their apparent alienation to each other, these characters, these heroines are united by one thing - the presence in each of them of the original femininity, "light breathing ”, as I. A. Bunin himself called her. This feature of some women was defined by him in his early works, such as, for example, "Sunstroke" and the story "Light Breathing", about which I. A. Bunin said: "We call it uterine, and I called it light breathing." How to understand these words? What is womb? Naturalness, sincerity, spontaneity and openness to love, submission to the movements of one's heart - all that is the eternal secret of female charm.

Turning to the heroine, to the woman, and not to the hero in all the works of the Dark Alleys cycle, making her the center of the story, the author, like every man, in this case a lyrical hero, tries to unravel the riddle of the Woman. He describes many female characters, types, not at all in order to show how diverse they are, but in order to get as close as possible to the secret of femininity, to create a unique formula that would explain everything. “Women seem mysterious to me. The more I study them, the less I understand, ”I. A. Bunin writes these words of Flaubert in his diary.

The writer creates "Dark Alleys" already at the end of his life - at the end of 1937 (the time of writing the first story of the cycle, "The Caucasus"), I. A. Bunin is 67 years old. He lives with Vera Nikolaevna in Nazi-occupied France, far from his homeland, from friends, acquaintances and just people with whom he could talk in his native language. All that remains with the writer is his memoirs. They help him not only to relive once again what happened then, long ago, almost in a past life. The magic of memories becomes for I. A. Bunin a new basis for creativity, allowing him to work, write again, and thus giving him the opportunity to survive in a bleak and alien environment in which he finds himself.

Almost all the stories of "Dark Alleys" are written in the past tense, sometimes even with an emphasis on this: "In that distant time, he spent himself especially recklessly" ("Tanya"), "He did not sleep, lay, smoked and mentally looked at that summer "("Rusya"), "In the fourteenth year, on New Year's Eve, there was the same quiet, sunny evening as the unforgettable one" ("Clean Monday") Does this mean that the author wrote them "from nature", recalling the events own life? No. I. A. Bunin, on the contrary, always claimed that the plots of his stories were fictitious. “In it, everything from word to word is invented, as in almost all of my stories, both past and present,” he said about “Natalie”.

Why, then, was this look from the present into the past needed, what did the author want to show by this? The most accurate answer to this question can be found in the story "Cold Autumn", which tells about a girl who saw off her fiancé to the war. Having lived a long, difficult life after she learned that her loved one had died, the heroine says: “But what happened in my life anyway? Just that cold autumn evening. the rest is an unnecessary dream.” True love, true happiness are only moments in a person’s life, but they are able to illuminate his existence, become the most important and important for him and, ultimately, mean more than the whole life he has lived. This is exactly what I. A. Bunin wants to convey to the reader, showing in his stories love as something that has already become a particle of the past, but left an indelible mark on the souls of the heroes, like lightning illuminated their lives.

The death of a hero in the stories "Cold Autumn" and "In Paris"; impossibility to be together in "Rus", "Tanya"; the death of the heroine in "Natalie", "Heinrich", the story "Oaks" Almost all the stories of the cycle, with the exception of works that are almost plotless, such as "Smaragd", tell us about the inevitability of a tragic ending. And the reason for this is not at all that misfortune, grief is more diverse in its manifestations, in contrast to happiness, and, therefore, it is “more interesting” to write about it. Not at all. The long, serene existence of lovers together in the understanding of I. A. Bunin is no longer love. When a feeling turns into a habit, a holiday into weekdays, excitement into calm confidence, Love itself disappears. And in order to prevent this, the author "stops the moment" at the highest rise of feelings. Despite the separation, grief and even death of the heroes, which seem to the author less terrible for love than everyday life and habit, I. A. Bunin does not get tired of repeating that love is the greatest happiness. “Is there an unhappy love? Doesn't the most mournful music in the world give happiness? - says Natalie, who survived the betrayal of her beloved and a long separation from him.

"Natalie", "Zoyka and Valeria", "Tanya", "Galya Ganskaya", "Dark Alleys" and a few other works - these are, perhaps, all the stories out of thirty-eight in which the main characters: he and she - have names. This is due to the fact that the author wants to focus the reader's attention primarily on the feelings and experiences of the characters. External factors, such as names, biographies, sometimes even what is happening around, are omitted by the author as unnecessary details. The heroes of "Dark Alleys" live, captured by their feelings, they do not notice anything around. Reasonable loses all meaning, only submission to feeling, “non-thinking” remains. Under such a narrative, the very style of the story, as it were, adjusts, letting us feel the irrationality of love.

Details, such as the description of nature, the appearance of the characters, what is called the "background of the story", are still present in "Dark Alleys". However, they are again designed to draw the reader's attention to the feelings of the characters, to complement the picture of the work with bright touches. The heroine of the story "Rusya" presses the cap of her brother's tutor to her chest when they go for a boat ride, with the words: "No, I will take care of him!" And this simple, frank exclamation becomes the first step towards their rapprochement.

In many stories of the cycle, such as, for example, "Rusya", "Antigone", "In Paris", "Galya Ganskaya", "Clean Monday", the final rapprochement of the characters is shown. In the rest, it is implied to one degree or another: in “The Fool” it is said about the connection of the deacon’s son with the cook and that he has a son from her, in the story “One Hundred Rupees” the woman who struck the narrator with her beauty turns out to be corrupt. It was this feature of Bunin's stories that probably served as the reason for identifying them with Junker poems, "literature not for ladies." I. A. Bunin was accused of naturalism, the eroticization of love.

However, when creating his works, the writer simply could not set himself the goal of making the image of a woman as an object of desire mundane, simplifying it, thereby turning the narrative into a vulgar scene. A woman, like a woman's body, has always remained for I. A. Bunin "wonderful, inexpressibly beautiful, completely special in everything earthly." Striking with his mastery of artistic expressiveness, I. A. Bunin balanced in his stories on that subtle border where true art does not decrease even to the hint of naturalism.

The stories of the cycle "Dark Alleys" contain the problem of sex because it is inseparable from the problem of love in general. I. A. Bunin is convinced that love is a union of earthly and heavenly, body and spirit. If the different sides of this feeling are focused not on one woman (as in almost all the stories of the cycle), but on different ones, or only the “earthly” (“Fool”) or only the “heavenly” is present, this leads to an inevitable conflict, as, for example, in the story "Zoyka and Valeria". The first, a teenage girl, is the subject of the hero’s desire, while the second, “a real Little Russian beauty”, cold to him, inaccessible, causes passionate adoration, devoid of hope for reciprocity. When, out of a sense of revenge for the man who rejected her, Valeria is given to the hero, and he understands this, a long-overdue conflict of two loves breaks out in his soul. “He resolutely rushed, pounding on the sleepers, down the slope, towards the steam locomotive escaping from under him, rumbling and blinding with lights,” we read at the end of the story.

The works included by I. A. Bunin in the cycle "Dark Alleys", for all their dissimilarity, heterogeneity at first glance, are valuable precisely because, when read, they form, like multi-colored mosaic tiles, a single harmonious picture. And this picture depicts Love. Love in its wholeness, Love that goes hand in hand with tragedy, but is at the same time a great happiness.

Finishing the conversation about the philosophy of love in the works of I. A. Bunin, I would like to say that it is his understanding of this feeling that is closest to me, as, I think, to many modern readers. Unlike the writers of romanticism, who presented the reader only with the spiritual side of love, from the followers of the idea of ​​the connection of sex with God, such as V. Rozanov, from the Freudians, who put the biological needs of man in the first place in matters of love, and from the symbolists, who bowed before the woman, the Beautiful Lady, I. A. Bunin, in my opinion, was closest to the understanding and description of love that really exists on earth. As a true artist, he was able not only to present this feeling to the reader, but also to point out in it what made and makes many people say: "He who did not love, he did not live."

The path of Ivan Alekseevich Bunin to his own understanding of love was long. In his early works, for example, in the stories "Teacher", "In the Country", this topic was practically not developed. In later ones, such as "The Case of Cornet Elagin" and "Mitina's Love", he searched for himself, experimented with the style and manner of narration. And, finally, at the final stage of his life and work, he created a cycle of works in which his already formed, integral philosophy of love was expressed.

After going through a rather long and fascinating path of research, I came to the following conclusions in my work.

In Bunin's interpretation of love, this feeling is, first of all, an unusual upsurge of emotions, a flash, a lightning bolt of happiness. Love cannot last long, which is why it inevitably entails tragedy, grief, separation, preventing everyday life, everyday life and habit from destroying itself.

It is the moments of love, the moments of its most powerful expression, that are important to I. A. Bunin, so the writer uses the form of memories for his narrative. After all, only they are able to hide everything unnecessary, petty, superfluous, leaving only a feeling - love, illuminating with its appearance the whole life of a person.

According to I. A. Bunin, love is something that cannot be rationally comprehended, it is incomprehensible, and nothing but the feelings themselves, no external factors are important for it. It is this that can explain the fact that in most of the works of I. A. Bunin about love, the heroes are deprived not only of biographies, but even of names.

The image of a woman is central in the later works of the writer. It is always more interesting for the author than he is, all attention is focused on it. I. A. Bunin describes many female types, trying to comprehend and capture on paper the secret of a Woman, her charm.

Speaking the word "love", I. A. Bunin means not only its spiritual and not only its physical side, but their harmonious combination. It is this feeling, which combines both opposite principles, that, according to the writer, can give a person true happiness.

The stories of I. A. Bunin about love could be analyzed endlessly, since each of them is a work of art and is unique in its own way. However, the purpose of my work was to trace the formation of Bunin's philosophy of love, to see how the writer went to his main book "Dark Alleys", and to formulate the concept of love, which was reflected in it, revealing the common features of his works, some of their patterns. Which is what I tried to do. And I hope I succeeded.



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