It is unlikely that anyone will argue that one of the best pages of Bunin's prose is dedicated to a woman. Amazing female characters appear before the reader, in the light of which male images fade. This is especially characteristic of the book "Dark Alleys". Women play a major role here. Men, as a rule, are just a background that sets off the characters and actions of the heroines. Bunin always sought to comprehend the miracle of femininity, the secret of irresistible female happiness. “Women seem mysterious to me. The more I study them, the less I understand, ”he writes such a phrase from Flaubert’s diary. Here we have Nadezhda from the story “Dark Alleys”: “... a dark-haired, also black-browed and also still beautiful woman who looked like an elderly gypsy, with a dark fluff on her upper lip and along her cheeks, entered the room, light on the go, but full , with large breasts under a red blouse, with a triangular, like a goose, belly under a black woolen skirt. With amazing skill, Bunin finds the right words and images. They seem to have color and shape. A few precise and colorful strokes - and before us is a portrait of a woman. However, Nadezhda is good not only outwardly. She has a rich and deep inner world. For more than thirty years, she has kept in her soul love for the master who once seduced her. They met by chance in a “staying room” by the road, where Nadezhda is the hostess, and Nikolai Alekseevich is a traveler. He is not able to rise to the height of her Feelings, to understand why Nadezhda did not marry “with such beauty that ... she had”, how it is possible to love one person all your life. There are many other most charming female images in the book “Dark Alleys”: sweet gray-eyed Tanya, “a simple soul”, devoted to her beloved, ready for any sacrifice for him (“Tanya”); the tall, stately beauty Katerina Nikolaevna, the daughter of her century, who may seem too bold and extravagant (“Antigone”); the simple-hearted, naive Polya, who retained her childish purity of soul, despite her profession (“Madrid”) and so on. The fate of most of Bunin's heroines is tragic. Suddenly and soon the happiness of Olga Alexandrovna, an officer's wife, is cut short, who is forced to serve as a waitress ("In Paris"), breaks up with her beloved Rusya ("Rusya"), dies from childbirth Natalie ("Natalie"). The finale of another short story in this cycle, Galya Ganskaya, is sad. The hero of the story, the artist, does not get tired of admiring the beauty of this girl. At thirteen, she was "sweet, frisky, graceful ... extremely, a face with blond curls along her cheeks, like an angel's." But time passed, Galya matured: “... no longer a teenager, not an angel, but an amazingly pretty thin girl ... The face under a gray hat is half covered with an ashy veil, and aquamarine eyes shine through it.” Passionate was her feeling for the artist, great and his attraction to her. However, soon he was going to leave for Italy, for a long time, for a month and a half. In vain does the girl persuade her lover to stay or take her with her. Having been refused, Galya committed suicide. Only then did the artist realize what he had lost. It is impossible to remain indifferent to the fatal charm of the Little Russian beauty Valeria (“Zoyka and Valeria”): “... she was very good: strong, fine, with thick dark hair, with velvet eyebrows, almost fused, with formidable eyes the color of black blood, with hot a dark blush on a tanned face, with a bright gleam of teeth and full cherry lips. The heroine of the short story "Camargue", despite the poverty of her clothes and the simplicity of her manners, simply torments men with her beauty. No less beautiful is the young woman from the story "One Hundred Rupees". Her eyelashes are especially good: "... like those heavenly butterflies that so magically flicker on heavenly Indian flowers." When the beauty is reclining in her reed armchair, “measuredly shimmering with the black velvet of her butterfly eyelashes”, waving her fan, she gives the impression of a mysteriously beautiful, unearthly creature: “Beauty, intelligence, stupidity - all these words did not go to her in any way, as they did not go everything human: truly it was as if from some other planet. And what are the astonishment and disappointment of the narrator, and with it ours, when it turns out that anyone who has a hundred rupees in his pocket can possess this unearthly charm! The string of charming female images in Bunin's short stories is endless. But, speaking of the female beauty captured on the pages of his works, one cannot fail to mention Olya Meshcherskaya, the heroine of the story “Light Breath”. What an amazing girl she was! Here is how the author describes it: “At the age of fourteen, with a thin waist and slender legs, her breasts and all those forms were already well outlined, the charm of which the human word had never yet expressed; at fifteen she was already known as a beauty. But the main essence of the charm of Olya Meshcherskaya was not in this. Everyone, probably, had to see very beautiful faces, which you get tired of looking at after a minute. Olya was first of all a cheerful, "live" person. There is not a drop of stiffness, affectation or self-satisfied admiration of her beauty in her: “And she was not afraid of anything - no ink stains on her fingers, no flushed face, no disheveled hair, no knee that became naked when she fell on the run.” The girl seems to radiate energy, the joy of life. However, "the more beautiful the rose, the faster it fades." The ending of this story, like other Bunin novels, is tragic: Olya dies. However, the charm of her image is so great that even now romantics continue to fall in love with him. Here is how K.G. writes about this. Paustovsky: “Oh, if only I knew! And if I could! I would cover this grave with all the flowers that only bloom on earth. I already loved this girl. I shuddered at the irreparability of her fate. I ... naively reassured myself that Olya Meshcherskaya was a Bunin fiction, that only a tendency to a romantic perception of the world makes me suffer because of a sudden love for a dead girl. Paustovsky, on the other hand, called the story “Light Breath” a sad and calm reflection, an epitaph to girlish beauty. On the pages of Bunin's prose there are many lines devoted to sex, a description of a naked female body. Apparently, the writer's contemporaries more than once reproached him for "shamelessness" and base feelings. Here is the rebuke the writer gives to his ill-wishers: “... how I love ... you, “human wives, a network of seduction by man”! This “network” is something truly inexplicable, divine and diabolical, and when I write about it, I try to express it, I am reproached for shamelessness, for low motives ... It is well said in one old book: “The writer has the same full right to be bold in his verbal images of love and its faces, which at all times was provided in this case to painters and sculptors: only vile souls see the vile even in the beautiful ... ”Bunin knows how to speak very frankly about the most intimate, but never crosses the border where there is no place art. Reading his short stories, you do not find even a hint of vulgarity or vulgar naturalism. The writer subtly and tenderly describes love relationships, "Earthly Love." “And how he embraced his wife and he her, her whole cool body, kissing her still wet breasts, smelling of toilet soap, eyes and lips, from which she had already wiped the paint.” ("In Paris"). And how touching are the words of Rus' addressed to her beloved: “No, wait, yesterday we kissed somehow stupidly, now I will kiss you first, only quietly, quietly. And you hug me ... everywhere ... ”(“ Rusya ”). The miracle of Bunin's prose was achieved at the cost of the great creative efforts of the writer. Without this great art is unthinkable. Here is how Ivan Alekseevich himself writes about this: “... that marvelous, indescribably beautiful, something completely special in everything earthly, which is the body of a woman, has never been written by anyone. We need to find some other words." And he found them. Like an artist and sculptor, Bunin recreated the harmony of colors, lines and shapes of a beautiful female body, sang the Beauty embodied in a woman.
At all times, Russian writers raised in their work "eternal questions": life and death, love and separation, the true destiny of a person, paid close attention to his inner world, his moral quest. The creative credo of the writers of the 19th-20th centuries was "an in-depth and essential reflection of life." To the knowledge and understanding of the individual and national, they went from the eternal, universal.
One of such eternal human values is love - a unique state of a person, when a feeling of the integrity of the personality arises in him, the harmony of the sensual and spiritual, body and soul, beauty and goodness. And it is a woman who, having felt the fullness of being in love, is able to make high demands and expectations on life.
In Russian classical literature, female images more than once became the embodiment of the best features of the national character. Among them are a gallery of colorful female types created by A. N. Ostrovsky, N. A. Nekrasov, L. N. Tolstoy; expressive images of the heroines of many works by I. S. Turgenev; captivating female portraits of I. A. Goncharov. A worthy place in this series is occupied by wonderful female images from the stories of I. A. Bunin. Despite the unconditional differences in life circumstances, the heroines of the works of Russian writers undoubtedly have the main common feature. They are distinguished by the ability to love deeply and selflessly, revealing themselves as a person with a deep inner world.
Let's remember Nadezhda, the heroine of the story that gave the name to the cycle "Dark Alleys". The story of her love, unfortunately, is "vulgar", "ordinary": a former serf, "heartlessly" and "insultingly" abandoned by a young master. In her youth, she was "magically" beautiful, "beautiful", "hot", sincerely in love with Nikolenka, as she then called Nikolai Alekseevich. And he seemed to love her too. He admired her beauty and youth, her slender figure, marvelous eyes, read beautiful poems about "dark alleys" ... She gave him both "her beauty" and "her fever", and he betrayed her, not wanting to neglect social norms, married a woman of his circle. Soon after parting with her beloved, Nadezhda received her freedom. With her beauty, youth, newfound freedom, she, too, could get married, have children, live a completely happy life, but she did not want to.
Throughout her life, she carried a deep feeling of first love. Nadezhda's life path was not easy, but she did not lose heart, she retained her self-esteem. She maintains an inn, "gives money at interest", "gets richer", but she lives according to her conscience, is strict and fair, for which people respect her. But the woman meets the autumn of her life alone, with hidden resentment and unfulfilled hopes for love, which is still alive in her heart. As in her youth, she had no one dearer than Nikolenka, "and then it was not," but Nadezhda could not forgive, could not forget the offense inflicted. A chance meeting after thirty years of separation was given to Nadezhda by fate itself as an opportunity to understand and forgive, because nothing can be fixed.
It is clear that the social inequality of the heroes is only an external reason for their failed happiness. “Over the years, everything passes,” the hero claims. “As it is said in the book of Job? “How will you remember the water that has flowed.” “What does God give to whom, Nikolai Alekseevich,” Nadezhda argues with him. “Youth passes for everyone, but love is another matter.” Love remains in the soul forever, the author tells us, because love is a huge force that can turn a person’s whole life and worldview upside down. Love is tragic and often brings suffering, but it also gives unforgettable moments of happiness, elevating a person, raising above the world of everyday fuss and being remembered for a lifetime.The power of love is in its spiritual significance for a person.
In love, in the peculiarities of experiencing this feeling by a person, Bunin saw the manifestation of the most general laws of life, the connection of the individual with the life of the Universe. The story of the young schoolgirl Olya Meshcherskaya from the story "Light Breath" seems to be in no way connected with the stated topics, but this is only at first glance. Already at the very beginning of the story, the theme of the work emerges - the theme of life and death, their inextricable connection and incomprehensible mystery: "In the cemetery, over a fresh clay embankment, there is a new cross made of oak, strong, heavy, smooth ... A rather large one is embedded in the very cross convex porcelain medallion, and in the medallion - a photographic portrait of a schoolgirl with joyful, amazingly lively eyes. And then follows a story about the main character, Olenka Meshcherskaya.
Bunin did not begin to build the life story of his heroine in chronological order. He highlighted only a few episodes in which her essence is most clearly manifested. Olya is depicted against the general background of life, gradually standing out from it. As a girl, she was no different from other "pretty, rich and happy" schoolgirls. Just like many of them, she was capable, playful and careless to the instructions of a classy lady, but then she began to "bloom, develop by leaps and bounds" and at the age of fifteen she was already known as a real beauty. "Without any of her worries and efforts, and somehow imperceptibly, everything that so distinguished her in the last two years from the entire gymnasium came to her - grace, elegance, dexterity ...". The charm of Olenka works flawlessly on others. First-graders love her, the schoolboy Shenshin is in love with her, and 56-year-old Malyutin and a young Cossack officer are fascinated by her.
In the gymnasium, Olya's actions, her "windy" behavior become the subject of general discussion and condemnation. Her indefatigable thirst for life, fun, clear sparkle of her eyes do not give rest to anyone. "She's completely crazy," they say about her. Olya herself is having a hard time with her unexpected growing up. Yes, Meshcherskaya does not listen to instructions, does not try to live in accordance with the norms, but after all, these norms are conditional. It is no coincidence that the seducer of the girl turns out to be "daddy's friend and neighbor", the brother of the head of the gymnasium.
The page from the diary, where Olya first describes her joy and happiness from communicating with the outside world, and then disgust, after she was seduced by a middle-aged man, indicates that the heroine is overwhelmed by the discovery of her own essence. “I don’t understand how this could happen, I went crazy, I never thought that I was like that! Now I have only one way out ... I feel such disgust for him that I can’t survive this! ..” The girl seems to that it is impossible to live on, and her death does not seem accidental. One gets the impression that she herself is striving towards her death.
At the end of the work, Olya tells her friend that she read in one of her father's books what beauty a real woman should have: But I have it ... " Olya Meshcherskaya really had a light, natural breath. She seemed to be preparing for some special, unique fate, which is worthy only of the elect, but Olino's "light breath", her joyful and careless perception of life turns out to be incompatible with life itself: "Now this light breath has again scattered in the world, in this cloudy sky , in this cold spring wind", became its integral part.
The word “again” seems to emphasize the transience of life, the ease of disappearance, and at the same time, one feels invincible eternity in it: youth and beauty are doomed to perish (death or old age), but they remain to live forever (in memory, in new manifestations). Thus, the confrontation between life and death is resolved in the end in favor of life, since the craving for the beautiful, bright, perfect, embodied in the image of Olya Meshcherskaya, will never disappear.
Through all the work of Bunin, the motive of longing for the passing past and the opposition of man to the soulless civilization of the new time runs. And if in most of his works love is the only saving power, then the only power worthy of competing with love is the power of faith, religion. The image of the main character of the story "Clean Monday" convincingly proves that there are feelings no less high and strong than love, but this is also a mystery, a mystery beyond the control of the human mind.
The heroine of the story "Clean Monday" is young, rich and unusually pretty. Admiring the appearance of the girl, the hero emphasizes that her beauty was some kind of oriental - "Indian, Persian: a swarthy amber face, magnificent and somewhat sinister in its thick black hair, softly shining like black sable fur, eyebrows black, like velvet coal, eyes..." There is everything in her life - comfort, grace, independence, the opportunity to enjoy life, but literally from the first lines it is felt that there is no happiness and peace in her soul. She is clearly dissatisfied with life. “It looked like she didn’t need anything,” the hero explains, “no flowers, no books, no dinners, no theaters, no dinners outside the city, although all the same, she had favorite and unloved flowers, all the books that I brought it to her, she always read, ... dined and dined with a Moscow understanding of the matter, "attended balls and theaters, her obvious weakness was" good clothes, velvet, silks, expensive fur.
The heroine painfully searches for her calling, trying to combine the pleasure of beautiful clothes, delicious food, flowers, bohemian life with the desire for purity, rigor, asceticism, characteristic of Russian Orthodox culture. In her life, erotic novels of the new time (Pshibyshevsky, Tetmayer, Schnitzler) coexist side by side, and the work of contemporaries - Andrei Bely, Valery Bryusov, Leonid Andreev, with a gravitation towards the ancient Russian "pre-Petrine" culture, which resulted in an open comparison of her life with the poetic "Tale of Peter and Fevronia of Murom". Despite the fact that the heroine favorably accepts the courtship of a lover in love, she herself does not love, or rather, cannot fall in love, not seeing the path to a meaningful life in realized love. Her dream of the only, pure and sublime love that unites spouses even after death coexists with the idea of a person who loves her as a devilish temptation, a fiery serpent, who in human form is "very beautiful." The duality of the heroine’s nature is explained not only by the incompatibility of external everyday life and deep inner work (the hero says that she read a lot, “she was thinking something, everything seemed to delve into something in her mind”), but also the intersection in the then Moscow, yes and in Russia in general, two opposite cultures with mutually exclusive traditions. Hence the coexistence of mutually exclusive, at first glance, images of the heroine, a true Moscow resident (a modest student, a socialite, a "Shamakhani queen" and a nun), her desires and aspirations. She herself languishes, wanting to understand, to clarify the only path acceptable for herself, but initially she does not believe in the possibility of a final choice: "Why is everything done in the world? Do we understand anything in our actions?" Even such an unusual choice of a life path does not bring her peace - serving God. This choice does not seem final to her.
The searching look in the final scene speaks of the lack of harmony in the soul of the young nun, of the incompleteness of the search.
The story "Clean Monday" Bunin considered the best of all that he had written. “I thank God,” he said, “that he gave me the opportunity to write Clean Monday.” Behind the simple plot of this story lies an allegorical, symbolically expressed idea about the historical path of Russia. The mysterious heroine embodies not the idea of love-passion, but longing for moral ideal, therefore the combination of eastern and western principles is so significant in it as a reflection of this combination in the life of Russia.
The unexpected departure of the heroine to the monastery, which so stunned the man in love with her, symbolizes the special, "third way" that Bunin chose for Russia. This is the path of labor and humility, the curbing of passions, in which the writer sees an opportunity to go beyond the bounds of Western and Eastern doom, the path of great suffering, in which Russia will be cleansed and find its own, only true, path.
It is unlikely that anyone will argue that some of the best pages of Bunin's prose are dedicated to the Woman. Amazing female characters appear before the reader, in the light of which male images fade. This is especially characteristic of the book "Dark Alleys". Women play a major role here. Men, as a rule, are just a background that sets off the characters and actions of the heroines.
Bunin always sought to comprehend the miracle of femininity, the secret of irresistible female happiness. “Women seem mysterious to me. The more I study them, the less I understand, ”he writes such a phrase from Flaubert’s diary.
Here we have Nadezhda from the story “Dark Alleys”: “... a dark-haired, also black-browed and also still beautiful woman who looked like an elderly gypsy, with a dark fluff on her upper lip and along her cheeks, light on the go, entered the room, but full, with large breasts under a red blouse, with a triangular belly, like that of a goose, under a black woolen skirt. With amazing skill, Bunin finds the right words and images. They seem to have color and shape. A few precise and colorful strokes - and before us is a portrait of a woman. However, Nadezhda is good not only outwardly. She has a rich and deep inner world. For more than thirty years, she has kept in her soul love for the master who once seduced her. They met by chance in the "intern room" by the road, where Nadezhda is the hostess, and Nikolai Alekseevich is a traveler. He is not able to rise to the height of her feelings, to understand why Nadezhda did not marry "with such beauty that she ... had", how you can love one person all your life.
There are many other most charming female images in the book “Dark Alleys”: sweet gray-eyed Tanya, “a simple soul”, devoted to her beloved, ready for any sacrifice for him (“Tanya”); the tall, stately beauty Katerina Nikolaevna, the daughter of her century, who may seem too bold and extravagant (“Antigone”); the simple-hearted, naive Polya, who retained her childish purity of soul, despite her profession (“Madrid”) and so on.
The fate of most of Bunin's heroines is tragic. Suddenly and soon the happiness of Olga Alexandrovna, an officer's wife, is cut short, who is forced to serve as a waitress ("In Paris"), breaks up with her beloved Rusya ("Rusya"), dies from childbirth Natalie ("Natalie").
The finale of another short story in this cycle, Galya Ganskaya, is sad. The hero of the story, the artist, does not get tired of admiring the beauty of this girl. At thirteen, she was "sweet, frisky, graceful ... extremely, a face with blond curls along her cheeks, like an angel's." But time passed, Galya matured: “... no longer a teenager, not an angel, but an amazingly pretty thin girl ... The face under a gray hat is half covered with an ashy veil, and aquamarine eyes shine through it.” Passionate was her feeling for the artist, great and his attraction to her. However, soon he was going to leave for Italy, for a long time, for a month and a half. In vain does the girl persuade her lover to stay or take her with her. Having been refused, Galya committed suicide. Only then did the artist realize what he had lost.
It is impossible to remain indifferent to the fatal charm of the Little Russian beauty Valeria (“Zoyka and Valeria”): “... she was very good: strong, fine, with thick dark hair, with velvet eyebrows, almost fused, with formidable eyes the color of black blood, with a hot dark blush on a tanned face, with a bright gleam of teeth and full cherry lips. The heroine of the short story "Komarg", despite the poverty of her clothes and the simplicity of her manners, simply torments men with her beauty. No less beautiful is the young woman from the story "One Hundred Rupees".
Her eyelashes are especially good: "... like those heavenly butterflies that so magically flicker on heavenly Indian flowers." When the beauty is reclining in her reed chair, “measuredly shimmering with the black velvet of her butterfly eyelashes”, waving her fan, she gives the impression of a mysteriously beautiful, unearthly creature: “Beauty, intelligence, stupidity - all these words did not go to her, as they did not go everything human: truly it was as if from some other planet. And what are the astonishment and disappointment of the narrator, and with it ours, when it turns out that anyone who has a hundred rupees in his pocket can possess this unearthly charm!
The string of charming female images in Bunin's short stories is endless. But, speaking of the female beauty captured on the pages of his works, one cannot fail to mention Olya Meshcherskaya, the heroine of the story “Light Breath”. What an amazing girl she was! Here is how the author describes it: “At the age of fourteen, with a thin waist and slender legs, her breasts and all those forms were already well outlined, the charm of which the human word had never yet expressed; at fifteen she was already known as a beauty. But the main essence of the charm of Olya Meshcherskaya was not in this. Everyone, probably, had to see very beautiful faces, which you get tired of looking at after a minute. Olya was first of all a cheerful, "live" person. There is not a drop of stiffness, affectation or self-satisfied admiration of her beauty in her: “But she was not afraid of anything - no ink spots on her fingers, no flushed face, no disheveled hair, no knee that became naked when she fell on the run.” The girl seems to radiate energy, the joy of life. However, "the more beautiful the rose, the faster it fades." The ending of this story, like other Bunin novels, is tragic: Olya dies. However, the charm of her image is so great that even now romantics continue to fall in love with him. Here is how K.G. writes about this. Paustovsky: “Oh, if only I knew! And if I could! I would cover this grave with all the flowers that only bloom on earth. I already loved this girl. I shuddered at the irreparability of her fate. I ... naively consoled myself with the fact that Olya Meshcherskaya is Bunin's fiction, that only a penchant for a romantic perception of the world makes me suffer because of a sudden love for a dead girl.
Paustovsky, on the other hand, called the story “Light Breath” a sad and calm reflection, an epitaph to girlish beauty.
On the pages of Bunin's prose there are many lines devoted to sex, a description of a naked female body. Apparently, the writer's contemporaries more than once reproached him for "shamelessness" and base feelings. Here is the rebuke the writer gives to his ill-wishers: “... how I love ... you, “human wives, a network of seduction by man”! This “network” is something truly inexplicable, divine and diabolical, and when I write about it, I try to express it, I am reproached for shamelessness, for base motives... It is well said in one old book: “The writer has the same full right to be bold in their verbal images of love and its faces, which at all times was provided in this case to painters and sculptors: only vile souls see the vile even in the beautiful ... "
Bunin knows how to speak very frankly about the most intimate, but he never crosses the line where there is no place for art. Reading his short stories, you do not find even a hint of vulgarity or vulgar naturalism. The writer subtly and tenderly describes love relationships, "Earthly Love." “And how he embraced his wife and he her, her whole cool body, kissing her still wet breasts, smelling of toilet soap, eyes and lips, from which she had already wiped the paint.” ("In Paris").
And how touching are the words of Rus' addressed to her beloved: “No, wait, yesterday we kissed somehow stupidly, now I will kiss you first, only quietly, quietly. And you hug me ... everywhere ... ”(“ Rusya ”).
The miracle of Bunin's prose was achieved at the cost of the great creative efforts of the writer. Without this great art is unthinkable. Here is how Ivan Alekseevich himself writes about this: “... that marvelous, indescribably beautiful, something completely special in everything earthly, which is the body of a woman, has never been written by anyone. We need to find some other words." And he found them. Like an artist and sculptor, Bunin recreated the harmony of colors, lines and shapes of a beautiful female body, sang the Beauty embodied in a woman.
The work of I. A. Bunin is a major phenomenon in Russian literature of the 20th century. His prose is marked by lyricism, deep psychologism, as well as philosophy. The writer has created a number of memorable female images.
The woman in the stories of I. A. Bunin is, first of all, loving. The writer sings of maternal love. This feeling, he argues, is not given to go out under any circumstances. It does not know the fear of death, overcomes serious illnesses and sometimes turns ordinary human life into a feat. Sick Anisya in the story "Merry Yard" goes to a distant village to see her son, who left his home long ago.
The mother went to the miserable hut of a lonely son and, not finding him there, died. The death of his mother was followed by the suicide of his son, who despaired of the stupid life. Rare in their emotional strength and tragedy, the pages of the story, however, strengthen faith in life, because, speaking of maternal love, they elevate the human soul.
A woman in Bunin's prose embodies true life in its organic and natural nature.
A typical example is the story "The Cup of Life", which reveals the meaning of its title with all its content. It's just that physical existence, no matter how long it may be, has no price, the "cup of life" is its spirituality, love above all. The image of a woman whose inner world is filled with a joyful and holy feeling is touching, Horizontov is ugly with his prudence of all actions. His "philosophy" was that all the powers of man should be expended in prolonging his physical existence.
Alexandra Vasilievna is sure that she would not regret anything for one - even the last - date with her beloved. I. A. Bunin does not hide his compassion for a woman in whose heart “distant, not yet decayed love” has been preserved.
It is the woman who penetrates the true nature of the feeling of love, comprehends its tragedy and beauty. For example, the heroine of the story "Natalie" says: "Is there an unhappy love?.. Doesn't the most mournful music in the world give happiness?"
In the stories of I. A. Bunin, it is the woman who keeps love alive and incorruptible, carries it through all the trials of life. Such, for example, is Hope in the story "Dark Alleys". Having fallen in love once, she lived this love for thirty years and, having accidentally met her lover, she says to him: “Just as I didn’t have anything more precious than you at that time, so I didn’t have it later either.” It is unlikely that the heroes are destined for a new meeting. However, Nadezhda understands that love will forever be remembered: "Everything passes, but not everything is forgotten." These words contain both forgiveness and light sadness.
Love and separation, life and death are eternal themes that sound heartfelt in the prosaic work of I. A. Bunin. All these themes are connected with the image of a woman, touchingly and enlightenedly recreated by the writer.
The work of I. A. Bunin is a major phenomenon in Russian literature of the 20th century. His prose is marked by lyricism, deep psychologism, as well as philosophy. The writer has created a number of memorable female images.
The woman in the stories of I. A. Bunin is, first of all, loving. The writer sings of maternal love. This feeling, he argues, is not given to go out under any circumstances. It does not know the fear of death, overcomes serious illnesses and sometimes turns ordinary human life into a feat. Sick Anisya in the story "Merry Yard" goes to a distant village to see her son, who left his home long ago.
* And in captivity smoky-through
* With golden flies veil,
* Aza her valley, forest,
* Blue melting distance.
Just as accurate and mysterious is Bunin's painting of feelings. The theme of love is one of the most important in his poetry. The main thing here is the awakening of feelings and the aching note of loss, which is always heard where memories come to life. An unstable feeling and vanishing beauty live only in memories, therefore the past in the poems of I. A. Bunin is recreated in exciting details, each of which contains pain and loneliness:
* Not a plate, not a crucifix.
*Before me so far -
* Institute dress
* And shining eyes.
* Are you alone?
* Aren't you with me
* In our distant past,
* Where was I different?
I. A. Bunin often has poems that convey the experiences of some minute:
* Early, barely visible dawn,
* The heart of sixteen years,
* Curtain in the window, and behind it
* The sun of my universe.
The poet seeks to express the highest value of each elusive moment in the awakening of a young heart. It is these seconds that become the source of inspiration, the meaning of life. Bunin's painting of feelings is subtle and penetrating, marked by psychological accuracy and laconism. The life of nature, fanned by light sadness, the mysterious life of human feelings is captured in a perfect poetic word.
* The tombs, mummies and bones are silent,
* Only the word is given life.
It awakens reflections on the perishable and the eternal, on life and its transience. It helps to see the beauty of the world behind simple phenomena and objects, to realize the value of an ever-changing life.
I. A. Bunin with extraordinary skill describes in his works the world of nature, full of harmony. His favorite heroes are endowed with the gift to subtly perceive the world around them, the beauty of their native land, which allows them to feel life in its entirety. After all...
The works of I.A. Bunin are filled with philosophical problems. The main issues of concern to the writer were the issues of death and love, the essence of these phenomena, their influence on human life. The theme of death is most deeply revealed by Bunin in his story...
Neither philosophical and historical digressions and parallels did not save. Bunin could not get rid of thoughts about Russia. No matter how far he lived from her, Russia was inseparable from him. However, it was a pushed back Russia, not the one that used to begin outside the window overlooking ...
The prose of I.A. Bunin is considered a synthesis of prose and poetry. It has an unusually strong confessional beginning ("Antonov apples"). Often the lyrics replace the plot basis, and as a result, a portrait-story ("Lirnik Rodion") appears. ...
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, so to speak, wounded by love. The writer does not avoid complex, frank topics, depicting in his stories the most intimate human ...
