Beautiful female images in the works of I. A

It is unlikely that anyone will argue that one of the best pages of Bunin's prose is dedicated to a woman. The reader is presented with amazing female characters, in the light of which male images. This is especially true for the book Dark alleys". Women play here leading role. Men, as a rule, are just a background that sets off the characters and actions of the heroines.

Bunin always sought to comprehend the miracle of femininity, the secret of irresistible female happiness. “Women seem mysterious to me. The more I study them, the less I understand" - such a phrase is written by

It's from Flaubert's diary.

Here we have Nadezhda from the story “Dark Alleys”: “... a dark-haired, also black-browed and also still beautiful woman who looked like an elderly gypsy, with a dark fluff on her upper lip and along her cheeks, entered the room, light on the go, but full , with large breasts under a red blouse, with a triangular, like a goose, belly under a black woolen skirt.

With amazing skill, Bunin finds the right words and images. They seem to have color and shape. A few precise and colorful strokes - and before us is a portrait of a woman. However, Nadezhda is good not only outwardly. She is rich and

Deep inner world. For more than thirty years, she has kept in her soul love for the master who once seduced her. They met by chance in a “staying room” by the road, where Nadezhda is the hostess, and Nikolai Alekseevich is a traveler. He is not able to rise to the height of her Feelings, to understand why Nadezhda did not marry “with such beauty that ... she had”, how it is possible to love one person all your life.

In the book "Dark Alleys" there are many other most charming female images: sweet gray-eyed Tanya, " simple soul", devoted to her beloved, ready for any sacrifice for him ("Tanya"); the tall, stately beauty Katerina Nikolaevna, the daughter of her century, who may seem too bold and extravagant (“Antigone”); the simple-hearted, naive Polya, who retained her childish purity of soul, despite her profession (“Madrid”) and so on.

The fate of most of Bunin's heroines is tragic. Suddenly and soon the happiness of Olga Alexandrovna, an officer's wife, is cut short, who is forced to serve as a waitress ("In Paris"), breaks up with her beloved Rusya ("Rusya"), dies from childbirth Natalie ("Natalie").

The finale of another short story in this cycle, Galya Ganskaya, is sad. The hero of the story, the artist, does not get tired of admiring the beauty of this girl. At thirteen, she was "sweet, frisky, graceful ... extremely, a face with blond curls along her cheeks, like an angel's." But time passed, Galya matured: “... no longer a teenager, not an angel, but an amazingly pretty thin girl ... The face under a gray hat is half covered with an ashy veil, and aquamarine eyes shine through it.” Passionate was her feeling for the artist, great and his attraction to her. However, soon he was going to leave for Italy, for a long time, for a month and a half. In vain does the girl persuade her lover to stay or take her with her. Having been refused, Galya committed suicide. Only then did the artist realize what he had lost.

It is impossible to remain indifferent to the fatal charm of the Little Russian beauty Valeria (“Zoyka and Valeria”): “... she was very good: strong, fine, with thick dark hair, with velvet eyebrows, almost fused, with formidable eyes the color of black blood, with hot a dark blush on a tanned face, with a bright gleam of teeth and full cherry lips. Heroine little story The Camargue, despite the poverty of its clothes and the simplicity of its manners, simply torments men with its beauty. No less beautiful is the young woman from the story "One Hundred Rupees". Her eyelashes are especially good: "... like those heavenly butterflies that so magically flicker on heavenly Indian flowers." When the beauty is reclining in her reed chair, “measuredly shimmering with the black velvet of her butterfly eyelashes”, waving her fan, she gives the impression of a mysteriously beautiful, unearthly creature: "Beauty, intelligence, stupidity - all these words did not go to her in any way, just as everything human did not go: truly she was, as it were, from some other planet." And what are the astonishment and disappointment of the narrator, and with it ours, when it turns out that anyone who has a hundred rupees in his pocket can possess this unearthly charm!

The string of charming female images in Bunin's short stories is endless. But speaking of female beauty, captured on the pages of his works, one cannot fail to mention Olya Meshcherskaya, the heroine of the story " Easy breath". What an amazing girl she was! Here is how the author describes it: “At the age of fourteen, with a thin waist and slender legs, her breasts and all those forms were already well outlined, the charm of which the human word had never yet expressed; at fifteen she was already known as a beauty.

But main point the charm of Olya Meshcherskaya was not in this. Everyone must have seen very beautiful faces, which bothers to look at in a minute. Olya was first of all a cheerful, "live" person. There is not a drop of stiffness, affectation or self-satisfied admiration of her beauty in her: “And she was not afraid of anything - no ink stains on her fingers, no flushed face, no disheveled hair, no knee that became naked when she fell on the run.” The girl seems to radiate energy, the joy of life. However, "what more beautiful rose the faster it blooms. The ending of this story, like other Bunin novels, is tragic: Olya dies. However, the charm of her image is so great that even now romantics continue to fall in love with him. Here is how K.G. writes about this. Paustovsky: “Oh, if only I knew! And if I could! I would cover this grave with all the flowers that only bloom on earth. I already loved this girl. I shuddered at the irreparability of her fate. I ... naively reassured myself that Olya Meshcherskaya was a Bunin fiction, that only a tendency to a romantic perception of the world makes me suffer because of a sudden love for a dead girl.

Paustovsky, on the other hand, called the story “Light Breath” a sad and calm reflection, an epitaph to girlish beauty.

Bunin knows how to speak very frankly about the most intimate, but he never crosses the line where there is no place for art. Reading his short stories, you do not find even a hint of vulgarity or vulgar naturalism. The writer subtly and tenderly describes love relationship, "Love of the earth." “And how he embraced his wife and he her, her whole cool body, kissing her still wet breasts, smelling of toilet soap, eyes and lips, from which she had already wiped the paint.” ("In Paris").

And how touching are the words of Rus' addressed to her beloved: “No, wait, yesterday we kissed somehow stupidly, now I will kiss you first, only quietly, quietly. And you hug me ... everywhere ... ”(“ Rusya ”).

The miracle of Bunin's prose was achieved at the cost of the great creative efforts of the writer. It's unthinkable without it. great art. Here is how Ivan Alekseevich himself writes about this: “... that marvelous, indescribably beautiful, something completely special in everything earthly, which is the body of a woman, has never been written by anyone. We need to find some other words." And he found them. Like an artist and sculptor, Bunin recreated the harmony of colors, lines and forms of beauty. female body, sang the Beauty embodied in a woman.

The work of I. A. Bunin is a major phenomenon in Russian literature of the 20th century. His prose is marked by lyricism, deep psychologism, as well as philosophy. Writer created whole line memorable female images.

The woman in the stories of I. A. Bunin is, first of all, loving. The writer sings maternal love. This feeling, he argues, is not given to go out under any circumstances. It does not know the fear of death, overcomes serious illnesses and sometimes reverses the usual human life in a feat Sick Anisya in the story "Merry Yard" goes to a distant village to see her son, who left his home long ago.

The mother went to the miserable hut of a lonely son and, not finding him there, died. The death of his mother was followed by the suicide of his son, who despaired of the stupid life. Rare in their emotional strength and tragedy, the pages of the story, however, strengthen faith in life, because, speaking of maternal love, they elevate the human soul.

woman in Bunin's prose embodies true life in its organicity and naturalness.

A typical example is the story "The Cup of Life", which reveals the meaning of its title with all its content. It's just that physical existence, no matter how long it may be, has no price, the "cup of life" is its spirituality, love above all. A touching image of a woman whose inner world filled with a joyful and holy feeling, ugly Horizons with his prudence of all actions. His "philosophy" was that all the powers of man should be expended in prolonging his physical existence.

Alexandra Vasilievna is sure that she would not regret anything for one - even the last - date with her beloved. I. A. Bunin does not hide his compassion for a woman in whose heart “distant, not yet decayed love” has been preserved.

It is the woman who penetrates the true nature of the feeling of love, comprehends its tragedy and beauty. For example, the heroine of the story "Natalie" says: "Is there an unhappy love?.. Doesn't the most mournful music in the world give happiness?"

In the stories of I. A. Bunin, it is the woman who keeps love alive and incorruptible, carries it through all the trials of life. Such, for example, is Hope in the story "Dark Alleys". Having fallen in love once, she lived this love for thirty years and, having accidentally met her lover, she says to him: “Just as I didn’t have anything more precious than you at that time, so I didn’t have it later either.” It is unlikely that heroes are destined new meeting. However, Nadezhda understands that love will forever be remembered: "Everything passes, but not everything is forgotten." These words contain both forgiveness and light sadness.

Love and separation, life and death - eternal themes, penetratingly sounding in the prose work of I. A. Bunin. All these themes are connected with the image of a woman, touchingly and enlightenedly recreated by the writer.

Turning to the analysis of female images in specific stories by I.A. Bunin, it should be noted that the nature of love and the female essence are considered by the author within the framework of unearthly origin. Thus, Bunin in the interpretation of the female image fits into the tradition of Russian culture, which accepts the essence of a woman as a "guardian angel".

In Bunin, female nature is revealed in an irrational, mysterious sphere that goes beyond the framework of everyday life, defining the incomprehensible mystery of his heroines.

The Russian woman in "Dark Alleys" is a representative of different socio-cultural strata: a commoner - a peasant woman, a maid, the wife of a petty employee ("Tanya", "Styopa", "Fool", "Business Cards", "Madrid", "Second coffee pot"), an emancipated, independent, independent woman ("Muse", ((Zoyka and Valeria", "Heinrich"), a representative of bohemia ("Galya Ganskaya", "Steamboat" Saratov "", " Clean Monday"). Each is interesting in its own way and each dreams of happiness, of love, waiting for her. Let's analyze each of the female images separately.

The image of a common woman

We encounter images of a woman - a commoner, peasant women in "Oaks" and "The Wall". When creating these images, I.L. Bunin focuses on their behavior, feelings, while the bodily texture is given only in separate strokes: "... black eyes and a swarthy face... a coral necklace around her neck, small breasts under a yellow print dress..."("Stepa"), "... she ... sits in a silk lilac sundress, in a muslin shirt with swinging sleeves, in a coral necklace - a resin head that would do honor to any secular beauty, smoothly combed in the middle, silver earrings hang in her ears." Dark-haired, swarthy (the favorite Bunin standard of beauty), they resemble oriental women, but at the same time are different from them. These images attract with their naturalness, immediacy, impulsiveness, but softer. Both Styopa and Anfisa indulge in hollow feelings without hesitation. The only difference is that one goes towards the new with childish gullibility, the belief that this is it, her happiness in: the face of Krasilnikov ("Step") - the other - with a desperate desire, perhaps in last time in life experience the happiness of love ("Oaks"). It should be noted that in the short story "Oaks" by I.A. Bunin, without dwelling on the very appearance of the heroine, describes her outfit in some detail. Peasant woman dressed in silk. It carries a certain semantic load. A woman who has lived most of her life "with her unloved husband" suddenly meets a man who awakens love in her .. Seeing his "torment", realizing that to a certain extent her feeling is mutual, she is happy. On a date with him, she puts on for him holiday attire. Actually, for Anfisa, this date is a holiday. The holiday, which eventually turned into the last one. He is there, and she is already almost happy ... And the ending looks all the more tragic novels - death heroine, who never experienced happiness, love.

They are waiting for their happy hour and a woman from business cards", and the maid Tanya ("Tanya"). ".... thin hands.... a faded and therefore even more touching face.... plentiful and. somehow cleaned dark hair with which she shook everything; taking off his black hat and throwing it off his shoulders, off his bumazine dress. gray coat." Again I.A. Bunin does not stop at detailed description the appearance of the heroine; A few strokes - and the portrait of a woman, the wife of a petty official from a provincial town, tired of eternal need, hassle, is ready. Here she is, her dream - "unexpected acquaintance with famous writer, her short bond with him. A woman cannot miss this, most likely the last, chance for happiness. A desperate desire to use it shows through in her every gesture, in her entire appearance, in the words: "-..... You won't have time to look back, how life will pass! ... But I have not experienced anything, nothing in my life! - It's not too late to experience ... - And I will experience it!". Cheerful, broken, cheeky heroine actually turns out to be naive. And this "naivety, belated inexperience, combined with extreme courage", with which she enters into a relationship with the hero, causes in the latter complicated feeling, pity and desire to take advantage of her gullibility. Almost at the very end of the work of I.A. Bunin again resorts to the portrait of a woman, presenting her in a situation of exposure: "she ... unbuttoned and trampled on her dress that had fallen to the floor, remained slender, like a boy, in a light shirt, with bare shoulders and arms and in white knickers, and he was painfully pierced by the innocence of all this".

And further: "She meekly and quickly stepped out of all the linen thrown on the floor, remained all naked; gray-lilac, with that peculiarity of the female body, when it nervously chills, it becomes tight and cool, covered with goose bumps ...". It is in this scene that the heroine is real, pure, naive, desperately wanting happiness at least for a short time. And having received it, it again turns into ordinary woman, the wife of her unloved husband: "He kissed her cold hand ... and without looking back she ran down the gangplank into the rough crowd on the pier."

"... she was in her seventeenth year, she was small in stature ... her simple face was only pretty, and her gray peasant eyes were beautiful only with youth ...". So Bunin says about Tanya. The writer is interested in the birth of a new feeling in her - love. Throughout the work, he will return to her portrait several times. And it is no coincidence: the appearance of the girl is a kind of mirror, which reflects all her experiences. She falls in love with Pyotr Alekseevich and literally blossoms when she finds out that her feeling is mutual. And changes again when he hears about separation from his beloved: "He was amazed when he saw her - she lost so much weight and faded - she was all over, her eyes were so timid and sad." For Tanya, love for Pyotr Alekseevich is the first serious feeling. With purely youthful maximalism, she gives herself to him all, hopes for happiness with her loved one. And at the same time, she does not require anything from him. She dutifully accepts her beloved as he is: And only when she comes to her closet, she desperately prays to God that her beloved does not leave: "... Give, Lord, so that it does not subside for another two days!".

Like other heroes of the cycle, Tanya is not satisfied with the "undertones" in love. Love is either there or it isn't. That's why she's tormented by doubts about new arrival of Peter Alekseevich to the estate: "... it was necessary either completely, completely the same, and not a repetition, or an inseparable life with him, without parting, without new torments ...". But, not wanting to bind a loved one, to deprive him of his freedom, Tanya is silent: "... she tried to drive this thought away from herself ...". For her, fleeting, short happiness turns out to be preferable to relationships "out of habit", as for Natalie ("Natalie"), a representative of another social type.

The daughter of impoverished nobles, she resembles Pushkin's Tatyana. This is a girl who was brought up far from the noise of the capital, in a remote estate. She is simple and natural, and just as simple, natural, pure is her view of the world, of relations between people. Like Bunin's Tanya, she surrenders to this feeling without a trace. And if for Meshchersky two are completely different love quite natural, then for Natalie such a situation is impossible: "... I am convinced of one thing: in the terrible difference between the first love of a young man and a girl." Love should be only one. And the heroine confirms this with her whole life. Like Pushkin's Tatyana, she keeps her love for Meshchersky until her death.

Women's images in works

I.A. Bunin.

Introduction

A woman is a thin, elusive world that is not subject to the understanding of men. And the only one who can reveal the secret of a woman is a writer, we see evidence of this in literature.

Women in the literature of the 19th century very often act as carriers of moral and spiritual qualities and values ​​asserted by the author. They are undoubtedly more humane, loftier, spiritually richer and even, at times, stronger than men.

The inner world of a woman, as a rule, is formed in relative independence from the influence of the social environment, from the bustle of life, in an oasis of girlish, sublime book impressions, ideal dreams. The sphere of her interests and aspirations is the sphere of feelings, high love, moral ideality. The writers of the 19th century very vividly and emotionally reveal the female nature. One of these writers is Ivan Alekseevich Bunin. Connoisseur female character, the singer of beauty, he gives us a beautiful gallery of female images in his poetic prose.

Relevance

The works of I. A. Bunin cannot leave anyone indifferent - neither a young reader, nor a person wise by life experience. They are sad and sublime, full of thoughts, truthful. Bunin does not exaggerate when he talks about loneliness, about sorrows, about troubles that haunt a person throughout his life. High school students read Bunin's poetic prose with interest. After all, all the problems: questions of morality, love, and purity, revealed in the works of Bunin, are relevant to this day.

Purpose of work: To review and analyze female images in the prose of I.A. Bunin. And also to explore some patterns of intersection of the real, everyday and spiritual, to find and understand the spiritual and philosophical subtext of Bunin's story "Clean Monday".

Women's images are especially attractive in Bunin's stories. The theme of love in Bunin's work occupies a leading place. One way or another, it can be traced in the most different stories and stories. And we understand what the writer wanted to say when he showed how close death and love are in our lives. Bunin always sought to comprehend the miracle of femininity, the secret of irresistible female happiness. “Women seem mysterious to me. “The more I study them, the less I understand,” he writes out such a phrase from Flaubert’s diary.

Bunin always sought to comprehend the miracle of femininity, the secret of irresistible female happiness. This is especially characteristic of the book “Dark Alleys”. The creation of the cycle of stories “Dark Alleys” was a source of spiritual uplift for Bunin during the war years. The author himself considered the works of the collection, written in 1937-1944, his highest achievement. The cycle of stories was defined by critics as an "encyclopedia of love" or, more precisely, an encyclopedia of love dramas. Love is portrayed here as the most beautiful, the highest feeling. In each of the stories ("Dark Alleys", "Rus", "Antigone", "Tanya", "In Paris", "Galya Ganskaya", "Natalie", "Clean Monday"; here one can also include those written before "Dark Alleys" The story "Sunstroke") shows the moment of the highest triumph of love. All the stories in the collection are brought together by the motive of memories of youth and homeland. All of them are fictitious, which the author himself emphasized more than once. However, all of them, including their retrospective form, are caused by the author's state of mind. Women play a major role here. With amazing skill, Bunin finds the right words and images. They seem to have color and shape. A few precise and colorful strokes - and before us is a portrait of a woman.

Here we have Nadezhda from the story “Dark Alleys”: “... a dark-haired, also black-browed and also still beautiful woman who looked like an elderly gypsy, with a dark fluff on her upper lip and along her cheeks, entered the room, light on the go, but full , with large breasts under a red blouse, with a triangular, like a goose, belly under a black woolen skirt.

There are many other most charming female images in the book “Dark Alleys”: sweet gray-eyed Tanya, “a simple soul”, devoted to her beloved, ready for any sacrifice for him (“Tanya”); the tall, stately beauty Katerina Nikolaevna, the daughter of her century, who may seem too bold and extravagant (“Antigone”); the simple-hearted, naive Polya, who retained her childish purity of soul, despite her profession (“Madrid”) and so on.

The fate of most of Bunin's heroines is tragic. Suddenly and soon the happiness of Olga Alexandrovna, an officer's wife, is cut short, who is forced to serve as a waitress ("In Paris"), breaks up with her beloved Rusya ("Rusya"), dies from childbirth Natalie ("Natalie").

The finale of another short story in this cycle, Galya Ganskaya, is sad. The hero of the story, the artist, does not get tired of admiring the beauty of this girl. At thirteen, she was "sweet, frisky, graceful ... extremely, a face with blond curls along her cheeks, like an angel's." But time passed, Galya matured: “... no longer a teenager, not an angel, but an amazingly pretty thin girl ... The face under a gray hat is half covered with an ashy veil, and aquamarine eyes shine through it.” Passionate was her feeling for the artist, great and his attraction to her. However, soon he was going to leave for Italy, for a long time, for a month and a half. In vain does the girl persuade her lover to stay or take her with her. Having been refused, Galya committed suicide. Only then did the artist realize what he had lost.

It is impossible to remain indifferent to the fatal charm of the Little Russian beauty Valeria (“Zoyka and Valeria”): “... she was very good: strong, fine, with thick dark hair, with velvet eyebrows, almost fused, with formidable eyes the color of black blood, with hot a dark blush on a tanned face, with a bright gleam of teeth and full cherry lips. No less beautiful is the young woman from the story "One Hundred Rupees". Her eyelashes are especially good: "... like those heavenly butterflies that so magically flicker on heavenly Indian flowers." When the beauty is reclining in her reed armchair, “measuredly shimmering with the black velvet of her butterfly eyelashes”, waving her fan, she gives the impression of a mysteriously beautiful, unearthly creature: “Beauty, intelligence, stupidity - all these words did not go to her in any way, as they did not go everything human: truly it was as if from some other planet.

The string of charming female images in Bunin's short stories is endless. It is impossible not to mention the unfortunate, abandoned, still “green” girl Parashka (“On the Road”, 1913). The girl is given to the first comer, who turned out to be a thief and a scoundrel. The author does not obscure her instinctive attraction to the male strong beginning, the desire to "spill the wine" of her blossoming femininity. But that is not the source of the unfolding drama. The vagueness of the simplest concepts, loneliness, the unclean environment in which Parashka lives make her easy, inanimate for a potential criminal. The unfortunate woman, barely falling under his power, painfully feels the terrible fragility, depravity of her existence.

On the other, in comparison with Parashka, life "pole" is the beauty, the daughter of wealthy aristocrats Olya Meshcherskaya, the heroine of the story "Light Breath". The story itself is light and transparent, like the whole life of Olya Meshcherskaya. Only what happened to Olya is not as easy to decipher.

From the first lines of the story, there is a dual impression: of a sad deserted cemetery, where on one of the crosses there is “a photographic portrait of a schoolgirl with joyful, amazingly lively eyes” Life and death, joy and tears are a symbol of Olya Meshcherskaya’s fate

This contrast is developed further. A cloudless childhood, adolescence of the heroine: Olya stood out from the carefree and cheerful crowd of girls of her age. She loved life, accepting it for what it is. The young schoolgirl has much more joys and hopes than sorrows and disappointments. Besides, she was really lucky: she was pretty, from a wealthy family. “Yuna was not afraid of anything” and therefore she was always open, natural, light, attracted the attention of those around her with her love of life, the sparkle of her clear eyes, and the grace of her movements.
Having early developed physically, turning into charming girl, Olya Meshcherskaya intuitively strove to fill her soul with something sublime, bright, but she had neither experience nor reliable advisers, therefore, true to herself, she wanted to try everything on her own. Not distinguished by either cunning or cunning, she frivolously fluttered between gentlemen, deriving endless pleasure from the awareness of her own femininity. More than unusually, her half-childish state of a student running around during the break is combined, and right there her almost proud confession that she is already a woman. Yes, she felt like a woman very early. "But is that bad?" the author asks. To love and be loved, to find happiness and strength in the inner feeling of belonging to the weaker sex - shouldn't many be taught this on purpose even today? However, not being able to stop in time in her experiments, Olya learned the physical side of love too early for her still fragile soul, which became the most unpleasant surprise for her: “I don’t understand how this could happen, I went crazy, I never thought that I am! Now I have one way out ... I feel such disgust for him that I can’t survive this! .. ”It seems that what happened was for Olga the first heavy blow in her life, which caused a cruel emotional drama. Unable to do anything half-heartedly, surrendering to thoughts and feelings completely, without a trace, Olya probably hated herself for an unconscious misconduct. In Olya's actions there is no vice, no revenge, no firmness of decisions. But just such a turn is terrible: a creature perishes that does not understand the horror of its position.

Olya is compared by Bunin with a light breath that "scattered in the world", in the sky, the wind, that is, in life, to which she always belonged undividedly.

And how contrasting the image of another woman seems, her classy lady, the “middle-aged girl”, whose name we don’t even know. She has long lived "some fiction that replaces her real life." Now her dream, the subject of her relentless thoughts and feelings, has become Olya, whose grave she visits so often.
Two female images, so dissimilar, stand before my eyes after reading a short story: Olya - a precocious woman and the head of a gymnasium - a gray-haired "middle-aged girl", life and a dream of life, a flood of feelings and an invented, illusory world of her own sensations. Easy breathing and oxygen mask. It awakens reflections on the perishable and the eternal, on life and its transience. It helps for simple phenomena and objects to see the beauty of the world, to realize the value of an ever-changing life.

Very interesting and unusual in its own way is the story of A.I. Bunin "Clean Monday". Bunin put his soul into the creation of this story. According to his wife, on one of his sleepless nights, he left his confession on a piece of paper: “I thank God that he gave me the opportunity to write “Clean Monday”.

Heroes: He and she are Russians, they live in Russia, but they are beautiful not with Russian, but with exotic beauty: “I was handsome at that time for some reason with southern hot beauty.” “She had some kind of Indian, Persian beauty: a swarthy amber face, magnificent and somewhat sinister hair in its thick blackness ...”. "Most often silent ...". "King Maiden Shamakhanskaya Queen".

In her apartment, overlooking the most ancient part of Moscow, languages, styles, objects from all over the world were mixed: a Turkish sofa, an expensive piano, “ Moonlight Sonata”, books by Hofmannsthal, Schnitzler, Tetmeier, Pshibyshevsky, a portrait of Tolstoy, anathematized.

These interior details emphasize that the heroine herself has mixed up "high" and "low". She loved gourmet meals, entertainment, drank a lot, smoked, wore beautiful expensive clothes, allowed him impudent caresses. Before the reader is a modern woman, born of the New Time. And yet there was a lot in her that was incomprehensible, mysterious, romantic, dreamy, wise. In one image, it seems that the incompatible is combined.

Who will win in it: a patriarchal woman or an emancipated person?

She was unattainable in her perfection: she was so good that she was seen off with her eyes, she wore a velvet pomegranate dress or black velvet, shoes with gold clasps, diamond earrings emphasized the exquisite beauty of the heroine. It seems that in this perfect form thoughts about the ordinary are never born. How simple, earthly, her confession sounds: “It’s not clear why,” she said thoughtfully, stroking my beaver collar, “but it seems that nothing can be better than the smell of winter air ...”

The author helps the reader to see in the heroine a tender, quivering soul. Her physical shell, bright, bold, catchy, frivolous, does not correspond to the depth of emotional experiences. It turns out that there is not a single historical place in Moscow and the surrounding area where she has not been or would not want to be - from the schismatic cemetery to Griboyedov’s apartment. She is interested in the history of the Fatherland, this is not clear to the hero: “... There were not a soul of passers-by, and to whom Of these, Griboyedov could be needed. She is interested in the life of Peter and Fevronia, as a symbol of eternal love. She reflects on the destiny of man together with Platon Karataev, tries to understand the philosophical views of L. Tolstov, admires the heroes of the Battle of Kulikovo Peresvet and Oslyabey. Pays tribute to Chekhov, a true Russian intellectual. She loves "Russian, annalistic, Russian legends", rereads them so often that she memorizes them. She recalls how last year, on a passionate day, she went to the Chudov Monastery: “There are puddles everywhere, the air is already soft, spring, in my soul somehow gently, sadly, and all the time this feeling of the homeland of her antiquity.” The heroine says about herself: “I often go in the mornings or in the evenings when you don’t drag me to restaurants in the Kremlin cathedrals.”

At the beginning of the story, the heroine speaks in short sentences that end with an ellipsis:

You don't like everything!

Yes, a lot...

No, I'm not fit to be a wife. I'm not good, I'm not good...

The image of the heroine gradually develops, and her speech develops: from short sentences to complex constructions with philosophical concepts and definitions:

How good. And now only in some northern monasteries this Rus' remains. Yes, even in church hymns. Recently I went to the Zachatievsky Monastery - you cannot imagine how wonderfully the stichera are sung there! And Chudovoe is even better. I last year everyone went there on Strastnaya. Ah, how good it was! There are puddles everywhere, the air is already soft, the soul is somehow tender, sad, and all the time this feeling of the homeland, its antiquity ... All the doors in the cathedral are open, the common people come in and out all day, the whole day of the service ... Oh, I’ll leave I'm going somewhere to a monastery, to some of the most deaf, Vologda, Vyatka!

But what remains unchanged is that she still does not finish something, she is silent about something, leaving the unsaid for conjecture,

Bunin, gradually changing the style of narration, leads the reader to the idea that the departure from the worldly bustle of the heroine is natural, deliberate. And it's not all about religiosity, in her opinion, but about the desire to live a spiritualized life. Giving up life “here” is not a spiritual impulse, but a thoughtful decision that the heroine can justify. She knows everything about the modern world, and she rejects what she has learned. Yes, the heroine is trying to find meaning, support in the world around her, but she doesn’t find it, even the hero’s love doesn’t bring her happiness. She cannot respond to strong feelings and, having surrendered to him, goes to the monastery.

Description of work

A woman is a thin, elusive world that is not subject to the understanding of men. And the only one who can reveal the secret of a woman is a writer, we see evidence of this in literature.
Women in the literature of the 19th century very often act as carriers of moral and spiritual qualities and values ​​asserted by the author. They are undoubtedly more humane, loftier, spiritually richer and even, at times, stronger than men.
The inner world of a woman, as a rule, is formed in relative independence from the impact social environment, from the bustle of life, in the girlish oasis, sublime book impressions, ideal dreams. The sphere of her interests and aspirations is the sphere of feelings, high love, moral ideality. The writers of the 19th century very vividly and emotionally reveal the female nature. One of these writers is Ivan Alekseevich Bunin. A connoisseur of the female character, a singer of beauty, he gives us a wonderful gallery of female images in his poetic prose.

The work of I. A. Bunin is a major phenomenon in Russian literature of the 20th century. His prose is marked by lyricism, deep psychologism, as well as philosophy. The writer has created a number of memorable female images.

The woman in the stories of I. A. Bunin is, first of all, loving. The writer sings of maternal love. This feeling, he argues, is not given to go out under any circumstances. It does not know the fear of death, overcomes serious illnesses and sometimes turns ordinary human life into a feat. Sick Anisya in the story "Merry Yard" goes to a distant village to see her son, who left his home long ago.

* And in captivity smoky-through
* With golden flies veil,
* Aza her valley, forest,
* Blue melting distance.

Just as accurate and mysterious is Bunin's painting of feelings. The theme of love is one of the most important in his poetry. The main thing here is the awakening of feelings and the aching note of loss, which is always heard where memories come to life. An unstable feeling and vanishing beauty live only in memories, therefore the past in the poems of I. A. Bunin is recreated in exciting details, each of which contains pain and loneliness:

* Not a plate, not a crucifix.
*Before me so far -
* Institute dress
* And shining eyes.
* Are you alone?
* Aren't you with me
* In our distant past,
* Where was I different?

I. A. Bunin often has poems that convey the experiences of some minute:

* Early, barely visible dawn,
* The heart of sixteen years,
* Curtain in the window, and behind it
* The sun of my universe.

The poet seeks to express the highest value of each elusive moment in the awakening of a young heart. It is these seconds that become the source of inspiration, the meaning of life. Bunin's painting of feelings is subtle and penetrating, marked by psychological accuracy and laconism. The life of nature, fanned by light sadness, mysterious life human feelings are embodied in a perfect poetic word.

* The tombs, mummies and bones are silent,
* Only the word is given life.

It awakens reflections on the perishable and the eternal, on life and its transience. It helps to see the beauty of the world behind simple phenomena and objects, to realize the value of an ever-changing life.

I. A. Bunin describes in his works with extraordinary skill full of harmony world of nature. His favorite heroes are endowed with the gift of subtle perception the world, beauty native land that allows them to feel life in its entirety. After all...

The works of I.A. Bunin filled philosophical issues. The main issues of concern to the writer were the issues of death and love, the essence of these phenomena, their influence on human life. The theme of death is most deeply revealed by Bunin in his story...

Neither philosophical and historical digressions and parallels did not save. Bunin could not get rid of thoughts about Russia. No matter how far he lived from her, Russia was inseparable from him. However, it was a pushed back Russia, not the one that used to begin outside the window overlooking ...

The prose of I.A. Bunin is considered a synthesis of prose and poetry. It has an unusually strong confessional beginning (" Antonov apples"). Often, lyrics replace the plot basis, and as a result, a portrait-story appears ("Lirnik Rodion"). ...

In the theme of love, Bunin reveals himself as a man of amazing talent, a subtle psychologist who knows how to convey the state of the soul, so to speak, wounded by love. The writer does not avoid complex, frank topics, depicting in his stories the most intimate human ...