Psychologism of Bunin's prose in the story “Clean Monday” by I. Bunin
1. Synthesis of epic and lyrical principles
(a combination of lyricism and descriptiveness).
2. Focus on beauty and
tragic in the individual human
existence, on " eternal themes» being.
Individual human life for him
wider and deeper than any socio-ideological goals, because no
socio-historical changes do not cancel
in a person's life, tests of love and
death, awareness of joy and tragedy
being. Bunin writes about the mystery of the human
existence.
3.He empowers many of his heroes
ability to experience extreme
fullness of life, the ability to relate to nature
as an eternal and unshakable value. 4. Subject detail of descriptions
(“objective visualization.”
5. Special rhythmic and sound
organization of the narrative.
Using a system of figurative
lexical and sound repetitions.
6. Common techniques
poetic speech - anaphora,
inversion, gradation, syntactic
parallelism.
7. Use of symbolic images. Tunisia
Algeria
Ceylon
In the early 1910s, Bunin traveled a lot. Impression
From these travels
reflected in stories and tales,
Palestine
Egypt
who compiled the collections “Chalice
Life" and "Mr. from San Francisco"
Balkans
Türkiye
Italy
Island of Capri "Mr. from San Francisco." Tasks
The story is called "Mr. from San Francisco." What
can you tell about the title? What's the word in this
is the main thing in the phrase? Uncover it
meanings.
What is the plot of the story? Identify the Ingredients
storyline(exposition, setup, reception
anticipation of the denouement, climactic scene,
plot-unmotivated elements).
Analysis of the image of the master.
Find household details in the text and determine their role.
A household item gradually becoming a
symbol became a resounding call for dinner. Name these sounds.
The text is filled with images and symbols. Name them
define the role.
What is this story about, what is its theme and idea?
Identify traditional and innovative features of a story Subtle lyricist and psychologist - Ivan Alekseevich
Bunin in the story "Mr. from San Francisco"
seems to deviate from the laws of realism,
approaches the romantic symbolists.
A true story about real life
acquires the features of a generalized view of
life. This is a kind of parable created by
all the laws of the genre. Epigraph
The story is filled with complex philosophical
meaning, full of alarming forebodings, new
disasters.
Indeed, the imminence of a catastrophe is predicted
already the epigraph to the first edition: “Woe to you,
Babylon, a strong city! (from Apocalypse). IN
In the future, the author removes this epigraph, but
a feeling of the inevitability of terrible cataclysms
remains.
The original title of the story was "Death
to Capri." The story is called "Mr. from San Francisco."
What can you say about the title? Word
the gentleman in this phrase is
the main thing. It is ambiguous. Why instead
name - an indirect definition?
1. For surname or rank - formula
polite mention or address (to a person from
ruling classes; usually in writing
abbreviated as “g.” or "Mr";
pre-revolutionary). Mister. Professor. Pass it on
Mr. Petrov. 2. Man, in appearance
kind of belonging to
privileged
class (pre-revolutionary).
3. Lord, ruler,
ruler. (Slaves
obeyed their
sir.)
In what meaning
this word is used in
name, then throughout
text?
“Mr. from San Francisco” - owner
position, master of life.
One meaning, the first,
develops into another.
Outgrowing occurs
as the plot develops. . Why "from San Francisco?" Are there not enough cities in America?
where the gentleman of fifty-eight could have been born and lived his life
years old, who went to travel around Europe, and before that he worked
“tirelessly” (in this definition Bunin barely slips
noticeable irony: the Chinese knew well what kind of “labor” it was,
“whom he ordered to work with him in the thousands”;
a modern author would write not about work, but about “exploitation,” but
Bunin, a subtle stylist, prefers for the reader to guess for himself
about the nature of this "work" San Francisco -
city and county in the state of California,
USA, named after the Catholic
Saint (San in Spanish) Francis
Assisi. Is it because the city is named after
famous Catholic Saint Francis
Assisi, who preached extreme poverty,
asceticism, renunciation of any property? Not
does this make it more obvious by contrast?
with his poverty the insatiable desire for the nameless
Mr. (hence one of many)
enjoy everything in life, and enjoy
aggressively, stubbornly, in full confidence that he
has every right to do so! As the writer notes,
gentleman from San Francisco constantly
accompanied by "a crowd of those whose duties
it was necessary to accept him with dignity. And “it was like this everywhere...”
And the gentleman from San Francisco is firmly convinced that
It should have always been this way. What is the plot of the story?
The story of an elderly American's pleasure cruise,
tired of working to increase welfare and
went with his wife and daughter on vacation to Stary
light. The itinerary drawn up for two years was
enormous and included many countries of Europe and Asia. But
the hero managed to accomplish only a small part of it:
crossed the ocean on a comfortable ship “Atlantis”,
I lived in Naples for a month and, fleeing the bad weather,
moved to the island of Capri, where he was caught by a sudden
death.
Three implemented points of the plan amounted to three
parts of the plot content.
Identify the components of a storyline.
Exposition – travel plan and route.
The plot is a violation of the expectations of the millionaire and his
growing discontent.
The technique of anticipating the outcome - “On the day
departure<…>there was no sun even in the morning.”
Climactic scene = denouement - sudden and
"illogical" death of the hero. Narration after death
hero continues, and
it turns out that the story told
history is only part of the whole
paintings. Appear
not plot motivated
elements: panorama
Gulf of Naples,
sketch of a street market,
colorful images of a boatman
Lorenzo, two mountaineers,
generalizing lyrical
characteristic of “joyful,
beautiful, sunny
countries". This author
emphasizes
unstoppable flow
life.
Not plot-wise
motivated
elements Outlined schematically
without any psychologism
individuality,
the uniqueness of his personality.
He is never called by any name
name,
not by last name. In creating an image
Mr. author
uses precision and
limit
reliability.
Sterile
regularity and
indestructible
routine
existence
the gentleman is brought into
story motive
artificiality,
automaticity
civilized
pseudo-beings
central
character. HERO - ALL-MAN, representing
western civilization,
outdated and trying to touch
to the source of wisdom in the East.
DETAIL: “There was something MONGOLIAN in his
yellowish face..."
The image of a Mongol nomad,
the element is pagan and destructive.
- Associated with this item
favorite symbolist theme of invasion
on Europe hordes of BARBARIANS - PAGENTS.
-What other pagan image appears in
narration?
IMAGE OF THE ROMAN EMPEROR TIBERIUS.
PARALLEL: MR. FROM S. FRANCISCO
//TIBERIUS.
(Intention to admire the "living"
paintings"//
famous imperial orgies). .
CHRONOTOP: every movement of the master
associated with a specific time period
This route was quite traditional.
for wealthy tourists from the New World.
But the travel time is calculated
according to the CHRISTIAN CALENDAR:
CHRISTMAS------Southern Italy.
EASTER----------------Rome,
capital of the Catholic world
and a symbol of Western civilization.
The choice of time and route is symbolic
meaning:
at the beginning of his journey the hero must
become a member of two greatest
mysteries of the Christian religion:
The Nativity of Christ and His Resurrection.
Then he must go east.
So the story outlines what is relevant for
creativity
Bunin's theme is "pilgrimage to the land of the East." NEW WORLD
"Icy Haze"
"Storm with sleet
GIBRALTAR
border
New World
with the Old One.
OLD LIGHT
“The sun made everyone happy”
AMERICADarkness
presentation
b America as a mythological land of the dead.
OSTOEVSKY "CRIME AND PUNISHMENT":
Idrigailov calls his suicide “departure for America”).
EUROPE
light Nice:
admires
carnival
Rome:
listens
church
masses
Monte Carlo:
participates
in automobile
Enjoying
love
young
Neapolitan
Athens
racing
And
Egypt plays roulette.
Description of the last months of the life of a rich gentleman who arranged
for myself and my family a long trip to Southern Europe. The semantic fabric of the story includes
which leads to depersonalization,
homogenization of modern humanity.
-What forms the basis of the description
pastime
traveling on the Atlantis?
Eating scenes -
the only remedy
maintaining the mechanism
human body. Automation motives
illusions permeate
the whole life of this new
"civilization".
"A graceful couple in love,
hired...
play love for money."
"Skin on a flat face
asian prince
exactly stretched and as if
slightly varnished" - image
puppets, masks. Shooting at
pigeons
Death
extremely
aestheticized,
picturesque
Chokes on
Siren on
"mortal melancholy"
ship
Walks "in mourning from
Hint of
silver foam
death in
waves" and hums," like
portrait
funeral mass"
Asian
Ocean
prince
Museums are cold
And
deathlyMuseums
clean Prevail
yellow-black-silver tones:
yellowish face;
golden fillings in teeth;
ivory skull.
Cream underwear, black socks,
trousers and a tuxedo complete his look.
He sits in a golden-pearl glow Noah's Ark
(Model human society,
peace)
Steamship "ATLANTIDA"
- a hint of illusoryness, doom
trips
image of the "ship of the dead".
DETAILS:
-fiery eyes of "ATLANTIS"
-the siren howled like hell
gloominess..."
-the hold and the ship's engine are likened
9 circle of hell).
NEW BABYLON
(symbol of a new civilization). "Atlantis"
Through the image of the ship "Atlantis" the writer tries
convey the symbolic structure of the human
society. "The famous "Atlantis" - was similar to
grand hotel with all amenities - with nightly
bar, with oriental baths, with its own newspaper - and
life on it flowed very smoothly.” "Atlantis"
designed to delight travelers from New
Sveta to Stary and back. Everything is provided here for
well-being and comfort of wealthy passengers. Thousands
service workers fuss and work to ensure a prosperous
the public got the most out of the trip.
There is luxury, comfort and tranquility all around. Boilers and machines
hidden deep in the holds so as not to disturb the reigning
harmony and beauty. The siren sounding in the fog is drowned out
wonderful string orchestra. And the prosperous public itself is trying
ignore annoying ones
“trifles” that disturb comfort. These people
firmly believe in the reliability of the ship, the ability
captain. They don't have time to think about it
bottomless abyss over which they
They float by so carefree and cheerfully. But
the writer warns: not everything is like that
safely and well, as we would like.
It is not for nothing that the ship is named Atlantis.
The once eponymous beautiful and
the blessed island went into the depths of the ocean, and
what can we say about the ship - endlessly
a small grain of sand in a huge stormy ocean. Analysis
Images –
characters
Atlantis (memory of long ago
lost civilizations, messenger
catastrophe). Beautiful
"Atlantis" - a visual model
human society, where alone
frivolously blissful at the expense
others, crushed by the weight of labor,
where both have no time to think about
death, which is nearby, and therefore about
life passing without a trace.
Ocean (the image of the Universe and Eternity, where
a person is just a grain of sand and a moment)
The devil is as big as a cliff (part
Eternity, danger lurking)
(All this points to the meaningless
spiral of master's life,
the illusion of human power before
Universe) Household details permeate
the plot is traditionally colored
classical
realism:
Analysis
household
detailed description of luxury
lives of the “inhabitants of the upper decks”
sharply contrasts with the stingy
pictures of “overwhelming
tension" of the stokers. Household
realities create the visible
insight into the life of slaves and
gentlemen
Household item, gradually
moving to the rank of a symbol, became
a resounding call for dinner. Name
these sounds.
(“Trumpet signals on a ship”,
"imperious hum" across the floors
hotels in Naples, "Chinese
gong" of the Capri hotel -
formidable warning
rhythm of the “sound world”
story.)
realities This
opposed
other paintings and
images.
Read the episode in
which Abruzzese
mountaineers on their way
see the figure
Mother of God.
What feelings
filled with it
fragment of a story?
(“The beauty that
powerless to express
human
word",
Christian
Love) It is built in accordance with mythological ideas about death:
-description of the island.
The cross-cutting motif is WATER - a symbol of the unconscious and madness.
-hotel is a traditional metaphor for death.
-a maid in a “starched cap in the form of a small jagged crown”
- a jagged crown is a traditional attribute of death.
- dressing for dinner - “precisely for a crown” (for death) getting ready.
-Name the key word in describing the last minutes of the gentleman’s life.
Landing on Capri
HORROR. -Why doesn’t the author end the story on this note?
-How does the story end?
-Why?
-What is the function of a ring composition?
-What are the functions of the image of the Devil? Final scene
- description
famous
liner
"Atlantis"
whose hold
returns
Mr. She
points to
ring
composition
story that in
turn
is
proof
m cyclicality
being. "... This story is about tragic fragility
human existence. About the meaningless
wasting a priceless gift - life. ABOUT
“the dead end of the “material”
human existence, about life
man as the path to death"
(A. Arkhangelsky). About “everyone”
suffering in this evil and beautiful
world." About the fact that no one knows what
fate is destined for him, as unknown
the fate of a powerful ship, “hard
overcome by darkness, ocean, blizzard”... "Synesthetic Description"
Visual sensations: “red”
lights”, “waves like black oil”,
“golden boas from lanterns”, “brighter
the wardroom began to shine”;
Touch and smell: “the wind is warmer,
more fragrant"; “Italy smells sweet
the earth after the rain has a special smell
each of its islands”
rumor: “it thundered and splashed into the water
anchor”, “vyingly rushed from everywhere
furious cries of the boatmen,” etc. Traditional and innovative features
story "Mr. from San Francisco"
Traditions of L.N. Tolstoy - generalizations,
vigilant outlook on life, accurate
everyday realities, deep thoughts about
modern, synesthetic
description.
Innovation – symbolism, convention,
some mysticism.
The author does not stop searching for the Beautiful. "The last classic" of Russian
classical realism and the "first
classic" neorealism of the 20th century
Yu.V. Babicheva, professor of the Vologda Pedagogical University
university, this is what he says about I.A. Bunin:
“Yes, he is the “last classic” of Russian classical
realism, which flourished in the 19th century, is its heir. But he
and the “first classic” of neorealism of the 20th century,
united in his quest the oldest problem
mysterious Slavic soul with a characteristic silver
century with the desire to introduce Russian culture to the broad
and the long-lasting history of all mankind."
Do you agree with this scientist’s point of view? Reply
Answer this question in writing and justify your answer. Test
In the evenings, the floors of Atlantis gaped in darkness as if
fiery countless eyes, and a great multitude of servants
worked in cooks', sculleries and wine cellars.
The ocean that walked outside the walls was terrible, but nothing about it
thought, firmly believing in the power over him of the commander, the red
a man of monstrous size and heaviness, always as if
sleepy, looking similar in his uniform, with wide golden
stripes on a huge idol and very rarely
appearing to people from his mysterious chambers; on
tank howled every minute with hellish gloom and
the siren screamed with furious anger, but few of them
diners heard a siren - it was drowned out by the sounds
beautiful string orchestra, exquisitely and tirelessly
who played in a double-height marble hall, lined with
velvet carpets, festively flooded with lights,
crowded with low-cut ladies and men
in tailcoats and tuxedos, slender footmen and
respectful head waiters, among whom is one, the one
took orders only for wines, even walked around with a chain on
neck like some Lord Mayor. Tuxedo and starched linen are very
rejuvenated a gentleman from San Francisco.
Dry, short, poorly cut, but
tightly sewn, brushed to a gloss and in
moderately animated, he sat in the golden-pearl radiance of this palace behind
a bottle of amber Johannisberg, for
glasses and glasses of the finest
glass, behind a curly bouquet of hyacinths.
There was something Mongolian in his yellowish
face with trimmed silver hair
his mustache and gold fillings glittered
large teeth, an old ivory strong bald head. His wife was dressed richly, but according to her years,
the woman is large, broad and calm;
complex, but easy and transparent, with an innocent
frankness - daughter, tall, thin, with
gorgeous hair, lovely
cleaned, with aromatic violet
flatbreads with breath and with the most tender
pink pimples near the lips and between
blades, slightly powdered... Lunch lasted more than an hour, and after lunch
dances opened in the ballroom, during
which men, including, of course,
gentleman from San Francisco, - with their feet up, they decided
based on the latest stock market news
the fate of nations, to crimson redness
got high on Havana cigars and got drunk
liqueurs in a bar served by blacks in red
camisoles, with whites that look like peeling ones
hard-boiled eggs. The ocean roared behind the wall
black mountains, the blizzard whistled strongly
heavy rigging, the ship was shaking all over,
overcoming both her and these mountains, like a plow
falling apart their unsteady sides, every now and then
boiling and foaming high
tails of the bulk, - in mortal anguish she moaned
siren choked by fog, were frozen from the cold and went crazy from the unbearable
stress of attention of watchmen on their tower,
the dark and sultry depths of the underworld, its
the last, ninth circle was similar
the underwater womb of the steamer - the one where they cackled dully
gigantic fireboxes, devouring with their
hot throats of piles of coal, with
with the roar of the caustic being thrown into them,
dirty sweat and naked people to the waist,
purple from the flames; and here, in the bar, carefree
they put their feet up on the arms of the chairs, sipped cognac and
liqueurs, floating in waves of spicy smoke, in
in the dance hall everything shone and shed light,
warmth and joy, the couples were either spinning in waltzes or
bent in tango - and the music insistently, in some kind of sweet, shameless sadness, begged for everything
one thing, all about the same thing... 2.1.Which of the following epic
genres belongs to the work
Bunin's "Mr. from San Francisco"?
1) novel
2) story
3) story
4) essay
2.2. The above episode
1) represents the climax of the plot
2) is an insert episode
3) completes the story
4) precedes main events 2.3. For the author's description of everyday life
passengers of Atlantis lies
1) respect for the powers that be
2) indifference to man and humanity
3) rejection of the values of the bourgeois world
4) playful irony over social vanity
2.4. Name the means of allegory
expressiveness addressed by the author
in the first phrase of the fragment, describing the gigantic
ship "Atlantis".
2.5. Name the means of characterizing the hero,
based on a description of his appearance
(“There was something Mongolian in his yellowish
face"…). S-1. What does the fate of the gentleman from San Francisco symbolize and which other writers of the 20th century
addressed the topic of “well-fed”?
S-2. Why didn’t I. Bunin in the story “Mr. from San Francisco” depict the inner world of the main
hero and didn’t give him a name?
S-3. Why, after parting with a deceased character,
Bunin continues the story with an inserted episode about
Roman tyrant Tiberius?
S-4. What is the significance in the story
symbolic images? Answers
2.1. – 2
2.2. – 4
2.3. – 3
2.4. – metaphor
2.5. - portrait S-2
The name of the main character is not mentioned anywhere in the story.
his inner world is not depicted. Why?
Apparently, the absence of the hero’s name is one of the techniques
expressing the author's attitude towards the character,
“who until that time did not live, but only existed.”
The gentleman devoted his entire life to enriching himself
material, but his inner world is empty. He is such a
the same as all the people of his circle, one of many. He is deprived
individuality, and therefore a name. At the same time, the author
gives names to episodic characters (bellhop
Luigi, old Lorenzo). These are the people who live
full of life, they see and appreciate its beauty, they
personify the naturalness and joy of being. .S-4. This story is symbolic already by its title. This
symbolism is embodied in the image of the main character,
representing a collective image of the American
bourgeois, a man without a name, simply called by the author
Mr. from San Francisco. The hero has no name -
a symbol of his inner lack of spirituality, emptiness.
The thought arises that the hero does not live in the full sense of this
words, but only exists physiologically. He only understands
the material side of life. This idea is emphasized
symbolic composition of this story, its symmetry. Bye
"he was quite generous on the way and therefore fully believed in
the care of all those who fed and watered him, from morning to evening
served him, preventing his slightest desire, protected him
purity and peace..." And after sudden "death, the body of the dead
old man from San Francisco was returning home to his grave, to
shores of the New World. Having experienced a lot of humiliation, a lot
human inattention for a week space in one
port shed to another it finally came to the same
the most famous ship, on which so recently, with such
they took him with honor to old light"The ship "Atlantis" is sailing
in the opposite direction, only carrying the rich man already in a box from under
soda, "but now hiding it from the living - deeply
lowered into the black hold." And on the ship there is still the same luxury,
well-being, balls, music, fake couple playing
Love. The steamboat acts as a symbol of civilization. The ship embodies
is a society with its own hierarchical structure, idle
whose aristocracy is opposed to the people
controlling the movement of the ship, working hard at
"gigantic" firebox, which the author calls the ninth circle
hell. The gentleman himself is a symbol of bourgeois well-being, society
where people eat delicious food, dress beautifully and have fun, they are not
interested the world. Nothing can happen to these people
bring pleasure, this is the world of dolls and mechanisms. Hero
the story dies, by this the author shows the meaninglessness
the existence of such people. They live as if in a case. Ship
symbolizes this shell, the ocean - the rest of the world
raging, changing, but in no way affecting our hero.
The ocean is a symbol of real, real life.
The depiction is symbolic and even surprising
by a realist writer the image of the devil, huge as a cliff,
watching the ship, which is, as it were, a symbol
impending disaster, a kind of warning
to humanity.
I.A. Bunin, who often uses symbols in his work,
nevertheless, one cannot be considered a symbolist writer - he
a writer of a realistic direction, and the symbols for him are
just one of the means artistic expression,
expanding the content and giving it to the works
special coloring. Giving everything depicted symbolic
beginning, Bunin only deepens his thought. Test
Like in April at night in the alley,
And the smoke is thinner than the upper branches,
And everything is easier, closer and more visible
The pale horizon behind him.
Again the day before. And over the years
The heart doesn't count. I'm coming
With young, easy steps -
And again, again I’m waiting for something.
10.X.1917 B-1. What means of allegory
Bunin uses expressiveness in
line: “And everything is thinner than the upper branches
smoke"?
B-2. What is the name of the figurative means of language?
became in the poem
artistic definition:
"Young, easy steps"
“smoky, airy and see-through” and
other? B-3. Specify terminological name
the method of unity of beginning of lines, which
Bunin uses:
This top is in the constellations, in their patterns...
These leaves rustle under your feet,
This sadness is the same as in spring.
B-4. As they call it in literary criticism
consonance of the ends of poetic lines,
for example, from Bunin:
This top is in the constellations, in their patterns,
Smoky, airy and through,
Are these leaves rustling under your feet...? B-5. What is the name of the combination of lines in a poem?
held together by a common rhyme and intonation?
S-1. Determine which theme (motive) is the main one in
Bunin's poem.
S-2. What mood is the poem permeated with?
Bunin and what gives him special expressiveness?
S-3. What allowed Bunin to compare the two seasons
and in the works of which Russian poets intimate
the experiences of the lyrical characters are associated with the seasonal
weather conditions?
A. Pushkin “Autumn”, A Blok “Oh, spring without end and without
edge”..., Tyutchev “Spring Thunderstorm”, A. Fet “Wonderful
a picture of how dear you are to me..." and others. Used sources
Mikhailov Oleg. I. A. Bunin. Life and creativity. Tula, 1987.
Lavrov Valentin. Cold autumn: Ivan Bunin in
emigration (1920-1953). - M., 1989.
Smirnova L. A. Ivan Alekseevich Bunin: Life and
creativity.-M., 1991.
L. Smirnova. I. A. Bunin [“Russian literature of the end
XIX - early XX centuries", M.: Education, 1993]
A. Sahakyants. About Bunin and his prose. Preface to
collection of stories [M.: Pravda, 1983]
A. Ranchin. Lady Without a Dog: Chekhov's Subtext in
“Sunstroke” [“Literature”, No. 30, 2002]
Internet resources. Homework
Read stories
"Grammar of Love"
"Easy breath",
"Sunstroke",
"Dark alleys",
"Clean Monday".
Send your good work in the knowledge base is simple. Use the form below
Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.
Posted on http://www.allbest.ru/
FSBEI HPE "MORDOVIAN STATE PEDAGOGICAL INSTITUTE NAMED AFTER M. E. EVSEVIEV"
Faculty of Philology
Department of Literature and Methods of Teaching Literature
ASSIGNMENT FOR THE DEGREE THESIS
Student O.V. Rozhkov group FDR-210
1 Topic: The originality of psychological mastery in the prose works of I. A. Bunin: theory and practice
Approved by MordGPI No. 2402 dated November 15, 2014.
2 Deadline for submission to defense: 05/20/2015
3 Initial data for the thesis: prose works of I. A. Bunin from different years, an artistic picture of the writer’s world, literary critical articles, historical and literary studies, memoirs of contemporaries, materials from personal and creative biography author.
4.1 Introduction
4.2 Psychologism and features of external figurativeness of I. A. Bunin’s prose of the pre-October period
4.2.1 Features of Bunin’s psychologism in the works of the late 1890s - early 1900s
4.2.2 Psychologism as a dominant technique in the stories “Village” and “Sukhodol”
4.2.3 The originality of psychologism in the works of I. A. Bunin of 1914-17
4.2.4 The role of psychologism in the mystical-religious context of the story
"Mr. from San Francisco"
4.3 Psychologism in the prose of I. A. Bunin from the period of emigration as a form of reconstruction spiritual world person
4.3.1 The novel “The Life of Arsenyev” as a family psychological chronicle
4.3.2 Synthesis of lyrical and psychological principles in the book “ Dark alleys»
4.3.3 Psychological problems of the story “Easy Breathing”
4.4 Conclusion
4.5 List of sources used
4.6 Application
Head of work
Ph.D. Philol. Sciences, Associate Professor __________________________ S. N. Stepin
The task was accepted for execution by _____________________ O. V. Rozhkova
Essay
The thesis contains 72 pages, 65 sources used, 1 appendix.
PSYCHOLOGISM, PROSE WORKS OF I. A. BUNIN, LITERATURE OF THE PRE-OCTOBER PERIOD, CREATIVITY OF I. A. BUNIN IN THE PERIOD OF EMIGRATION, REALISM, ARTISTIC TRADITIONS, INNOVATION, LITERARY HERO, MOTIVE, AESTHETIC IDEAL , ARTISTIC METHOD, CREATIVE MANNER.
The object of the study is the principles and techniques of psychologism in the prose works of I. A. Bunin.
The thesis used comparative typological, structural analytical research methods, and the method of holistic analysis work of art in combination with a descriptive one, and an axiological approach was also used.
Having summarized the material presented in the thesis, the author concludes that the psychologism of I. A. Bunin, his originality, based on the rich traditions of Russian classical literature, became the basis for subsequent psychological image person in Russian literature. And the author himself is undoubtedly worthy of the high title of master of psychologism.
The degree of implementation is partial.
Area of application - use in school and university practice of teaching literature when studying the works of I. A. Bunin.
Efficiency - improving the quality of knowledge of high school students.
Introduction
1. Psychologism and features of external figurativeness of I. A. Bunin’s prose of the pre-October period
1.1 Features of Bunin’s psychologism in the works of the late 1890s - early 1900s
1.2 Psychologism as a dominant technique in the stories “Village” and “Sukhodol”
1.3 The originality of psychologism in the works of I. A. Bunin of 1914 -1917
1.4 The role of psychologism in the mystical-religious context of the story
"Mr. from San Francisco"
2. Psychologism in the prose of I. A. Bunin during the period of emigration as a form of recreating the spiritual world of man
2.1 The novel “The Life of Arsenyev” as a family psychological chronicle
2.2 Synthesis of lyrical and psychological principles in the book “Dark Alleys”
2.3 Psychological problems of I. A. Bunin’s story “Easy Breathing”
Conclusion
List of sources used
Application
Introduction
Take Bunin out of Russian literature,
and it will fade, lose its rainbow
the brilliance and starry radiance of his soul...
M. Gorky
“My life is a reverent and joyful communion of the eternal and the temporary, the near and the distant, all centuries and countries, the life of everything that was and is on this earth, so beloved by me...”. These words belong to the great Russian writer Ivan Alekseevich Bunin (1870-1953), who with his entire destiny, biography, and, finally, life belonged to Russia, to great Russian literature.
The beginning of I. A. Bunin’s creativity coincided with the beginning Silver Age in Russian literature. The peculiarity of I. A. Bunin, a master of psychological prose, is that he is not associated with any movements, directions, or groupings and has always remained a realist. Bunin's realism was always based on an excellent knowledge of human nature, the inner world of his hero, an unusually developed sensory perception of life, and the ability to correlate the momentary with the eternal. I. A. Bunin sharply negatively assessed decadence. His views on life combined deep tragedy and bright faith in the goodness and beauty of God's world. It is difficult to overestimate the wisdom of a true artist, who allowed the reader to “embrace” life as an instant: from blooming youth to the tragic losses of old age, from reckless aspirations for happiness and love to comprehension of their essence, in the unity of unique, private and common human destinies. He helps us understand the innermost states of our soul. Ours - according to various parameters: born of the way of life, the history of Russia and global processes of the 21st century, bearing the memory of the past and connection with the current modernity. The courage of insight in the writer’s work was combined with the amazing chastity of their expression: after all, they penetrated into the most hidden area - the human soul.
The relevance of research due to the fact that in its own way artistic thinking, imagery, psychological discoveries, Bunin is surprisingly modern. And this is precisely what allows us to empathize with Bunin’s heroes who are most distant at first glance. We are often amazed by the integrity and consistency, courage and restraint of Bunin’s talent. This is an attempt to psychologically comprehend life, this is also an exploration of the depths of Russian national character, this is also a song about the beauty of Russian nature.
Thus, purpose The research is: using the example of I. A. Bunin’s prose works of different years, it will reveal the specific features and characteristics of the writer’s artistic psychologism.
The goal determines the solution of the following tasks:
Study and systematize scientific and scientific-methodological literature on this issue;
Identify the psychological traits of Bunin’s heroes from works of different years;
Identify the reasons for the writer’s use of psychologism in his prose works;
To reveal the facets characteristic of I. A. Bunin’s prose in the psychological portrait of his contemporary and, more broadly, the features of universal human psychology;
Determine the place and role of I. A. Bunin’s creative heritage within the framework of Russian literature.
Object of study the principles and techniques of psychologism appear in the prose works of I. A. Bunin.
Subject of research is the originality of I. A. Bunin’s psychological mastery.
Research material were inspired by the prose works of I. A. Bunin of the pre-October period (“Antonov Apples”, “Village”, “Sukhodol”, “The Gentleman from San Francisco”, etc.) and works written by the author during the years of emigration (“The Life of Arsenyev”, “ Dark Alleys”, etc.).
Scientific novelty The work consists of systematizing various points of view on the work of I. A. Bunin, a master of psychological prose. We presented and analyzed the works of L. A. Smirnova, O. N. Mikhailov, I. K. Nichiporov, V. N. Afanasyev, I. P. Karpov, L. A. Kolobaeva, N. A. Nikolina and others, which determine the need for a comprehensive study on a new methodological basis of the problem of psychologism in Russian literature of the 20th century. Each of the books and articles contains many interesting and important observations on the psychological mastery of I. A. Bunin, manifested in individual works or periods of his work. However, there is still no special study devoted to understanding the principles of psychologism of the most talented of the artists of the 20th century, a sophisticated connoisseur human soul. Our work attempts to fill this gap.
The research methodology is based on the principles of a holistic analysis of the ideological and artistic structure of the text in combination with descriptive, comparative and typological methods.
Practical significance diploma work. Observations and conclusions obtained during the study can be used in developing a course on Russian literature of the 20th century, as well as elective courses and electives on the works of I. A. Bunin; connecting with some issues of psychology, they can contribute to the moral education of students high school and students of pedagogical universities.
Structure and volumethesis determined by the specifics of the tasks put forward in the study. The thesis is presented on 72 pages and consists of an introduction, two chapters, a conclusion, a list of sources used, which consists of 65 items, and an appendix.
In the introduction the relevance of the topic and the significance of the main problems considered in the work are substantiated, the degree of their knowledge is indicated, the object and subject of the research are established, the purpose and objectives of the thesis are formulated, its methodology is revealed, the scientific novelty, theoretical and practical significance of the results obtained are characterized.
In the first chapter“Psychologism and features of the external depiction of I. A. Bunin’s prose of the pre-October period”, based on the analysis of literary texts and literary works concerning the features of I. A. Bunin’s psychologism, techniques and methods of psychological depiction of a person in the writer’s pre-revolutionary literature are identified and described.
In the second chapter“Psychologism in the prose of I. A. Bunin during the period of emigration as a form of recreating the spiritual world of man” provides an analysis of the works of the writer of the emigrant period, reveals the foundations of Bunin’s psychologism, shows the originality of the manifestation of psychological elements in epic works large and small forms.
In custody the results of the study are summed up, conclusions are drawn that the researcher came to while working on his thesis essay. Having summarized the material presented in the thesis, the author concludes that the psychologism of I. A. Bunin, his originality, based on the rich traditions of Russian classical literature, became the basis for the subsequent psychological portrayal of man in Russian literature. And the author himself is undoubtedly worthy of the high title of master of psychologism.
In the application educational and methodological material is presented for a literature lesson in grade 11 on the topic “The cycle of stories by I. A. Bunin “Dark Alleys”.”
1 . Psychologismand features of external figurativeness of proseAND.A.Bunin of the pre-October period
1.1 OSfeaturesBunin's psychologismin the works of the end1890s-started190 0 - x years
At the turn of the 19th and 20th centuries, the whole world was experiencing a period that Nietzsche described as the “twilight of the gods.” The man doubted that somewhere there was He, the absolute principle, strict and fair, punishing and merciful, and most importantly, filling this life full of suffering with meaning and dictating the ethical standards of society. Refusal from God was fraught with tragedy, and it soon broke out. In the works of I. A. Bunin, who captured the dramatic events of Russian social and privacy the beginning of the 20th century, the whole tragedy of European man of this time was refracted. This idea is fully shared by S. A. Antonov: “The depth of Bunin’s problematics is greater than it seems at first glance: the social and psychological issues that worried the writer in his works on the topic of Russia are inseparable from questions of a religious and philosophical nature...”.
The intensive formation and widespread strengthening of psychologism in Russian literature at the turn of the century also has deep cultural and historical prerequisites. It is associated, first of all, with the activation of human self-awareness new era. According to Bunin, a person’s understanding of his inner world is helped by the world around him, his past life, to which he intuitively strives in his memories.
The psychologism of I. A. Bunin’s prose of the 1890s-1900s is an artistic expression of the writer’s keen interest in the fluidity of consciousness, in all kinds of shifts in inner life a person, to the deep layers of his personality. The writer’s works at the end of the century largely contributed to the development and establishment of psychoanalysis as the dominant component of I. A. Bunin’s work in general, and his works written in the twentieth century, in particular. According to G.M. Blagasova, “...it was in the works of the turn of the 19th-20th centuries that the author outlined ways to reveal the content of a person’s inner world in all the diversity of his individual expression.”
To a large extent, this became possible due to the influence of L.N. Tolstoy on his fiction of those years. It is felt, first of all, in the peculiarities of psychological analysis, in the economical way of constructing the character of the hero, strictly subordinated to a moral goal, and in the biblically stern and solemn tone of denunciation, and in the very literary technique, means of representation, mastered by I. A. Bunin and moved much further by him. I. A. Bunin continued L. N. Tolstoy’s discoveries in literature, extending them to the “small” genre - the genre of psychological story - “Castryuk”, “Epitaph”, “Pass”, etc. “During these years,” says the writer himself , - I felt how my hand was getting stronger every day, how ardently and confidently the forces that had accumulated in me demanded an outcome...”
Therefore, it is no coincidence that in thematic terms, the works of I. A. Bunin at the end of the century are also quite different. They are dedicated to the writer’s experiences, born of childhood memories or very recent impressions, visits to Russian villages, trips to south sea or travel abroad, meeting with simple peasants, or a refined feeling for a woman. Internally, all his early stories are united by the author’s desire to penetrate into the tragic discrepancy between beautiful nature and human existence, the dream of happiness and the violation of “the commandment of joy for which we must live on earth.”
I. A. Bunin’s vague positive ideas strengthened the critical current in the author’s generalizations and at the same time contributed to the search for imperishable values of being, “sometimes difficult to grasp, unstable or even unlike reality.” From this point of view, some of the writer’s stories about the village are read completely differently.
“In Bunin’s work of the 1900s,” notes L. A. Smirnova, “the features of realism were sufficiently defined. The writer was keenly interested in the worldview of different social strata, the relationship between their experience, its origins and prospects...” Therefore, it seems to us, the author’s view was aimed not so much at specific human relationships, but at internal state personality. In most stories, the characters strive in one form or another to understand some eternal questions of existence. But these searches do not remove them from real reality, since it is this that gives rise to the views and feelings of the characters. The views and feelings born of current reality were revealed at the moment of aspiration towards some eternal questions of existence. In the depths of the human soul, the artist found values close to himself. Therefore, the writer’s own exaggerations were organically woven into the narrative or became leading, strengthening ideas about the connections between the present and the past, the concrete-temporal and the eternal, the national and the universal.
During these years, I. A. Bunin wrote mainly in the first person; at times these were not stories, but essays written with a masterful pen, keen observations of everything that the writer saw. Here, for example, is the story “New Road” with poetic landscapes of the wilderness, where the “forgotten life of the homeland” sleepily flows and glimmers. This wilderness must be awakened by a new railway; The peasants, accustomed to the old way of life, greet the change with fear. Admiration for the “pristinely rich side”, sympathy for its “young, tortured people”, a feeling of the abyss separating the author from the country and people: “Which country do I belong to, wandering alone? She is infinitely great, and should I understand her sorrows...” These sad thoughts permeate the writer’s entire story. He, as a wonderful master of psychologism, “intensely explores Russian reality late XIX centuries, seeking worthy undertakings in it.” In the process of such a psychological search, its best early works: “Antonov Apples”, “Pines”, “Birds of Heaven”, “Late at Night” and many others.
In a letter to V. Pashchenko dated August 14, 1891, I. A. Bunin wrote: “You know how much I love autumn...! Not only does all hatred for serfdom disappear in me, but I even begin to involuntarily wax poetic about it.” It is precisely the poeticization of Russia’s serf past that is sometimes seen in the story “Antonov Apples.” And I. A. Bunin himself immediately remarked: “And I remember that sometimes it seemed to me extremely tempting to be a man...”. However, for the sake of truth, it must be noted that we are talking here about a rich man, about his similarity to the average nobleman. I. A. Bunin sees a reasonable working life, an expedient principle of sticking together in a rural rich or beggarly existence. The idealization here is undeniable, not so much, however, of social orders, but of the special state of mind of those who are firmly connected with the blackening or greening fields, forest roads and ravines. Therefore, on the same note, the story is told about peasant work in gardens, during harvesting, and about lordly hunting. Moreover, I. A. Bunin “does not avoid light irony in relation to the rudely tough nobles and the peasants in their “savage costumes,” but honors any manifestations of thriftiness and “ancient,” albeit mannered, life.” The story was received ambiguously by both readers and critics, and it caused a lot of reproach among writers. And yet, both his supporters and his opponents unanimously declared their admiration for the artistic skill and psychological depth of his author’s writing style.
The psychological make-up of the Russian person, regardless of his social status, was of more interest to I. A. Bunin. He found a stamp of internal contradictions common to the landowner and the peasant. The author wrote: “It seems to me that the life and soul of the nobles are the same as that of the peasant; all the difference is determined only by the material superiority of the noble class...”
The story “Antonov Apples” eclipsed much, if not all, of what the writer had done in previous years. It contains so much of what is truly Bunin that it can serve as a kind of business card classical artist of the early 20th century. He gives a completely new sound to themes that have long been known in Russian literature.
For a long time, I. A. Bunin was considered among the social writers who, together with him, were members of the literary association “Sreda”, who published the collections “Knowledge”, but his vision of life conflicts is decisively different from the vision of the masters of words of this circle - M. Gorky, A. Kuprin, A. Serafimovich and others. As a rule, these writers depict social problems and outline ways to solve them in the context of their time, passing biased verdicts on everything that they consider evil. I. A. Bunin can touch on the same problems of existence, but at the same time he more often illuminates them in the context of Russian or even world history, from Christian, or rather from universal, positions. He shows the ugly sides of current life, but extremely rarely takes upon himself the courage to judge or blame someone. Like his beloved Chekhov, he refuses to be an artist-judge. According to I. A. Bunin, good and evil are rather metaphysical, mystical forces, they have been eternally given to the world from above, and people are often unconscious conductors of these forces - destroying great empires, suddenly throwing a person under a train, exhausting titanic natures in an insatiable search for power, gold, pleasures that force angelic creatures to give themselves over to primitive debauchees, etc.
Therefore, Antonovsky Apples not only open new stage in the works of I. A. Bunin, but also “mark the emergence of a new genre, which later conquered a large layer of Russian literature - lyrical prose.”
In the work, as nowhere else before, the lyrical nature of the plot is fully realized. It is almost devoid of an eventful beginning, except for an event, the slight movement that is created by the fact that “I”, or “we”, or “he” is going somewhere. But this conventional hero - the lyrical hero of I. A. Bunin - in all the fullness and purity of this concept, that is, without the slightest objectifying distance. Therefore, the epic content here is completely translated into lyrical content. Everything that the lyrical hero sees is both phenomena of the external world and facts of his internal existence. These, in our opinion, are the general properties of I. A. Bunin’s prose of those years.
In this same story, as later and in many others, I. A. Bunin abandons the classical type of plot, which, as a rule, is tied to specific circumstances of a specific time. The function of the plot - the core around which the living ligature of the paintings unfolds - is performed by the author's mood - a nostalgic feeling about what is irretrievably gone. The writer turns back and in the past rediscovers the world of people who, in his deep opinion, lived differently, more worthy. And he will remain in this conviction throughout his entire creative career. Most of the artists - his contemporaries - peering into the future, believing that there is a victory for justice and beauty. Some of them (B. Zaitsev, I. Shmelev, A. Kuprin) after the catastrophic events of 1905 and 1917. look back with sympathy.
IA Bunin contrasts the doubtful future with an ideal that, in his opinion, stems from the spiritual and everyday experience of the past. At the same time, he is far from a reckless idealization of the past. The artist only contrasts two main trends of the past and present in the story. The dominant of past years, in his opinion, was creation, the dominant of present years was destruction. How did it happen, why did the person contemporary to I. A. Bunin lose the “right path”? This question worried the writer, his author-narrator and his heroes all his life more than the questions of where to go and what to do. The nostalgic motive associated with this loss will sound more and more strongly in his work, starting with “Antonov Apples.”
Thus, by the beginning of the 1900s, I. A. Bunin’s path to himself, to the specifics of his talent, which amazes with external depiction, phenomenal observation, extremely deep psychologism and tenacity of the writer’s memory, was basically completed. Persistently, consciously, and constantly, he trained himself to be able to guess at a single glance the character of a person, his position, his profession. “I, like a detective, pursued first one, then another passer-by, trying to understand something in him, to enter into him,” I. A. Bunin will say about himself. And if you pluck up courage and add to this that throughout his long, almost seventy-year creative life he was and remained an ascetic artist, it becomes clear that the components of his talent were combined extremely harmoniously and happily.
1.2 Psychologism as dominantreception in stories"Village" and "Sukhodol"
In the 1910s, the first significant works about the peasantry appeared in Russian literature. This was greatly facilitated by the general increase in the attention of writers to the Russian village at the turn of the 19th and 20th centuries.
During these same years, I. A. Bunin’s story “The Village” was published, which marked the line on the writer’s literary path beyond which “the period of the writer’s full creative maturity began.” And although in subsequent years he does not create a single work equal to “The Village” in terms of the breadth of coverage of life phenomena, an extensive cycle of stories about a peasant, developing and in many ways deepening the themes of his story, will open a new significant stage in the writer’s work.
“Village” is one of those works by I. A. Bunin, in which both the strengths and weaknesses of his work were most clearly reflected. The strength of the story lies in its deep masterful psychologism, the reflection of the most hidden features of the Russian national character, in the truthful, irresistible in its artistic persuasiveness depiction of the poverty and lawlessness of the Russian village, robbed by the authorities; weakness, as it seems to us, lies in the inability to show ways of reorganizing reality. The story was the result of I. A. Bunin’s comprehension of the results of the memorable year 1905. These popular performances struck and shocked I. A. Bunin to the depths of his soul. The writer, who in all his previous works portrayed the peasant as a humble worker submissive to his fate, saw for the first time a peasant rebel. N. M. Kucherovsky notes: “I. A. Bunin saw in the awakening peasant a danger that threatened the collapse of the centuries-old way of Russian life, and he captured his fear of the coming popular uprising with a high degree of psychologism in the story “The Village”.
I. A. Bunin’s new approach to the traditional peasant theme also determined his search for new means of artistic expression. The soulful lyricism characteristic of the writer’s previous stories about the peasantry was replaced in “The Village” by a stern, sober narrative, generously saturated with images of the everyday trifles of village life.
“The Krasovs’ great-grandfather,” so the story begins, “nicknamed the Gypsy in the courtyard, was hunted down by greyhounds by Captain Durnovo...”. Already this beginning, telling about the ancestors of the heroes of “The Village,” determines the general psychological sound of the story. Simple, stern and harsh words, a businesslike, everyday tone, the outward dispassion with which difficult and tragic events are spoken about. This is how the entire “Village” was written, so different in style from all previous works of I. A. Bunin.
At the center of the story is the life of the Krasov brothers: the kulak Tikhon and the self-taught poet Kuzma. Through the eyes of these people, the fate of each of whom was unsuccessful in its own way, the main events of the depicted era are given in the story: the Russian-Japanese War, the revolution of 1905, the reaction that followed it, etc. There is no single continuously developing plot in the story; is a series of pictures of village, and partly county life, which the Krasovs have been observing for many years.
Tikhon and Kuzma are tragic figures, realizing this themselves. The search for the origins of this state leads them to a frenzied analysis of village reality. The same passion takes possession of the author. The observation is carried out by the Krasov brothers, and the writer interprets their experience as part of a general, mass one. Much in the assessments of the characters, especially Kuzma, and their creator coincides. The plot development of the story is based on the contrast between the truth-seeker Kuzma and the shopkeeper Tikhon. Tikhon wanted and became a “chain dog” for his own growing farm. Kuzma tirelessly seeks spiritual connections with people, and increasingly refuses to accept his brother’s morality. Tikhon's bitterness and embitterment disgust Kuzma. The same reaction determines the author’s remarks: “knitted eyebrows”, “clenched fists” - in Tikhon. In contrast to Kuzma’s “exhausted, thin face, mournful eyes.”
One of the main characters of the story is Kuzma Krasov. He stands at the center of the events described, and the events themselves are presented through the prism of his perception.
Kuzma is a loser. He “dreamed of studying and writing all his life,” but his fate was such that he always had to do something alien and unpleasant. In his youth, together with his brother Tikhon, he traded, traveling around the surrounding villages and exchanging small city goods for eggs, canvas, rags, even dead cats, then he worked for a cattle driver, brokered, wrote articles on the grain business for newspapers, “and thought more and more persistently, that he was missing, that his life was gone." Later, Kuzma worked in a candle shop, was a clerk, and eventually moved to live with his brother, with whom he had once fiercely quarreled.
The realization of a aimlessly lived life and the bleak pictures of the reality around him weigh heavily on Kuzma’s shoulders. Based on real observations of the lives of people like Kuzma Krasov, the writer masterfully revealed in his hero and positive features, indicating his desire to better life. Kuzma’s rapid spiritual growth is also noteworthy, the main result of which should rightfully be considered his overcoming the barbaric attitude towards man in general, towards women in particular, and the formation in his mind of the principles of humanism, deep in its sincere humanity. One cannot, of course, ignore his views on Russia and the Russian people. Editing the story, I. A. Bunin strengthened the revealing nature of Kuzma’s monologues, supplementing them with new critical statements about Russia and the Russian people.
The image of his brother, Tikhon Krasov, is no less important in the story. To a large extent, it is through him that the writer draws a thread from the depiction of the inhabitants of the poor, dark Durnovka, among whom his life passes, to the depiction of yesterday's rulers and noble owners.
In this regard, the remark of V. N. Afanasyev is fair, who in one of his works dedicated to the work of I. A. Bunin writes: “It is from “The Village” that the writer’s mercilessly truthful approach to representatives of the class from which he himself came began. True to the truth of life, sometimes despite his personal sympathies, in a number of works he gives a deep and convincing picture of the complete fall of yesterday’s “masters of life,” speaking about them either harshly and derogatory, or mournfully and sadly...”
Kuzma’s brother, Tikhon, lived his whole life, in his own judgment, as a “chain dog” with accumulated wealth, but he also understands: “You think, they wouldn’t have killed me to a cruel death, if only they, the peasants, had fallen into this, tailing me.” , as it should be - if only they were lucky in this revolution - then? Wait, wait, it will happen, it will happen!” - he says in a fit of revelation to his brother.
Never, either before or after “The Village,” have Bunin’s heroes judged so passionately and excitedly the historical past of Russia, the contemporary world, and never have the views of the author himself so decisively invaded the judgments of the heroes.
The liberal press greeted “The Village” with some confusion. The critics were stunned: I. A. Bunin - the poet of abandoned estates, noble nests - wrote a story about terrible lawlessness, darkness, poverty, and the difficult lot of peasants. But even here, criticism praised the writer as a gifted artist of words, a master of psychological portrait, a short story writer with a keen sense of Russian nature, wonderfully conveying the landscape. Critics reproached the writer for exaggerating the dark sides of the life of the village, for describing the village as a “newcomer intellectual,” as a nobleman and a bankrupt landowner (by the way, I. A. Bunin was never a landowner).
In 1911, I. A. Bunin’s next story, “Sukhodol,” was published, named after the title of the story that opens it, which for the next few years became the writer’s second most important work, after “The Village.” But if in “Village” criticism saw a sharp break with traditional populist views on the peasantry, then in “Sukhodol” it (criticism) noted an equally decisive understanding of the view of the nobility that had developed in Russian literature back in the 19th century. “A writer comes - a nobleman and an undoubted artist,” wrote critic R. V. Grigoriev shortly after the publication of I. A. Bunin’s book, “and says that the Larins’ estate is a myth, that instead of fragrant linden trees and fresh roses there was a heavy, gloomy Sukhodol... Bunin I wanted to look at Sukhodol with sober eyes. He didn’t spare anyone, didn’t keep silent about anything... He captured the era powerfully and vividly, showing life as it was, without any bias or embellishment.”
The strengthening of a critical view of the nobility in general was a characteristic phenomenon for Russian literature at the turn of the century. Suffice it to recall the young A.N. Tolstoy, about whom M. Gorky wrote back in 1910: “Pay attention to the new Tolstoy, Alexei the writer, undoubtedly a large, strong writer who depicts with cruel truthfulness the psychological, moral and economic decay of the modern nobility.”
When “Sukhodol” appeared, one of the critics compared it with “The Golovlev Gentlemen” by M. E. Saltykov-Shchedrin, and this comparison, unexpected at first glance, has serious grounds, if we ignore the manner of depiction - sharply revealing in Saltykov- Shchedrin and contemplatively - elegiacly by I. A. Bunin - delve into the very essence of the depicted phenomena. It is interesting, however, how the writer himself interpreted the intent of his work. In this regard, the interview given by the writer himself in the fall of 1911, when the story was already finished but had not yet appeared in print, is especially interesting: “My new work,” says Bunin, “paints a picture of the life of the next (after the peasants and bourgeois) representative of the Russian people - nobility. The book about the Russian nobility, oddly enough, is far from being completed; the work on the study of this environment is not completely finished. We know the nobles of Turgenev and Tolstoy, who depicted the upper strata, rare oases of culture... It seems to me that the life of most of the nobles of Russia was much simpler, and their soul was more typical of the Russian than Turgenev and Tolstoy describe... ".
I. A. Bunin sought to consistently embody all the ideas expressed in this interview in his story, but it is very characteristic (and this is the remarkable reliable realistic side of the work) that contrary to the author’s intentions, but in full accordance with the historical truth, the lives of landowners and peasants were revealed in pages of "Sukhodol" not in idealistic unity, but in constant, sometimes hidden, sometimes open enmity, and the Sukhodolsky nobles themselves appeared before the reader as people not worthy, in essence, of either love, respect, or that soulful
lyricism, which the author sought to endow with their images.
But Bunin’s story is not only the story of one noble family over two generations, but also “a peculiar attempt to philosophically comprehend history...”. But this attempt, in our opinion, reveals its inconsistency at every step, because it proceeds from false, ahistorical premises. In his desire to bring landowners and peasants closer together, I. A. Bunin points to the facts of the physical connection between the masters and the peasants, and to the way of life of the nobility, supposedly close to the peasantry, and to the traits of hysteria, moral imbalance, which are supposedly equally characteristic of both the owners and the peasants. servants And also the supposedly inherent property of “either rule or be afraid.”
Often, pictures of Sukhodolskaya’s life are presented in the story through the perception of the former serf Natalya, in whom her affection for Sukhodol was always striking. And although, poisoned by the psychology of obedience and humility, Natalya does not rise not only to protest against the master’s arbitrariness, but even to simply condemn the actions of her masters. Her whole fate is an angry indictment against the owners of Sukhodol. Left orphaned by the fact that “the Lord’s father was given away as a soldier for misdeeds, and mother did not live to live because of turkey poults (she died of a broken heart, fearing punishment for the fact that the birds entrusted to her were killed by hail),” Natalya becomes a toy in hands of gentlemen As a girl, she fell in love with the young owner Pyotr Petrovich, and he not only whipped her with an arapnik when she “fell under his feet,” but also exiled her in disgrace to a remote village, accusing her of stealing a mirror, although she hid this very mirror in memory of a loved one. But if Pyotr Petrovich was by nature harsh and tough, then his brother, the kindest and most carefree Arkady Petrovich, wanted to flog the hundred-year-old Nazarushka, who was caught in the garden and crying among the servants who surrounded him, barely alive from fear; and the sister of both young gentlemen, Tonechka, had barely grown up, was already beating Daria Ustinovna, who had once been her father’s wet nurse. After all this, it does not seem surprising that Pyotr Petrovich avoids traveling with the coachman Vaska Cossack, fearing that Vaska will kill him, who has greatly embittered the servants against him by beating him. Beatings and fights also flourish between the gentlemen themselves. Sometimes it got to the point that they grabbed knives and guns, and sat at the table in Sukhodol with arapniks in case of a quarrel.
This real truth about a person is palpable in all the inhabitants of the master's house. Every now and then it breaks through “the crust of their noble-landowner, individualistic limitations,” putting them in an insoluble contradiction with the surrounding society. Their tragedy, according to Bunin, is aggravated by the escalation of an external conflict into an internal conflict, which dooms them to exhausting coexistence not only with the environment, but also with themselves. This reflected the maturity of the psychologism of I. A. Bunin’s prose, which is reflected in the phrase uttered by Pyotr Petrovich: “a stranger to himself and to the whole world.” The dialectic of internal and external acquires not only a socio-psychological, but also a philosophical meaning, which consists in raising the question of the relationship between the universal and specific historical, social-tribal and social-species principles in a person. The predominant one in the story is the second, direct form of psychologism, and the leading one here is the introspection of the characters, which finds various expressions in the form of confession to the interlocutor; “momentary” inner speech of the hero, synchronous with the action; retrospective understanding of one’s psychological state, motive of behavior; psychological experiment on others and oneself.
I. A. Bunin himself speaks bluntly about the spiritual instability and psychological inferiority of the owners of Sukhodol: “Yes, neither to reasonable love, nor to reasonable hatred, nor to reasonable affection, nor to healthy family life, nor to work, nor to communication were not capable in Sukhodol... The Sukhodol Chronicle is full of absurd and terrible stories.”
Thus, it is no coincidence that the theme of tyranny and humility appears in Sukhodol. It will receive its further development in a number of later prose works by I. A. Bunin, as well as the theme of the Russian national character. In many of his works, the plot will be built on the opposition of these two disparate principles, and a clash of characters will arise. In its artistic and psychological characteristics, Sukhodol, more than any other work by I. A. Bunin, is close to Bunin’s poetry. The harsh and frisky style of narration characteristic of “The Village” in “Sukhodol” is replaced by the soft lyrics of memories. To a large extent, the lyrical sound of the work is facilitated by the fact that the author’s voice is included in the narrative, commenting and supplementing Natalya’s stories with her observations. It is in the author’s digressions, or, more correctly, “introductions” to the narrative, that the language of Bunin’s prose is closest to the language of his poetry.
If in the description of Sukhodol the author’s voice is sad and calm, then at the end of the story, where we're talking about about the abandoned graves of their ancestors, the narrator’s intonation sounds along with quiet sadness and poorly restrained bitterness. To myself, asking questions: “But whose are they?” (grave), the author replies: “God knows.” We will hear many similar internal questions addressed to ourselves in the novel “The Life of Arsenyev”, with which “Sukhodol” has in common the longing for the noble past that has sunk into eternity, although the novel, written many years later, already in exile, does not contain those critical and harsh words about the owners of “noble nests” that sound in “Sukhodol”. In it, the writer places more emphasis on his autobiographical nature, weaving branches of deep psychological principles into his plot outline.
In conclusion, it should be noted that the work of I. A. Bunin of the late XIX - early XX centuries. contributed to the development of a special form of psychologism - this is the disclosure of psychological processes only in their internal manifestation. The stories “Village” and “Sukhodol” are undoubtedly the most revealing in this regard. In these works, I. A. Bunin makes an attempt to reveal and analyze psychological processes in their external manifestations (albeit somewhat fragmentarily), and directly analyze the psyche and soul of the hero. In general, the stories became another step towards the creation of psychological prose, an example of which, in our opinion, was the writer’s wonderful novel “The Life of Arsenyev.”
We will dwell in more detail on the analysis of this work in the paragraph more devoted to this novel.
1.3 OriginalityPpsychologistszmAin worksAND.A.Bunina1914 -17 - x years
Undoubtedly, the problem of depicting Russian reality was most relevant for I. A. Bunin in the 1910s compared to other periods of his work. The surge in national self-awareness caused by revolutionary events 1917, is fully reflected in Bunin’s psychological prose and is associated precisely with an active understanding of the nature of Russian man, his abilities, capabilities and future fate. Later, I. A. Bunin continues to write stories about Russian people, continuing to reflect on the “mystery of the Russian soul.” This thinking has reached a new level, if only for the reason that significant changes have occurred in Russia, which could not but affect the writer’s national self-awareness.
The main direction along which Bunin's creativity developed in the years 1914-17 was the combination of lyricism of style and psychological self-development of character, analysis and synthesis. I. A. Bunin became the end of an entire period of Russian classical literature, “associated with the strengthening of psychologism in it, which obliged him to further develop and enrich poetics and stylistics, to develop new forms of artistic representation...”
The specifics of the genre of lyrical prose could not be more fully embodied by the features of the poetics of Bunin’s lyrical miniatures. Lyrical prose is characterized by the emotional and intellectual self-expression of the hero, the artistic transformation of his individual life experience, which is no less important than an objective image of the realities of material reality. Bunin’s miniatures include the characteristic presented by A.I. Pavlovsky: “The content of a lyrical work is no longer the development of an objective incident, but the subject itself and everything that passes through it. This determines the fragmentation of the lyrics: a separate work cannot embrace the wholeness of life, because the subject cannot be everything at one and the same moment. An individual person is full of different contents at different moments. Although the entire fullness of the spirit is available to him, it is not suddenly, but separately, in countless different moments.”
Capturing reality in its most important object-sensory manifestations from the point of view of Bunin’s hero, the narrator of lyrical miniatures thereby, as it were, splits them into separate realities, each of which is comprehended by him with greater intensity and depth, the greater the emotional impact it has on him.
No matter what complex and deep phenomena of the spiritual sphere are discussed in Bunin’s works of these years, the understanding of these phenomena invariably turns under the artist’s pen into a poetically soulful, spiritual self-expression of his lyrical hero. This is achieved by different means. Here there is an open lyrical aspiration of the narrative, a balanced musical and rhythmic organization of phrases, and an intensive use of poetic tropes that direct the reader’s thoughts in the right direction. As a result, internal monologues, permeated with sad-elegiac reflections on the mysteries of life and death, cannot but evoke a certain reciprocal empathy in the reader’s soul.
However, this does not mean that the writer departs from the principles of artistic depiction of life and man. The basis of his stories and tales is the same realistic method as in the works of the turn of the century, written in an objective manner, with the only difference that now the revelation of the comprehended life is refracted through the subjective perception of the individual, whose thoughts and feelings affect the mind and heart of the reader with no less power than visual realities.
In order to enhance the emotional and aesthetic impact, the writer resorts to his favorite technique of associative comparison of life facts and phenomena. Unlike the modernists, I. A. Bunin saw in the artistic association not a self-sufficient symbol and not a simple set of spectacular poetic tricks, incapable of a critical attitude towards what is depicted, but the most important means of realizing the author’s thoughts and ideas. Even with the help of the most distant associations, I. A. Bunin sought to direct the reader in the right direction. Through the complex associative plane, the naked reality of the material and social environment always appears, among which he lives, acts and thinks. For example, in the story “Antonov Apples,” the expressive details of a small-scale, centuries-old way of life emerge clearly, the depiction of which is one of the leading motives of the writer’s early work. We see with our own eyes the apple picking and the fair, and the whole way of life of the average nobleman, heading towards its decline.
And yet, what is significant for the hero-storyteller is not the realities of socio-historical reality, but the beauty and grandeur of nature, which are the subject of his own thoughts.
In full accordance with the genre of lyrical prose, most of Bunin's works are written in the first person. They resemble the pages of the diary of a lyrical hero, who, as a rule, is the only character uniting the action. Of course, talking about a specific action can be a stretch. There is no clearly defined traditional plot containing intrigue or clash of human characters. Instead, in the foreground we see “the flow of thoughts and feelings of the hero, sensitive and reflective, passionately in love with life and at the same time tormented by its mysteries.” Most pre-revolutionary critics viewed Bunin's miniatures as a phenomenon that had nothing to do with early stories I. A. Bunina.
The artistic system of I. A. Bunin, his psychologism is bipolar. One of their poles is descriptive (landscape, interior, portrait, and so on). It occupies different volumes in works - from relatively modest, functionally related to the plot, to self-sufficient, filling the entire space of the text. But what is constant, firstly, is that it is always created according to the same aesthetic laws, and, secondly, it goes beyond strict subordination to the logic of the narrative and exceeds what is necessary.
Its second pole is the plot. Its range is wide from zero to acutely psychological and intense. Its presentation can be sequential or discrete, that is, interrupted in time. The plot can be built according to the logic of linear time or on the displacement of time layers. If in descriptive elements I. A. Bunin is monotonous, then in everything that concerns the plot he is masterfully inventive.
The functions of psychological descriptiveness and plot can be understood by comparing them. The system of their interaction is the most important component art world I. A. Bunin, which originates from the depths of his philosophy of being. In some fragments, descriptiveness is traditionally subordinated to the plot; its function is to overcome the schematism of the plot, giving it concreteness and verisimilitude. In other cases, not completely subordinate descriptiveness performs other tasks. Thirdly, descriptiveness is independent of the plot and relates to it on other artistic grounds.
The problem of the interaction of two aesthetic poles - plot and psychological descriptiveness - has a special perspective in works where “reality appears through the prism of subjective states that are intermediate in nature from slightly distorted to surreal...” The function of descriptiveness as a beginning that overcomes the centrality of the plot is always with I A. Bunin is predominant, often acting as the only function.
Many of Bunin's works before the emigration period were plotless. The writer translates their epic content into lyrical content. Everything that the lyrical hero sees is both phenomena of the external world and facts of his internal existence (general properties of lyrics).
Life is incommensurably broader than any event, and the aesthetic reality of a story is broader than the plot line. A story is just a fragment of a boundless existence; the frame of the beginning and end can be arbitrarily imposed anywhere. The name plays the same role. Neutral names are often preferable so as not to distort the meaning. The names of Bunin’s works are also simple: “New Road”, “Pines”, “Meliton”, etc. The most characteristic among the plotless works of I. A. Bunin is considered to be “Epitaph”, filled with memories of the past. Bunin’s memories are already transformed and poeticized in the depths of consciousness, because they exist in the emotional field of longing for something gone forever. This is manifested primarily in the fact that every detail becomes prominent, bright, and valuable in itself.
One of the most important functions of plot and descriptiveness in their totality is the expression of the spatio-temporal dimension of life. The literary art of the 20th century seems to be straining beyond its capabilities. The spatial form allows you to more fully feel the value of any moment and any frozen particle of life. It opens the world beyond the boundaries of human existence and correlates its scale with the infinity of human existence.
In descriptiveness, I. A. Bunin realizes the feeling of limitless existence. Although the plot sometimes dwindles to zero, the descriptiveness never does. It has priority importance and is always focused on what is outside the work.
...Similar documents
Stages of biography and characteristics of the writer’s works. Poetry and tragedy of love in the works of Ivan Alekseevich Bunin. Philosophy of love in the cycle "Dark Alleys". Extraordinary strength and sincerity of feelings that are characteristic of the heroes of Bunin’s stories.
presentation, added 07/17/2014
Life and work of Ivan Alekseevich Bunin. Poetry and tragedy of love in the works of Bunin. Philosophy of love in the cycle "Dark Alleys". The theme of Russia in the works of I.A. Bunina. The image of a woman in Bunin's stories. Reflections on the mercilessness of fate towards man.
course work, added 10/20/2011
Biography of Ivan Alekseevich Bunin. Features of creativity, literary fate writer. The heavy feeling of separation from the Motherland, the tragedy of the concept of love. Prose by I.A. Bunin, depiction of landscapes in his works. The place of the writer in Russian literature.
abstract, added 08/15/2011
Life and work of Ivan Alekseevich Bunin. The writer's relationship with his parents. The early period of creativity of I.A. Bunina. Entering the mainstream literature. The originality of Bunin's prose. Analysis of Bunin's journalism. Last years life of a Russian writer.
presentation, added 03/04/2011
A brief sketch of the life, personal and creative development of the famous Russian writer and the poet Ivan Bunin, distinctive features his first works. Themes of love and death in Bunin’s works, the image of a woman and peasant themes. Poetry of the author.
abstract, added 05/19/2009
The history of the creation of Bunin's love stories. Detailed descriptions, clarification of the last fatal gesture, their meaning in Bunin’s concept of life. The writer’s attitude towards happiness, its reflection in his works. The story "In Paris", its content and characters.
abstract, added 11/14/2013
The role of Bunin in Russian literature of the 19th-20th centuries. The motif of the homeland in the works of I.A. Bunina. Russia in the "Cursed Days". The motif of the lost homeland in the works of I.A. Bunina. The first wave of Russian emigration. Bunin's work during the period of emigration.
thesis, added 04/04/2003
The desire for love in the story by I.A. Bunin "Easy Breathing" "Random" love in the story by I.A. Bunin "Sunstroke". Pure love in the story "Clean Monday". Extraordinary strength and sincerity of feelings that are characteristic of the heroes of Bunin’s stories.
abstract, added 12/14/2011
Study life path, features of creativity and social behavior of Ivan Alekseevich Bunin. Analysis of his activities in Odessa during civil war. Emigration to France. Descriptions of films and performances based on the writer's works.
presentation, added 11/11/2012
I. Bunin’s views on the fate of Russia, reflected in his stories; literary and methodological analysis. Characteristics of the mysterious soul of the Russian people, debunking idealized populist ideas. Dialectal vocabulary in works.
Lessons 4–5 “AND THIS IS ALL BUNIN” (A. N. ARKHANGELSKY). ORIGINALITY OF LYRICAL NARRATION IN BUNIN'S PROSE. PSYCHOLOGISM OF BUNINSKAYA PROSE AND
30.03.2013 31330 0Lessons 4–5
« And this is all Bunin" (A. N. Arkhangelsky).
The originality of the lyrical narrative
in Bunin's prose. Psychologism of Bunin's prose
and features of external visualization
Goals : introduce the variety of themes of Bunin's prose; teach to identify literary techniques used by Bunin to reveal human psychology, and others character traits Bunin's stories; develop prose text analysis skills.
Progress of lessons
I. Checking homework.
Reading by heart and analysis of Bunin’s poems: “Epiphany Night”, “Loneliness”, “The Last Bumblebee”.
II. Working with new material.
1. The teacher's word.
Features of Bunin the artist, the uniqueness of his place among his contemporaries and, more broadly, in Russian realism of the 19th–20th centuries. are revealed in works in which, according to him, he was occupied with “the soul of the Russian man in a deep sense, the image of the features of the Slav’s psyche.” Let's get acquainted with some stories.
2. Student messages.
a) The story “Village” (based on textbook material, pp. 39–43).
b) Collection “Dark Alleys”.
Having worked on the “Dark Alleys” cycle for many years, I. A. Bunin was already at the end of his life creative path admitted that he considers this cycle “the most perfect in craftsmanship.” The main theme of the cycle is the theme of love, a feeling that reveals the most secret corners of the human soul. For Bunin, love is the basis of all life, that illusory happiness that everyone strives for, but often misses.
Already in the first story, which, like the entire collection, received the name “Dark Alleys,” one of the main themes of the cycle appears: life moves inexorably forward, dreams of lost happiness are illusory, because a person cannot influence the development of events.
According to the writer, humanity is given only a limited amount of happiness, and therefore what is given to one is taken away from another. In the story “Caucasus,” the heroine, running away with her lover, buys her happiness at the cost of her husband’s life.
I. A. Bunin describes in amazing detail and prosaically the last hours of the hero’s life. All this is undoubtedly connected with Bunin’s general concept of life. A person dies not in a state of passion, but because he has already received his share of happiness in life and has no need to live anymore.
Running away from life, from pain, I. A. Bunin’s heroes experience joy, because the pain sometimes becomes unbearable. All the will, all the determination, which a person so lacks in life, is invested in suicide.
Trying to get their share of happiness, Bunin's heroes are often selfish and cruel. They realize that it is pointless to spare a person, because there is not enough happiness for everyone, and sooner or later you will experience the pain of loss - it doesn’t matter.
The writer is even inclined to remove responsibility from his heroes. Acting cruelly, they only live according to the laws of life, in which they are unable to change anything.
IN in the story "Muse" the heroine lives according to the principle that is dictated to her by the morality of society. main topic the story is the theme of a cruel struggle for short happiness, and great tragedy The hero is that he perceives love differently from his beloved, an emancipated woman who does not know how to take into account the feelings of another person.
But, despite this, even the slightest glimpse of love can become for Bunin’s heroes that moment that a person will consider the happiest all his life.
Love for Bunin is the greatest happiness given to man. But eternal doom hangs over her. Love is always associated with tragedy; true love does not have a happy ending, because a person has to pay for moments of happiness.
Loneliness becomes the inevitable fate of a person who fails to discern a close soul in another. Alas! How often found happiness turns into loss, as happened with the heroes of the story “In Paris.”
I. A. Bunin surprisingly accurately knows how to describe the complexity and diversity of those feelings that arise in loving person. And the situations described in his stories are very different.
In the stories “Steamboat “Saratov”, “Raven”, Bunin shows how intricately love can be intertwined with a sense of possessiveness.
In the story “Natalie,” the writer talks about how terrible passion is that is not warmed by true love.
Love in Bunin’s stories can lead to destruction and grief, because it arises not only when a person “has the right” to love (“Russia”, “Caucasus”).
The story “Galya Ganskaya” talks about the tragedy that can result from the lack of spiritual closeness in people when they feel differently.
And the heroine of the story “Dubki” deliberately goes to her death, wanting to feel true love at least once in her life. Thus, many of Bunin's stories are tragic. Sometimes in one short line the writer reveals the collapse of hopes, the cruel mockery of fate.
Stories from the series “Dark Alleys” - amazing example Russian psychological prose, in which love has always been one of those eternal secrets that artists of words sought to reveal. Ivan Alekseevich Bunin was one of those brilliant writers who came closest to solving this mystery.
3. Working with texts(check home preparation).
A) "Mr. from San Francisco."
In his work, Bunin continues the traditions of Russian classics. Following Tolstoy, the philosopher and artist, Bunin turns to the broadest socio-philosophical generalizations in the story “The Gentleman from San Francisco,” written in 1915, at the height of the First World War.
In the story “Mr. from San Francisco,” the powerful influence of Leo Tolstoy, a philosopher and artist, is noticeable. Like Tolstoy, Bunin judges people, their craving for pleasure, the injustice of the social structure from the point of view of the eternal laws that govern humanity.
The idea of the inevitable death of this world is reflected most forcefully in this story, in which, according to the critic A. Derman, “with some solemn and righteous sadness, the artist painted a large image of enormous evil - the image of sin in which the life of a modern proud man takes place.” with an old heart."
The giant “Atlantis” (with the name of the sunken mythical continent), on which the American millionaire travels to the island of pleasure – Capri, is a kind of model of human society: with the lower floors, where workers, stunned by the roar and hellish heat, scurry around tirelessly, and with the upper ones, where the privileged classes chew.
– What is he like, a “hollow” man, as depicted by Bunin?
I. A. Bunin only needs a few strokes for us to see the whole life of an American millionaire. Once upon a time, he chose a model for himself that he wanted to emulate, and after many years of hard work, he finally realized that he had achieved what he was striving for. He's rich.
And a hero the story decides that the moment has come when he can enjoy all the joys of life, especially since he has the money for this. People in his circle go on vacation to the Old World, and he goes there too. The hero's plans are extensive: Italy, France, England, Athens, Palestine and even Japan. The gentleman from San Francisco has made it his goal to enjoy life - and he enjoys it as best he can, or rather, focusing on how others do it. He eats a lot, drinks a lot.
Money helps the hero create a kind of decoration around himself that protects him from everything that he does not want to see.
But it is precisely behind this decoration that passes living life, the life he has never seen and will never see.
– What is the climax of the story?
The climax of the story is the unexpected death of the main character. Its suddenness contains the deepest philosophical meaning. The gentleman from San Francisco is putting his life on hold, but none of us are destined to know how much time we have on this earth. Life cannot be bought with money. The hero of the story sacrifices youth on the altar of profit for the sake of speculative happiness in the future, he does not even notice how mediocre his life has passed.
The gentleman from San Francisco, this poor rich man, is contrasted with the episodic figure of the boatman Lorenzo, a rich poor man, “a carefree reveler and a handsome man,” indifferent to money and happy, full of life. Life, feelings, the beauty of nature - these are, according to Bunin, the main values. And woe to the one who made money his goal.
– What is the theme of love in the work?
It is no coincidence that I. A. Bunin introduces the theme of love into the story, because even love, the highest feeling, turns out to be artificial in this world of the rich.
It is love that the gentleman from San Francisco cannot buy for his daughter. And she experiences trepidation when meeting an eastern prince, but not because he is handsome and can excite the heart, but because “unusual blood” flows in him, because he is rich, noble and belongs to a noble family.
And the highest level of vulgarization of love is a pair of lovers who are admired by the passengers of the Atlantis, who themselves are not capable of such strong feelings, but about whom only the captain of the ship knows that she was “hired by Lloyd to play at love for good money and has been sailing for a long time.” one ship, then on another ship.”
Read the article in the textbook (pp. 45–46).
Make a plan to answer the question: How is the theme of the doom of the world expressed in the story “The Mister from San Francisco”?
Rough plan
1. “The artist painted... an image of sin... a proud man with an old heart.”
2. The name is symbolic ship: Atlantis is a sunken mythical continent.
3. Ship passengers - a model of human society:
b) the death of a gentleman from San Francisco.
4. The theme is in the epigraph: “Woe to you, Babylon, strong city!” Match quotes from the text of the story to the answer according to the resulting plan.
B) “Clean Monday” - one of the stories on the eternal theme of love, which occupies a special place in the work of I. A. Bunin.
– Prove that the images of the main characters are built on antithesis.
– Explain the title of the story.
– Prove that the story is characterized by artistic brevity, condensation of external figurativeness, which allows us to talk about new realism as a writing method.
III. Analysis of the text of I. A. Bunin’s story “Antonov Apples.”
Home training in groups. The assessment of the work is drawn up in a table (on the board), results are summed up, and the number of points is calculated.
When answering, relying on the text is required.
Answer (5 points) |
Addition (3 points) |
Question (1 point) |
|
Teacher's word.
In Bunin's story "Antonov Apples" there are motifs of withering and desolation of noble nests, a motif of memory and the theme of Russia. Isn’t it sad to watch how everything dear to you from childhood irrevocably becomes a thing of the past?
For the heir to noble literature I. A. Bunin, proud of his pedigree (“a hundred years of selection of blood and culture!”, in the words of I. Ilyin), this was estate Russia, the entire way of life of the landowners, closely connected with nature, agriculture, tribal customs and life of peasants.
The artist’s memory revives pictures of the past, he seems to see colorful dreams about the past, and with the power of imagination he strives to stop the moment. Bunin associated the withering of noble nests with the autumn landscape. Fascinated by autumn and the poetry of antiquity, Bunin wrote one of the best stories of the beginning of the century - “Antonov Apples”, an enthusiastic and sad epitaph for a Russian estate.
“Antonov Apples” are extremely important for understanding Bunin’s work. With enormous artistic power they capture the image native land, her wealth and unassuming beauty.
Life is moving steadily forward, Russia has just entered new Age, and the writer calls us not to lose what is worthy of memory, what is beautiful and eternal.
In his “autumn” story, Bunin subtly captured and conveyed the unique atmosphere of the past.
Critics are unanimous in their admiration for the amazing artistic skill of the Antonov Apples and their indescribable aesthetic charm.
As a result of the draw, each group receives a question, which is given 5–7 minutes to discuss. The questions were presented to students in advance to allow them to prepare in advance.
1. What pictures come to mind when reading the story?
To help complete this task, here are some lexical models:
nostalgia for the fading nests of the nobility;
elegy of parting with the past;
pictures of patriarchal life;
poeticization of antiquity; apotheosis of old Russia;
withering, desolation of estate life;
sad lyricism of the story.
2. What are the features of the composition? Create a story plan.
Understanding the composition, we come to the conclusion that the story is constructed as a mosaic of heterogeneous impressions, memories, lyrical revelations and philosophical reflections.
In the alternation of chapters we see, first of all, calendar changes in nature and associated associations.
1. Memories of an early fine autumn. Vanity in the garden.
2. Memories of a “fruitful year.” Silence in the garden.
3. Memories of hunting (small-scale life). Storm in the garden.
4. Memories of deep autumn. Half-cut down, naked garden.
3. What is the personality of the lyrical hero?
The lyrical hero is close in his spiritual mood to the author himself. His appearance is sketched, he is not personified (appearance, biography, etc.).
But the spiritual world of this person can be imagined very vividly.
It is necessary to note his patriotism, dreaminess, poetically subtle vision of the world: “And the black sky is lined with fiery stripes by falling stars. You look for a long time into its dark blue depths, overflowing with constellations, until the earth begins to float under your feet. Then you will wake up and, hiding your hands in your sleeves, quickly run along the alley to the house... How cold, dewy and how good it is to live in the world!”
In the center of the image is not only the successive change of the autumn months, but also the “age” view of the world, for example, a child, a teenager, a young man and a mature person.
“The early fine autumn,” with the description of which the story begins, we see through the eyes of a boy, a “barchuk.”
In the second chapter, the lyrical hero has largely lost the joy and purity characteristic of childhood perception.
In the third and fourth chapters, the light tones diminish and dark, gloomy, hopelessly sad tones are established: “Here I see myself again in the village, in late autumn. The days are bluish, cloudy... In the servant's room, the worker lights the stove, and I, as in childhood, squat down next to a heap of straw, already smelling sharply of winter freshness, and look first into the flaming stove, then at the windows, behind which, blue, twilight dies sadly."
So, Bunin tells not only about how estates fall into disrepair and the wind of change destroys the old way of life, but also about how a person moves towards his autumn and winter seasons.
4. Lexical center – the word GARDEN. How does Bunin describe the garden?
Bunin is an unsurpassed master of verbal coinage. In “Antonov Apples” the lexical center is the word SAD, one of the key words not only in Bunin’s work, but in Russian culture as a whole.
The word “garden” revived memories of something dear and close to the soul.
The garden is associated with a friendly family, home, and with the dream of serene heavenly happiness, which humanity may lose in the future.
You can find many symbolic shades of the word garden: beauty, the idea of time, memory of generations, homeland. But most often the famous Chekhov image comes to mind: a garden - noble nests, which recently experienced a period of prosperity, and now have fallen into decay.
Bunin's garden is a mirror that reflects what is happening to the estates and their inhabitants.
In the story “Antonov Apples” he appears as a living being with his own mood and character. The garden is shown each time through the prism of the author’s moods. In the blessed time of Indian summer, he is a symbol of well-being, contentment, prosperity: “... I remember a large, all golden, dried up and thinning garden, I remember maple alleys, the subtle aroma of fallen leaves and the smell of Antonov apples, the smell of honey and autumn freshness.” In the early morning, it is cool and filled with a “purple fog,” as if hiding the secrets of nature.
But "farewell autumn festival" came to an end and “the black garden will shine through the turquoise sky and obediently wait for winter, warming itself in the sun’s shine”.
In the last chapter, the garden is empty, dull... On the threshold of a new century, only memories of the once brilliant garden remained. The motifs of the abandoned noble estate are consonant with Bunin’s famous poem “Desolation” (1903):
The silent silence torments me.
The nests of the native are languishing in desolation.
I grew up here. But he looks out the window
A dead garden. Decay hangs over the house...
5. The story “Antonov Apples”, in the words of A. Tvardovsky, is exclusively “fragrant”: “Bunin inhales the world; he smells it and gives its scents to the reader.” Expand the content of this quote.
You read Bunin and it’s as if you physically feel the rye aroma of new straw and chaff, “the smell of tar in the fresh air” (ethnographic interest in rural life), “the subtle aroma of fallen leaves,” the fragrant smoke of cherry branches, the strong smell of mushroom dampness that smells from ravines ( romance of childhood, whirlwind of memories); the smell of “old mahogany furniture, dried linden blossom,” the aroma of ancient perfumes that smell like books like church breviaries (nostalgia for the past, a play of imagination).”
The story is dominated by “the smell of Antonov apples, the smell of honey and autumn freshness” (this is the key phrase of the story). The author chose the wonderful gift of autumn - Antonov apples - as a symbol of the passing away native life. Antonovka is an old winter apple variety, beloved and widespread from time immemorial.
A characteristic feature of Antonovka is its “strong, unique ethereal apple aroma” (synonym: “spirit apple”). Coming from the Oryol province, Bunin knew very well that Antonov apples were one of the signs of Russian autumn. Loving Russia, Bunin poeticized them.
Homework.
Selection of material for an essay on the works of I. A. Bunin. Individual assignment for groups of students:
– Compose sample topics essays.
– Develop an essay plan on the topic “Love in the understanding of Bunin.”
SUBJECT: I.A. Bunin "Clean Monday". Psychologism and features of the “external figurativeness” of Bunin’s prose
GOALS: Identification of the writer’s artistic style; intensification of students' research activities, development of skills creative reading, deepening the understanding and experience of the events of the story..
TASKS: formulating conclusions; identifying cause-and-effect relationships Reveal Bunin’s attitude towards Russia through mentioning the monuments of ancient Moscow, using the realities of modern Moscow, everyday sketches, and the heroes’ conclusions about Rus'.
Download:
Preview:
Lesson No. 6 L-11
SUBJECT: I.A. Bunin "Clean Monday". Psychologism and features of the “external figurativeness” of Bunin’s prose
GOALS : Identification of the writer’s artistic style; intensification of students' research activities, development of creative reading skills, deepening understanding and experience of the events of the story..
TASKS : formulating conclusions; identifying cause-and-effect relationships Reveal Bunin’s attitude towards Russia through mentioning the monuments of ancient Moscow, using the realities of modern Moscow, everyday sketches, and the heroes’ conclusions about Rus'. DURING THE CLASSES:
- Org moment.
- Ready for the lesson.
- Communicate lesson objectives.
- Checking homework.
1. Let's follow the heroes to Moscow.
- Excursion on behalf of the hero
“Every evening I took her to dinner in Prague, the Hermitage, the Metropol, after dinner to theaters, concerts, and then to Yar, Strelna...”
- Which Moscow, ancient or modern heroes, we traveled?
- Excursion on behalf of the heroine
- Conception Monastery, Chudov Monastery, Archangel Cathedral, Marfo-Mariinsky Convent, Iverskaya Chapel, Cathedral of Christ the Savior, Kremlin, Novodevichy Convent, Rogozhskoye Cemetery.
- How can you call the excursion on behalf of the heroine? "Ancient Holy Moscow"
- Identification of psychologism and features of the “external figurativeness” of Bunin’s prose
- Why was the view from the window of the Kremlin and the Cathedral of Christ the Savior so important for the heroine?
In the story, the signs of the modern era are correlated with the inner world of the narrator, yet, as for antiquity, the inner world of the heroine testifies to Bunin’s deep nostalgia. “Orthodoxy, now that it was so persecuted at home, was recognized by Bunin as an inseparable part of Russia, its culture, its history and its national essence” (Maltsev “I. Bunin”).
- Is it possible to imagine the heroine in a situation of “earthly happiness”?
- What religious holidays are discussed in the story?
Clean Monday- the first day of Lent, which comes after Maslenitsa.
Maslenitsa – Shrovetide week, the week preceding Lent.
Lent – 7 weeks before Easter, during which Christian believers abstain from immodest food, do not participate in entertainment, and do not marry. The fast was established in remembrance of the 40-day fast of Christ in the desert. Great Pentecost begins on Monday, colloquially called “clean”.
- Is the title of the story symbolic?
Clean Monday - in the Orthodox tradition - is a kind of border, the line between a life of vanity, full of temptations, and the period of Lent, when a person is called to cleanse himself of the filth of worldly life. Clean Monday is both a transition and a beginning: from secular, sinful life to eternal, spiritual life
- Interpretation of the theme of love in the novel.
- Many feelings and emotions experienced by a person are very difficult to grasp and describe in detail. And, perhaps, the most elusive feeling that permeates Bunin’s book “Dark Alleys” is LOVE.
- For what reason? How are the stories combined in the book?(Everyone shows the many faces of love from different sides).
- Now let's think about what faces of love appear before us in the story “Clean Monday”. At the beginning of the story we see the urban landscape of Moscow.“The Moscow gray winter day was darkening, the dull blackening passers-by”. What is special about this landscape?The landscape is followed by a description of the state of a man in love:“How everything should end with an hour spent near her”. This is also an impressionistic description.
- What would you call this condition?(Confusion. Students write down the word love, draw arrows from it, and write a condition under each of them).
- Why is the description of confusion preceded by a landscape?(This is not a new technique in literature; with the help of landscape, state hero).
- This is not the only example of the juxtaposition of the landscape and the hero’s state of mind in the story.“Outside one window I was cooling off from the hot intoxication.”What would you call this face of love?(Passion, intoxication).
- Why the Cathedral of Christ the Savior is mentioned before the scene of passion, we will answer later.
- “And again we talked the whole evening and didn’t talk about marriage anymore.”(Love is family happiness).
- “He kept saying that I don’t think much about him, her wet eyelash blinks.”(Love is tenderness).
- “And then one of those walking in the middle quietly came out of the gate"(Love is longing, nostalgia).
- It is no coincidence that we turned to the story “Clean Monday”, because, as you can see, love here appears to be very multifaceted. But pay attention to the title of the story.
- Before what Orthodox event does Clean Monday come?(Before Great Lent).
- Why do the heroes break up on this day?(This speaks to the sanctity of their relationship).
- Final words from the teacher.
The story mentions the Cathedral of Christ the Savior, excerpts from prayers and lives, and a picture of a procession of the cross. It is HOLINESS that takes passion, tenderness, confusion into a common denominator and helps to give human relationships the face of love.
The story “Clean Monday” is part of Bunin’s series of stories “Dark Alleys”. This cycle was the last in the author’s life and took eight years of creativity. The cycle was created during the Second World War. The world was collapsing, and the great Russian writer Bunin wrote about love, about the eternal, about the only force capable of preserving life in its highest purpose.
The cross-cutting theme of the cycle is love in all its many faces, the merging of the souls of two unique, inimitable worlds, the souls of lovers.
The story “Clean Monday” contains the important idea that the human soul is a mystery, and especially the female soul. And that every person is looking for his own path in life, often doubting, making mistakes, and happiness - if he finds it.
Bunin begins his story by describing a gray winter day in Moscow. By evening, life in the city became livelier, the residents were freed from the worries of the day: “... the cabbies' sleighs rushed thicker and more vigorously, the crowded, diving trams rattled more heavily - in the dusk one could already see how red stars hissed from the wires, - they hurried along the sidewalks more animatedly blackened passers-by." The landscape prepares the reader to perceive the story of “strange love” between two people whose paths tragically diverged.
The story is striking in its sincerity in describing the hero's great love for his beloved. Before us is a kind of confession of a man, an attempt to remember long-ago events and understand what happened then. Why did the woman, who said that she had no one except her father and him, leave him without explanation? The hero on whose behalf the story is told evokes sympathy and sympathy. He is smart, handsome, cheerful, talkative, madly in love with the heroine, ready to do anything for her. The writer consistently recreates the history of their relationship.
The image of the heroine is shrouded in mystery. The hero remembers with adoration every feature of her face, hair, dresses, all her southern beauty. It’s not for nothing that at the actors’ “cabbage show” at the Art Theater, the famous Kachalov enthusiastically calls the heroine the Shamakhan queen. They were a wonderful couple, both beautiful, rich, healthy. Outwardly, the heroine behaves quite normally. She accepts her lover’s advances, flowers, gifts, goes with him to theaters, concerts, and restaurants, but her inner world is closed to the hero. She is a woman of few words, but sometimes expresses opinions that her friend does not expect from her. He knows almost nothing about her life. With surprise, the hero learns that his beloved often visits churches and knows a lot about the services there. At the same time, she says that she is not religious, but in churches she is fascinated by chants, rituals, solemn spirituality, some kind of secret meaning that is not found in the bustle of city life. The heroine notices how her friend is burning with love, but she herself cannot answer him in the same way. In her opinion, she is also not fit to be a wife. Her words often contain hints about monasteries where one can go, but the hero does not take this seriously.
In the story, Bunin immerses the reader in the atmosphere of pre-revolutionary Moscow. He lists the numerous temples and monasteries of the capital, and together with the heroine admires the texts of ancient chronicles. Here are memories and thoughts about modern culture: Art theatre, evening of poetry by A. Bely, opinion on Bryusov’s novel “Fire Angel”, visit to Chekhov’s grave. Many heterogeneous, sometimes incompatible phenomena make up the outline of the heroes’ lives.
Gradually, the tone of the story becomes more and more sad, and in the end - tragic. The heroine decided to break up with the man who loved her and leave Moscow. She is grateful to him for his true love for her, so she arranges a farewell and later sends him a final letter asking him not to look for her. Material from the site
The hero cannot believe in the reality of what is happening. Unable to forget his beloved, for the next two years he “disappeared for a long time in the dirtiest taverns, became an alcoholic, sinking more and more in every possible way. Then he began to recover little by little—indifferently, hopelessly...” But still, on one of those similar winter days, he drove along those streets where they had been together, “and he kept crying and crying...”. Obeying some feeling, the hero enters the Martha and Mary Convent and in the crowd of nuns he sees one of them with deep black eyes, looking somewhere into the darkness. It seemed to the hero that she was looking at him.
Bunin does not explain anything. Whether it was really the hero's beloved remains a mystery. But one thing is clear: there was great love, which first illuminated and then turned a person’s life upside down.
Didn't find what you were looking for? Use the search
On this page there is material on the following topics:
- psychologism in the prose of M. Twain
- essay on the topic of psychologism of Bunin's prose
- clean monday secret psychology
- psychologism of Bunin's prose
- Bunin's psychologism