The image of a woman in the work of Bunin. Women's images and their role in stories

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 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 for simple phenomena and objects to see the beauty of the world, 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, the beauty of their native land, which allows them to feel life in its entirety. After all...

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

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

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

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

The bottomless, calm, night twinkling of stars is like you at times! I. A. Bunin Ivan Alekseevich Bunin - a subtle lyricist and connoisseur human soul. He was able to very accurately and fully convey the most complex experiences, the interweaving of human destinies. Bunin can also be called an expert on the female character. The heroines of his late prose are distinguished by their directness of character, bright individuality and mild sadness. The image of Nadezhda from the story “Dark Alleys” is unforgettable. A simple Russian girl was able to selflessly and strongly love the hero, even the years did not erase his appearance. Having met

Thirty years later, she proudly protests former lover: “What does God give to whom, Nikolai Alekseevich. Youth passes for everyone, but love is another matter ... No matter how much time passed, everyone lived alone. I knew that you were gone for a long time, that for you it was as if there was nothing, but ... ”Only a strong and noble nature is capable of such a boundless feeling. Bunin, as it were, rises above the heroes of the story, regretting that Nadezhda did not meet a person who could appreciate and understand her beautiful soul. But it's too late, too late to regret anything. gone forever best years. But there is no unrequited love, say the heroes of another wonderful story, “Natalie”. Here, a fatal accident separates the lovers, still too young and inexperienced, perceiving absurdity for a catastrophe. But life is much more varied and generous than one might imagine. Fate brings lovers together again mature years when much is understood and comprehended. It seems that life has turned in a favorable direction for Natalie. She still loves and is loved. Boundless happiness fills the souls of the heroes, but not for long: in December, Natalie "died on Lake Geneva in premature birth." What happens, why is it impossible for the heroes to enjoy earthly happiness? A wise artist and person, Bunin saw too little happiness and joy in real life. Living in exile, far from Russia, the writer could not imagine serene and complete happiness away from his homeland. This is probably why his heroines only for a moment feel the bliss of love and lose it. In a harsh time, the writer lived and worked, he could not be surrounded by carefree and happy people. Being an honest artist, Bunin could not reflect in his work what he had not seen in real life.

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1. Ivan Alekseevich Bunin is a subtle lyricist and connoisseur of the human soul. He knew how to very accurately and fully convey the most complex experiences, the interweaving of human destinies. Bunin can also be called an expert on the female character. The heroines of his later prose are distinguished by their directness of character, bright individuality and soft Read More ......
2. Ivan Alekseevich Bunin is a subtle lyricist and connoisseur of the human soul. He was able to very accurately and fully convey the most complex experiences, the interweaving of human destinies. Bunin can also be called an expert on the female character. The heroines of his later prose are distinguished by their directness of character, bright individuality and soft Read More ......
3. I. A. Bunin is considered to be the successor of Chekhov's realism. His work is characterized by an interest in ordinary life, the ability to reveal the tragedy of human existence, the saturation of the narrative with details. Bunin's realism differs from Chekhov's in its extreme sensuality, picturesqueness and at the same time rigor. Like Read More ......
4. In his works, Bunin, on the one hand, showed a picture of his time (the slavery of some, the exorbitant domination of others), and on the other, he revealed the mysteries of the human soul, exposing the bad qualities of outwardly decent people and showing the positive ones - scoundrels and hopeless from the point of view of Read More. .....
5. The story "Clean Monday" is included in Bunin's cycle of stories "Dark Alleys". This cycle was the last in the life of the author and took eight years of creativity. The creation of the cycle fell on the period of the Second World War. The world was collapsing, and the great Russian writer Bunin wrote about Read More ......
6. How can the heart express itself? How can someone else understand you? F. Tyutchev The story of I. A. Bunin seems very unusual to me “ Easy breath". It is really light and transparent, like the whole life of Olya Meshcherskaya - main character story, which we from the very beginning Read More ......
7. Blok's work took place at the beginning of the twentieth century - a time of great change and many tragic events in the life of the country. But, perhaps, only such an era could bring up such a great poet as A. A. Blok. In his work, Blok turned to various topics. Read More ......
8. Leskov's portrayal of the ideal woman is permeated through and through with spirituality. This is the reason for the admiring surprise that the reader is evoked by the wonderful images of charming women recreated by Leskov, such characters full of spiritual beauty, including Natalya Nikolaevna Tuberozova (“Soboryane”), Marfa Plodmasova (“Old Years in Read More ..... .

Female images of Bunin's late prose

I.A. Bunin in literary criticism. Approaches to the analysis of I.A. Bunin. Directions in the field of study lyrical hero Bunin, figurative system his prose ________________________________________ 3

Female images in the cycle of stories "Dark Alleys" by I.A. Bunin.________8

Conclusion ____________________________________________________________ 15

List of references _________________________________ 17

Part 1.

I.A. Bunin in literary criticism. Approaches to the analysis of I.A. Bunin. Directions in the field of studying the lyrical hero Bunin, the figurative system of his prose.

Conditionally Spectrum literary criticism dedicated to the work of I.A. Bunin can be divided into several areas

The first is the religious trend. First of all, of course, we mean the consideration of I.A. Bunin in the context of the Christian paradigm. Since the nineties of the twentieth century, this direction has been developing most widely in domestic literary criticism. Like O.A. Berdnikova (1), This direction originates from the publication of the work of I.A. Ilyin "On darkness and enlightenment". The point of view of this author is more philosophical, orthodox than scientific, but it was this work that initiated the criticism of the heritage of I.A. Bunina in the key Christian philosophy. What, then, is the intransigence of Ilyin's point of view on the ordinary reader's point of view? According to the philosopher Ilyin, in Bunin's prose, "an individual rather than a person" (1, p. 280), which does not have a spiritual individuality, acts rather. This point of view echoes the mythological, mythopoetic direction in the field of research of I.A. Bunin, who considers Bunin's hero as a certain philosophical invariant. In general, Yu.M. Lotman (8), comparing the creative and philosophical attitudes of I.A. Bunin and F.M. Dostoevsky.

The religious trend in literary criticism could not but pay attention to the sensual side of Bunin's heroism, the spontaneity and passion of his characters, and at the same time naturalness, naturalness. Bunin's heroes submit to fate, fate, are ready to carry through their entire

Life is one single moment resignedly, humbly, finding in it a kind of meaning, some kind of philosophy of its own. Already these, rather naive and simple, characteristics give reason to consider Bunin's work in a different, but still religious and philosophical aspect, namely, within the Eastern, Buddhist philosophy. The dispute between the Christian and Buddhist views on the person (14) and its relation to God received its new turn in the literary environment of the study of Bunin's prose, and also acquired new ground for reflection. Bunin's journalism, perhaps, gives the first impetus to the emergence of the question of philosophical basis Bunin's prose. In 1937, Bunin wrote the memoir and journalistic work "The Liberation of Tolstoy", where he enters into an argument with a colleague in the chosen business of life, with his main reviewer, a teacher, one of "... those people whose words elevate the soul and make tears even high , and who, in a moment of grief, want to cry and kiss their hand passionately, like their own father ... ". “In it, in addition to memoirs and discussions about the work, life and personality of the great writer, he expressed long-held thoughts about human life and death, about the meaning of being in an endless and mysterious world. He categorically disagrees with Tolstoy's idea of ​​withdrawal, "liberation" from life. Not departure, not the cessation of existence, but Life, its precious moments that must be opposed to death, to perpetuate all the beauty that a person has experienced on earth - this is his conviction ”(11, p. 10). “There is no happiness in life, there are only lightning bolts of it - appreciate them, live by them” - these are the words of Tolstoy I.A. Bunin will remember all his life, this saying, perhaps for the writer himself, was something like a life credo, and for the heroes of the Dark Alleys cycle, this is both a law and, at the same time, a sentence. Bunin, as you know, considered love to be such lightning bolts of happiness, such beautiful moments that illuminate a person’s life. “Love does not understand death. Love is life, ”Bunin writes out the words of Andrei Bolkonsky from War and Peace. “And implicitly, gradually, unconsciously, however, in a certain

In a subconscious polemic with Tolstoy, he was born with the idea to write about the highest and most complete, from his point of view, earthly happiness, about his “lightning” “Blessed hours are passing, and it is necessary, necessary ... to save at least something, that is, to oppose death, fading wild rose,” he wrote back in 1924 (the story “Inscriptions”)” (12, p. 10). "An Ordinary Tale", a poem by N.P. Ogarev, after almost two decades, will give the name to the book of love stories, on which Bunin is working in subsequent years.

Of course, it is impossible not to touch on classical literary criticism in this area. Under the classic this case refers to a view of the writer's work from the point of view of autobiography, belonging to any literary direction, the use of one or another literary method, figurative means. Including the historical context, for example, the research of A. Blum (3) and, conversely, the historical and literary position of the author, his predecessors and followers. In general, the synchrony and diachrony of Bunin's work (5, 6, 13, 14).

Also, literary thought did not disregard the stylistic, methodological aspects of I.A. Bunin. The works of L.K. Dolgopolov (5), a literary critic, known primarily as a researcher of the St. Petersburg text in literature, outstanding philologists D.S. Likhachev (8) and Yu.M. Lotman (9) are devoted to the analysis of style and visual means writer, interpretation of symbols and images of Bunin's prose. In particular, the cycle "Dark Alleys" by Bunin in this direction is considered as complete work, united by a number of motifs and images, which allows us to speak of this collection, created over several years, as a cycle, where the main leitmotif is a romantic image-symbol of dark alleys, unhappy, even tragic love.

Researcher of creativity I.A. Bunina Saakyants A.A. in the preface to one of the editions of his stories, he gives a classic interpretation of the writer's attitude to the world built in his works: "he feels great sympathy and disposition for the weak, the destitute, the restless." The writer happened to survive the global social upheavals of the 20th century - revolution, emigration, war; to feel the irreversibility of events, to feel the impotence of a person in the whirlpool of history, to know the bitterness of irretrievable losses. All this could not but be reflected in the creative life of the writer. View of A.A. Saakyants is the view of a literary historian, a literary sociologist, so to speak. Sakayants, like many other researchers of Bunin's work, characterizes Bunin's prose from the point of view of the writer's era, speaking of a two-fold feeling that "permeates many of his stories: pity and sympathy for the innocent suffering and hatred for the absurdities and ugliness of Russian life, which gives rise to these sufferings "(13, p. 5). Irina Odoevtseva, poetess and author of the most interesting memoirs about poetry silver age and Russian emigration, characterizes Bunin as a person incredibly sensitive to the manifestation of the vulgarity of human existence (12). Vulgarities in the Chekhovian sense of the word. Therefore, sympathy for the weak, which Sakayants writes about, is expressed rather directly through the plot, at least in the Dark Alleys cycle, and not through dogmatic moralizing, philosophical digressions, or any direct authorial statements. The drama of the stories included in the cycle is in the details, in the fates of the characters. This important aspect of Bunin's perception of reality will still be required to reveal the theme of the embodiment of female images in the Dark Alleys cycle.

Returning to the opinion of contemporaries about I.A. Bunin, it is worth recalling the Blok characterization of Bunin's work. Alexander Blok wrote about "the world of visual and auditory impressions and related experiences" in Bunin's prose. This, in light of the above, is rather curious.

Comment. Blok notes that the world of Bunin's heroes, and perhaps Bunin himself, is responsive to outside world, first of all, of course, nature. Many heroes are part of nature, nature itself, naturalness, spontaneity, purity.

Part 2. Female images in the cycle of stories "Dark Alleys" by I.A. Bunin.

The cycle "Dark Alleys" is usually called the "encyclopedia of love." The classical formulation for the classical beginning of the practical part. However, love, as was said in the first part present work, cross-cutting theme of the cycle, the main leitmotif. Love is many-sided, tragic, impossible. Bunin himself was sure, especially insisted on this already in the last years of his life, that love is simply doomed to a tragic ending and certainly does not lead to marriage and a happy ending (8). The story of the same name with the cycle opens the collection. And already from the first lines a landscape opens up, not a specific landscape, but a kind of geographical and climatic sketch, a background for the main picture not only of the events of the story, but of the whole life of the main character. “In a cold autumn storm, on one of the big Tula roads, flooded with rain and cut by many black ruts, to a long hut, in one connection of which there was a government postal station, and in the other a private room where you could relax or spend the night, dine or ask a samovar, a tarantass with a half-raised top rolled up with mud, a trio of rather simple horses with their tails tied up from slush” (4, p. 5). And a little later, a portrait of the heroine, Nadezhda: “a dark-haired, also black-browed and also still beautiful woman who looks like an elderly gypsy, with a dark fluff on her upper lip and along her cheeks, light on the go, but plump, with large breasts under a red blouse , with a triangular belly, like that of a goose, under a black woolen skirt" (4, p. 6). O.A. Berdnikova in her work notes that the motive of temptation in Bunin is always associated with dark skin, tan, belonging to a particular nation. "Beautiful beyond her age", similar to a gypsy. This sensual portrait already draws a continuation of the story, hints at the distant past, at a passionate youth. The beauty of the heroine, her strong full-blooded body coexist with enterprise, wisdom and, as a consequence,

turns out to be incredibly vulnerable. Hope directly tells her lover that she could never forgive him, she deprives him of the opportunity to repent. This is echoed by the coachman of Nikolai Alekseevich: “And she, they say, is fair to this. But cool! If you don't give it back on time, blame yourself" (4, p. 9).

The heroine of the story “Ballad” appears completely different, “the wanderer Mashenka, gray-haired, dry and fractional, like a girl”, holy fool, illegitimate from a deceived peasant woman. The fate of Mashenka is mentioned in passing, as if by chance. She, quite by accident, when telling a ballad about a wolf, mentions the estate where the young master and his wife, who took Mashenka with them, were visiting. The estate is abandoned, and its owner, "grandfather" according to legend, "died terrible death". At this moment, a loud sound is heard, something has fallen. A terrible story resonates in the outside world, the feedback was noticed in Bunin's work by A. Blok. This story is curious in that a mythical wolf appears here, to which Mashenka prays at the beginning of the story, the intercessor of lovers. It would seem that the wolf gnaws the throat of a cruel father, giving freedom to lovers. It should be noted right away that all the heroines of the stories are united by one form or another of orphanage, which, as was said earlier, was very close to Bunin. Mashenka is an orphan from birth and the holy wolf, saving the lovers, deprives them of their father. The motif of the holy protector of the wolf continues in the final cycle of the short story "Accommodation", framing the collection in its own way. A dog, a wolf tamed for centuries, comes to the defense of a little girl.

After Mashenka, Styopa appears, the heroine's fate is more similar to Nadezhda from the first story. The drama of the story of a deceived girl, on her knees begging to take her with her, humiliating herself in the name of her love, is abruptly interrupted by the phrase "Two days later he was already in Kislovodsk." And nothing more, no grief, no subsequent fate of the heroine. Simple storyline

the sketch itself creates a tragic halo. A special stormy, passionate perception of the course of life and the rejection of sentimental tabloid methods in creativity, characteristic of Bunin, is perhaps most clearly manifested in this story.

And "Step" is replaced by a radically opposite image. Muse, masterful femme fatale, without explanation, without even announcing her plans, leaving the protagonist for the sake of a musician who often visited their house. A completely different image, this is not a weak Masha, not a proud Russian beauty Nadezhda, this is “a tall girl in a gray winter hat, in a gray straight coat, in gray boots, looks at point-blank range, eyes the color of an acorn, on long eyelashes, on her face and on her hair drops of rain and snow glisten under the hat” (4, p. 28). Interesting detail- hair, not pitch on the shoulders of Nadezhda, but “rusty hair”, very abrupt, rude speech. She immediately declares to the main character that he is her first love, makes an appointment, orders to buy apples on the Arbat. The hero is perfectly aware of the situation, but is not able to believe his own suspicions. Finally, finding his beloved in the lover's house, he asks for only one last favor - to maintain respect for his suffering - not to call him "you" in front of him. An almost imperceptible phrase, expressing the whole range of emotions of the offended hero, hits the wall of a casually thrown question with a cigarette flying away: "Why?" The cruelty of the Muse is parallel to the cruelty of Styopa's beloved. These two stories are like mirror images of each other. The same reflection draws the image of the emancipe Heinrich: very tall, in a gray dress, with a Greek hairstyle of red-lemon hair, with thin, like an Englishwoman, features, with lively amber-brown eyes” (4, p. 133).

Its mirror image is not only tragic fate heroine, but also her orphanhood. As mentioned above, orphanhood is a frequent quality of female images in the Dark Alleys cycle. This is often

an inalienable fact of the biography, and not only orphanhood in the literal sense of the word is meant. The heroines become orphans, being left by their husbands or after their death, they become, like small children, defenseless, unable to take care of themselves on their own. The mirror image of orphanhood is indicated in the short story "Beauty". Here, the young wife of a second-married gentleman hides his son from his first marriage in the corner of the living room. It is curious that Bunin writes about the boy not as an orphan, helpless and weak: “and a boy .... He lived a completely independent life, completely isolated from the whole house ... He makes his own bed in the evening, diligently cleans it himself, rolls it up in the morning and takes it into the corridor in his mother's chest ”(4, p53). The beauty of a motherless boy deprives both his father and home, a woman, a weak creature, defenseless, shows such a degree of cruelty. Bunin finds another facet of the female character.

Another portrait is of a girl who makes a living by prostitution. Fields in the short story "Madrid" comes across to the main character on the street, the hero is carried away by her childish spontaneity, completely discouraged by her fate, by the end of the story he is already jealous of her and her clients and decides to pull out this weak, thin creature, which "is not often taken" , from this scary street world. Bunin's bitter smile is visible in the very plot of the heroine's fate, the vulgarity of human life, the absurdity and defenselessness of one tiny creature - to save the girl from selling her body through her purchase, to become her sole owner. One more detail is rather curious. A sign of the times and the biography of Bunin himself - Paulie's sister, Moore, who sheltered the girl after the death of her parents, gave her this profession, lives in marriage with her colleague. So, against the backdrop of an orphan fate, Bunin draws same-sex love and modern customs, which, of course, could not be to Bunin's liking.

The fate of the model Katya, in the story “The Second Coffee Pot”, doomed to wander from one artist to another, is related to the topic, “yellow-haired, short, but fine, still very young, pretty, affectionate” (4, p. 150). A simple, narrow-minded girl, not even aware of her position. To her current almost master, she simply tells about her previous patron:

“No, he was kind. I lived with him for a year, that's how it is with you. He robbed me of all my innocence in the second session. He suddenly jumped up from the easel, threw down his palette with brushes and knocked Mine down onto the carpet. I was scared to the point that

couldn't scream. I grabbed onto his chest, into his jacket, but where are you going! Eyes furious, cheerful ... As if stabbed with a knife.

Yes, yes, you already told me that. Well done. And you

did you still love him?

Of course she did. I was very afraid. He abused me, drunk, God forbid. I am silent, and he: "Katka, be silent!"

Good!" (4, p. 151)

This dialogue paints the character of Katya exactly as the philosopher Ilyin saw Bunin's heroes with a biological, carnal, one might even say biographical individuality, but with a completely erased personality, completely adapted to the circumstances, too frightened to resist. This is confirmed by another biographical fact told by Katya: “Chaliapin and Korovin came from Strelna once in the morning to get drunk, they saw me dragging a boiling bucket samovar to the bar with Rodka-polov, and let’s shout and laugh:“ Good morning, Katya, we want you to be unrestricted, not this bitch

the son of the sexual gave us! "After all, how did you guess that my name is Katya!" (4, p. 151) Katya's life does not belong to her at all, like many heroines,

she is an orphan, she was almost sold to a brothel, but Korovin appears, then Goloushev, as a result, Katya ends up in the same brothel, only among the workshops of artists and sculptors, she is a thing in this world.

"Cold Autumn" is a story written in the first person, from the perspective of a woman. Here, of course, there is no portrait sketch of the heroine. Only her mention of herself during the move: "A woman in bast shoes." The whole heroine is in a monologue about her life, divided by the war into two parts, memories of her husband, who died almost immediately after the start of the war. The speech is restrained, the story seems to be in one breath, the rhythm of the narration slows down only on the memories of the last meeting with her husband:

Having dressed, we went through the dining-room to the balcony, and descended into the garden.

At first it was so dark that I held on to his sleeve. After

black boughs began to appear in the brightening sky, showered

mineral shining stars. He paused and turned to

Look how very special, in autumn, the windows of the house shine. I will be alive, I will always remember this evening ...

I looked and he hugged me in my Swiss cape. I pulled the shawl away from my face, tilted my head slightly so that he kissed me. He kissed me and looked into my face.

How bright the eyes are, he said. -- Are you cold? The air is very wintry. If they kill me, you won't forget me right away, will you?

I thought: “What if they really kill him? and will I really forget him at some point - after all, everything is forgotten in the end?” And hastily answered, frightened by her thought:

Do not say that! I won't survive your death!

And after the end of the dialogue, there is already a weeping phrase about his death and a hasty story about emigration. A completely different heroine. This is not a cheerful Natalie, this is rather a calm Nadezhda, this is not a string of "hysterics" traveling from one story to another, these are not passionate peasant girls with knees tightly covered with leather. A kind of quiet light ideal of femininity. Only it is not at all clear to whom, under what circumstances, this calm voice whispered his fate.

Conclusion

Dark alleys are a heterogeneous cycle, very diverse, but, nevertheless, acquiring integrity to last story. All the stories of the cycle are flashes, sharp lights visible from the window of the car of the rushing night train. These are flashes of passionate love, dividing all life into two halves, this is remembering happiness, crazy grief, crimes, anything. But this anything is always completely natural, completely human with all the heights of the human soul and its base passions. The heroines of "Dark Alleys" are given either to their feelings or to their fate, and they completely submit to the first and second, with the exception of the heroines of the villains. The line of love forms its second side in the cycle, the mirror reflection - hatred. Passionate love of Nadezhda turns into an eternal, albeit just, resentment. Faithful loving heroines are replaced by insidious traitors. Career women are replaced by weak-willed simple girls, forced to travel from one man to another. Perhaps this is not an encyclopedia of love, but a register of female characters, sincere even in their villainy, impulsive, alluring, hysterical, portly or thin.

Returning to the review of literary thought presented in the first part, we can say that from the point of view of the religious and philosophical concept, the heroines are heterogeneous, some, as the example of Katya has already been given, really do not have a personal individuality, which, for example, cannot be said about the strict , but fair Nadezhda or the heroine of the story "Cold Autumn". Some of them have a natural, sensual, again tanned, swarthy attractiveness, others, on the contrary, are pale, thin, sometimes hysterical, eccentric, insidious. The former, as a rule, become victims of passions, the latter, according to the logic of the world, in the opposite way bear a kind of retribution. One way or another, the heroines of the cycle carry echoes of the biography of Bunin himself, if we talk about historical and biographical discourse. Life, the time of the royal landowner

Collapsing Russia, the first world, post-revolutionary emigration, all this is reflected in the fate of the heroines. Bunin's own, personal tragedies, one way or another, look through the fate of the women he invented.

List of used literature

1. 
   Berdnikova O.A. Motives of temptation in the work of I.A. Bunin in the aspect of Christian anthropology. Electronic resource. / Berdnikova O.A., text data, 2010. Access mode - ftp://lib.herzen.spb.ru/text/berdnikova_12_85_279_288.pdf
2. 
   Blok A. Collected Works. M., 2000.
3. 
   Blum A. Grammar of love. // A. Blum "Science and Life", 1970 Electronic resource. / Blum A., text data, 2001. Access mode - http://lib.ru/BUNIN/bunin_bibl.txt
4. 
   Bunin I.A. Dark alleys. SPb., 2002.
5. 
   Bunin I.A. Collected works in 2 T.- T.2. M., 2008.
6. 
   Dolgopolov, L.K. The story "Clean Monday" in the works of I. Bunin of the emigrant period Text. / OK. Dolgopolov // At the turn of the century: About Rus. lit. k. 19 - n. 20th century - L., 1977.
7. 
   I.A. Bunin: pro et contra / Comp. B.V. Averin, D. Riniker, K.V. Stepanova, comment. B.V. Averina, M.N. Virolainen, D. Rinikera, bibliogr. T.M. Dvinyatina, A.Ya. Lapidus Text. - St. Petersburg, 2001.
8. 
   Kolobaeva, L.A. "Clean Monday" by Ivan Bunin Text. / L.A. Kolobaeva // Rus. literature. - M., 1998. - N 3.
9. 
   Likhachev, D.S. "Dark Alleys" Text. D.S. Likhachev // Star. - 1981.-№3.
10. 
    Lotman, Yu.M. Two oral story Bunin (to the problem of Bunin and Dostoevsky) Text. / Yu.M. Lotman // On Russian Literature. Articles and research 1958-1993. - St. Petersburg, 1997.
11. 
    Odoevtseva, I. On the banks of the Seine. Text. / I. Odoevtseva - M.: Zakharov, 2005.
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FINAL QUALIFICATION WORK

Topic: Typology of female images in the work of I.A. Bunin

Introduction

Chapter 1. Theoretical aspects of the research topic, a gallery of female images in the works of I.A. Bunin

Chapter 2. Analysis of female images in the stories of I.A. Bunin

2.1 The image of a commoner woman

2.2 Female image - representatives of Bohemia

2.3 Images of independent and independent women

Chapter 3. Methodological aspects of the research topic

3.1 Creativity I.A. Bunin in school programs Literature for grades 5-11

3.2 Creativity I.A. Bunin in teaching materials on literature for grade 11

3.3 Studying stories from the cycle "Dark Alleys" in grade 11

Conclusion

Bibliography

Application. Lesson summary in grade 11

Introduction

The last two decades of the 20th century were marked by an appeal to Russian classics turn of XIX- XX centuries. This is due, first of all, to the return of the names of many artists, philosophers who created and determined the spiritual atmosphere of that time, which is commonly called the "Silver Age".

At all times, Russian writers raised in their work "eternal questions": life and death, love and separation, the true destiny of a person, paid close attention to his inner world, his moral quest. The creative credo of the writers of the 19th-20th centuries was "an in-depth and essential reflection of life." To the knowledge and understanding of the individual and national, they went from the eternal, universal.

One of such eternal universal values ​​is love - a unique state of a person, when a feeling of the integrity of the personality arises in him, the harmony of the sensual and spiritual, body and soul, beauty and goodness. And it is a woman who, having felt the fullness of being in love, is able to make high demands and expectations on life.

In Russian classical literature female images more than once became the embodiment best features national character. Among them are a gallery of colorful female types created by A. N. Ostrovsky, N. A. Nekrasov, L. N. Tolstoy; expressive images of the heroines of many works by I. S. Turgenev; captivating female portraits I. A. Goncharova. A worthy place in this series is occupied by wonderful female images from the stories of I. A. Bunin. Despite the unconditional differences in life circumstances, the heroines of the works of Russian writers undoubtedly have the main common feature. They are distinguished by the ability to love deeply and selflessly, revealing themselves as a person with a deep inner world.

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.

Bunin creates a whole gallery of female images. They all deserve our close attention. Bunin is an excellent psychologist, he notices all the features of human nature. His heroines are surprisingly harmonious, natural, cause genuine admiration and sympathy.

For I.A. Bunin is characterized by the disclosure in the female image of features close to the ideal embodiment of femininity of the "Silver Age" era. The motif of mystery, immaculate beauty, which determines the unearthly essence of Bunin's heroines, is considered by the author in contact with the events of another world and Everyday life. All female images in Bunin's work make you think about the complexity of human life, about the contradictions in the human character. Bunin is one of the few writers whose work will be relevant at all times.

The object of the study is female images in the works of I.A. Bunin.

The subject is a characteristic of female images in the stories of I.A. Bunin.

The purpose of the study is to present a description and analysis of female images in the work of I.A. Bunin.

1) describe the gallery of female images in the works of I.A. Bunin;

2) to analyze female images in the stories of I.A. Bunin;

3) characterize the methodological aspects of the research topic, develop a lesson in high school.

The main research methods were problem - thematic, structural - typological, comparative.

Graduation qualifying work consists of an introduction, three chapters, a conclusion, a bibliography and an appendix.

Chapter 1. Theoretical aspects of the research topic, a gallery of female images in the works of I.A. Bunin

The theme of love I.A. Bunin devoted a significant part of his works, from the earliest to the latest. He saw love everywhere, because for him this concept was very broad.

Bunin's stories are precisely philosophy. He sees love in a special light. At the same time, it reflects the feelings that each person experienced. From this point of view, love is just not a special, abstract concept, but, on the contrary, common to all.

Bunin shows human relations in all manifestations: sublime passion, quite ordinary inclinations, novels "for nothing to do", animal manifestations of passion. In his characteristic manner, Bunin always finds the right ones, the right words to describe even the basest human instincts. He never descends to vulgarity, because he considers it unacceptable. But, as a true master of the Word, he always accurately conveys all shades of feelings and experiences. He does not bypass any aspect of human existence; you will not find sanctimonious reticence of any topics in him. Love for a writer is a completely earthly, real, tangible feeling. Spirituality is inseparable from the physical nature of human attraction to each other. And this is no less beautiful and attractive for Bunin.

The naked female body often appears in Bunin's stories. But even here he knows how to find the only true expressions, so as not to stoop to ordinary naturalism. And the woman appears as beautiful as a goddess, although the author is far from turning a blind eye to flaws and over-romanticizing nudity.

The image of a woman is that attractive force, which constantly attracts Bunin. He creates a gallery of such images, each story has its own.

In the early years Bunin creative imagination it is not yet aimed at more or less tangibly depicting female characters. All of them are only outlined: Olya Meshcherskaya ("Easy Breath") or Klasha Smirnova ("Klasha"), who has not yet woken up for life and is innocent in her charm. Female types, in all their diversity, will come to Bunin's pages in the twenties ("Ida", "Mitina's Love", "The Case of Cornet Elagin") and further - in the thirties and forties ("Dark Alleys"). So far, the writer is almost entirely occupied with him, the hero, or rather, the character. Gallery male portraits(rather portraits than characters) is built in Bunin's stories, written, as a rule, in 1916. Not everyone has known the sweet poison of love, except perhaps the captain from "Chang's Dreams" and, perhaps, the strange Kazimir Stanislavovich in the story of the same name, who seeks to kill himself after seeing a beautiful girl down the aisle with his last glance - maybe his daughter , - who even "suspected of his existence and whom he obviously loved selflessly, like Zheltkov from Kuprin's Garnet Bracelet.

Any love is a great happiness, even if it is not shared" - these words from the book "Dark Alleys" could be repeated by all Bunin's heroes. With a huge variety of personalities, social status, etc. all, scorched by it, perish. Such a concept was formed in the work of Bunin in the pre-revolutionary decade. "Dark Alleys", a book that was already published in the final, in full force in 1946 in Paris - the only one of its kind in Russian literature. Thirty-eight short stories in this collection provide a great variety of unforgettable female types - Rusya, Antigone, Galya Ganskaya (stories of the same name), Fields ("Madrid"), the heroine " Clean Monday" .

Near this inflorescence, male characters are much more inexpressive; they are less developed, sometimes only outlined and, as a rule, static. They are characterized rather indirectly, reflected, in connection with the physical and mental appearance of the woman who is loved and who occupies a self-sufficient place. Even when only "he" is acting, for example, an officer in love who shot an absurd beautiful woman, all the same, only "she" remains in memory - "long, wavy" ("Steamboat Saratov"), V " dark alleys"There is also a rough sensuality, and just a masterfully told playful anecdote ("One Hundred Rupees"), but the theme of pure and beautiful love. The heroes of these stories are characterized by extraordinary strength and sincerity of feelings. Next to full-blooded stories breathing suffering and passion ("Tanya", "Dark Alleys", "Clean Monday", "Natalie", etc.), there are unfinished works ("Caucasus"), expositions, sketches of future short stories ("Beginning") or direct borrowings from foreign literature ("Returning to Rome", "Bernard").

"Dark Alleys" can truly be called an "encyclopedia of love." The most varied moments and shades in the relationship of the two attract the writer. These are the most poetic, sublime experiences ("Rusya", "Natalie"); conflicting and strange feelings ("Muse"); quite ordinary inclinations and emotions ("Kuma", "Beginning"), down to the base, animal manifestation of passion, instinct ("Lady Clara", "Guest"). But first and foremost, Bunin is attracted by true earthly love, the harmony of "earth" and "heaven."

Such love is a great happiness, but happiness is just like lightning: it flared up and disappeared. For love in the "Dark Alleys" is always very brief; moreover: the stronger, more perfect it is, the sooner it is destined to break off. To break off - but not to perish, but to illuminate the entire memory and life of a person. So, through her whole life she carried her love for "him", who once seduced her, Nadezhda, the owner of the inn "upper room" ("Dark Alleys"). "Youth passes for everyone, but love is another matter," she says. For twenty years he cannot forget Rusya "he", once a young tutor in her family. And the heroine of the story "Cold Autumn", who saw off her fiancé to the war (he was killed a month later), not only keeps love for him in her heart for thirty years, but generally believes that in her life there was only "that cold autumn evening", when she said goodbye to him, and "the rest is an unnecessary dream."

Bunin simply has nothing to do with "happy", lasting love that unites people: he never writes about it. No wonder he once excitedly and quite seriously quoted someone else's joking words: "It is often easier to die for a woman than to live with her." The union of lovers is already a completely different relationship, when there is no pain, which means there is no agonizing bliss, he is not interested. "Let there be only what is ... It won't be better,"- says a young girl in the story "Swing", rejecting the very idea of ​​​​a possible marriage with the person she is in love with.

The hero of the story "Tanya" thinks with horror what he will do if he takes Tanya as his wife - and it is she who he truly loves only. If lovers seek to unite their lives, then at the last moment, when everything seems to be going to a happy conclusion, a sudden catastrophe will certainly break out; or unforeseen circumstances appear, up to the death of heroes, in order to "stop a moment" at the height of the senses. Dies from the shot of a jealous lover, the only one of the host of women who truly fell in love with the "poet", the hero of the story "Heinrich". The sudden appearance of the crazy mother Rusya during her date with her beloved forever separates the lovers. If, up to the last page of the story, everything goes well, then in the final Bunin stuns the reader with such phrases: "On the third day of Easter, he died in a subway car - while reading a newspaper, he suddenly threw his head back against the back of his chair, turned his eyes..."("In Paris"); "In December, she died on Lake Geneva in a premature birth"("Natalie").

Such a tense plot of stories does not exclude and does not contradict the utter psychological persuasiveness of characters and situations - so convincing that many claimed that Bunin wrote according to wonderful memory cases from my own life. He really was not averse to recalling some of the "adventures" of his youth, but it was, as a rule, about the characters of the heroines (and even then, of course, only in part). Circumstances, situations, the writer invented completely, which gave him great creative satisfaction.

The power of influence of Bunin's letter is truly unsurpassed. He is able to speak with the utmost frankness and detail about the most intimate human relationships, but always at the limit where great art does not drop one iota even to the point of naturalism. But this "miracle" was achieved at the cost of great creative torment, as, indeed, everything written by Bunin - a true ascetic of the Word. Here is one of the many records testifying to these "torments": "...that marvelous, indescribably beautiful, something completely special in everything earthly, which is the body of a woman, has never been written by anyone. Some other words must be found" ( February 3, 1941). And he always knew how to find these other - the only necessary, vital words. Like an "artist and sculptor," he painted and sculpted Beauty, embodied in a woman in all the grace and harmony given to her by nature of forms, lines, colors.

Women generally play in "Dark Alleys" leading role. Men, as a rule, are only a background that sets off the characters and actions of the heroines; male characters no, there are only their feelings and experiences, conveyed in an unusually acute and convincing manner. The emphasis is always placed on his aspiration to her, on the keenest desire to comprehend the magic and mystery of the irresistible female "nature". “Women seem to me something mysterious. The more I study them, the less I understand,” Bunin writes out from Flaubert’s diary on September 13, 1940.

female types in the book "Dark Alleys" a whole string. Here and devoted to the beloved to the grave " simple souls"- Styopa and Tanya (in the stories of the same name); and broken, extravagant, in a modern bold "daughter of the century" ("Muse", "Antigone"); early ripe, unable to cope with their own "nature" girls in the stories " Zoya and Valeria", "Natalie"; women of extraordinary spiritual beauty, capable of bestowing indescribable happiness and who themselves fell in love for life (Rusya, Heinrich, Natalie in the stories of the same name); prostitutes - impudent and vulgar ("Lady Klara"), naive and childish ("Madrid") and many other types and characters, and each is alive, immediately imprinted in the mind. And all these characters are very Russian, and the action almost always takes place in old Russia, and if outside of it ("In Paris" , "Revenge"), the homeland still remains in the souls of the heroes. "Russia, our Russian nature, we took with us, and wherever we are, we cannot but feel it," said Bunin.

The work on the book "Dark Alleys" served the writer to some extent as a way out, a salvation from the horror that is happening in the world. Moreover: creativity was the artist's opposition to the nightmare of the Second World War. In this sense, it can be said that in old age Bunin became stronger and more courageous than he was in his mature years, when the First World War plunged him into a state of deep and prolonged depression, and that the work on the book was an unconditional literary feat.

Bunin's "Dark Alleys" have become that integral part of Russian and world literature, which, while people are alive on earth, varies in different ways the "song of songs" of the human heart.

The short story "Cold Autumn" is a woman's memories of one distant September evening, in which she and her family said goodbye to her fiancé, who was leaving for the front. Bunin presents the farewell scene, the last walk of the heroes. The farewell scene is shown briefly, but very touchingly. She has a heaviness in her soul, and he reads Fet's poems to her. On this farewell evening, the heroes are united by love and the surrounding nature, "surprisingly early cold autumn", cold stars, especially the windows of the house shine in autumn, winter cold air. A month later he was killed. She survived his death. The writer interestingly builds the composition of the story, it seems to consist of two parts. The first part is narrated from the point of view of the heroine in the present tense, the second - also from her point of view, only these are memories of the past since the departure of the heroine's fiancé, his death and the years that she lived without him. She, as it were, sums up her whole life and comes to the conclusion that in life there was "Only that cold autumn evening ... And that's all that was in my life - the rest is an unnecessary dream." This woman had many adversities, as if the whole world had fallen on her, but her soul did not die, love shines on her.

According to the testimony of the writer's wife, Bunin considered this book to be the most perfect in terms of craftsmanship, especially the story "Clean Monday". On one of the sleepless nights, according to V.N. Bunina, he left such a confession on a piece of paper: “I thank God that he gave me the opportunity to write Clean Monday.” This story is written with extraordinary conciseness and virtuosic imagery. Every stroke, color , details play an important role in the external movement of the plot and become a sign of some internal trends.In vague forebodings and mature thoughts, the bright changeable appearance of the heroine of the work, the author embodied his ideas about the contradictory atmosphere of the human soul, about the birth of some new moral ideal.

The short story "Clean Monday" is a story-philosophy, a story is a lesson. Here the first day of Lent is shown, she has fun on the "skit". Kapustnik at Bunin is given by her eyes. She drank and smoked a lot on it. Everything was disgusting there. According to custom, on such a day, on Monday, it was impossible to have fun. Kapustnik was supposed to be on a different day. The heroine is watching these people, who are all vulgarized "drooping their eyelids". The desire to go to the monastery, apparently, had already matured with her earlier, but the heroine seemed to want to watch it to the end, as there was a desire to finish reading the chapter, but everything was finally decided on the "skit". He realized that he had lost her. Bunin shows us through the eyes of the heroine. That in this life a lot is vulgarized. The heroine has love, only her love for God. She has an inner longing, When she sees the life and people around her. The love of God conquers all else. Everything else is dislike.

Female images dominate the book "Secret Alleys", and this is another stylistic feature cycle. Women's images are more representative, while men's are static. And this is quite justified, since a woman is depicted precisely through the eyes of a man, a man in love. Since the works of the cycle reflect not only mature love, but also its birth ("Natalie", "Rus", "Beginning"), this leaves an imprint on the image of the heroine. In particular, the portrait is never drawn by I.A. Bunin completely. As the action develops, the movement of the narrative, he again and again returns to the heroine. First, a couple of strokes, then - more and more new details. This is how the author sees a woman not so much, this is how the hero himself recognizes his beloved. An exception is made, perhaps, for the heroines of the miniatures "Camargue" and "One Hundred Rupees", where portrait characteristics are not broken and constitute the work itself. But here the writer has another goal. In fact, this is a portrait for the sake of a portrait. Here - admiration for a woman, her beauty. This is a kind of hymn to such a perfect divine creation.

Creating their women, I.A. Bunin spares no words-colors. What does I.A. Bunin! Bright epithets, accurate comparisons, light, color, even sounds conveyed by the word, create such perfect portraits that it seems that the heroines are about to come to life and leave the pages of the book. A whole gallery of female images, women of different types and social strata, virtuous and dissolute, naive and sophisticated, very young and old, but all beautiful. And the heroes are aware of this, and realizing, they recede into the background, admiring them and giving the reader the opportunity to admire. And this admiration for a woman is a kind of motive among others that connect all the works of the cycle into a whole.

Thus, I.A. Bunin creates a whole gallery of female images. They all deserve our close attention. Bunin is an excellent psychologist, he notices all the features of human nature. His heroines are surprisingly harmonious, natural, cause genuine admiration and sympathy. We are imbued with their fate, and with such sorrow we observe their suffering. Bunin does not spare the reader, bringing down on him the harsh truth of life. Worthy of simple human happiness, the heroes of his works turn out to be deeply unhappy. But, having learned about this, we do not complain about the injustice of life. We understand the true wisdom of a writer who seeks to convey to us simple truth: life is multifaceted, there is a place for everything in it. A person lives and knows that troubles, sufferings, and sometimes even death can lie in wait for him at every step. But this should not interfere with enjoying every minute of life.

Chapter 2. Analysis of female images in the stories of I.A. Bunin

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, love, waiting for her.Let's analyze each of the female images separately.

2.1 The image of a commoner 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 for the last time in her life to experience 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.

Both the woman from "Business Cards" and the maid Tanya ("Tanya") are waiting for their happy hour. ".... 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 to the floor, remained all naked; gray-lilac, with that peculiarity 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 completely different loves are 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.

2.2 Female image - representatives of Bohemia

Representatives of Bohemia. They also dream of happiness, but each understand it in their own way. This is, first of all, the heroine of "Clean Monday".

"... she had some kind of Indian, Persian beauty: a swarthy amber face, magnificent and somewhat sinister in its black hair, softly shining like black sable fur, eyebrows, eyes black as velvet coal; captivating velvety with crimson lips, the mouth was shaded with a dark fluff ... ". Such exotic beauty, as it were, emphasizes its mystery: "... she was mysterious, incomprehensible...". This mystery is in everything: in actions, thoughts, lifestyle. For some reason she studies at courses, for some reason she visits theaters and taverns, for some reason she reads and listens. moonlight sonata". Two completely opposite principles coexist in it: socialite, playgirl and nun. She visits theatrical skits and the Novodevichy Convent with equal pleasure.

However, this is not just a fad of a bohemian beauty. This is a search for oneself, one's place in life. That is why I.A. Bunin dwells on the actions of the heroine, describing her life almost every minute. In most cases, she speaks for herself. It turns out that the woman often visits the Kremlin cathedrals, she tells the hero about the trip to the Rogozhskoye cemetery and the funeral of the archbishop. Young man the religiosity of the heroine is striking, he did not know her like that. And even more, but now the reader is struck by the fact that immediately after the monastery (and this scene takes place at the Novodevichy cemetery) she orders to go to a tavern, to Egorov for pancakes, and then to a theatrical skit.

It's like a transformation is taking place. In front of the hero, who a minute ago saw almost a nun in front of him, is again a beautiful, rich and strange secular lady in her actions: "On the skit she smoked a lot and sipped champagne all the time ...",- and the next day - again someone else's, inaccessible: "Tonight I'm leaving for Tver. For how long, only God knows...". Such metamorphoses are explained by the struggle that takes place in the heroin. She faces a choice: quiet family happiness or eternal monastic peace - and chooses the latter, because love and everyday life are incompatible. That's why she so stubbornly, "once and for all" rejects any talk of marriage with a hero.

The mystery of the heroine of "Clean Monday" has a plot-forming meaning: the hero (together with the reader) is invited to unravel her secret. The combination of bright contrasts, sometimes directly opposite, forms a special mystery of her image: on the one hand, she "do not need anything", on the other hand, the weight of what she does, the eye does thoroughly, "with the Moscow understanding of the matter." Everything is intertwined into a kind of cycle: "wild men, and here are pancakes with champagne and the Mother of God Troeruchnina"; fashionable names of European decadence; Hugo von Hofmannsthal (Austrian symbolist); Arthur Schnitzler (Austrian playwright and prose writer, impressionist); Tetmaier Kazimierz (Polish lyricist, author of sophisticated erotic poems) - side by side with the portrait of "barefoot Tolstoy" above her sofa.

Using the principle of the top composition of the heroine with a linearly developing event level, the author achieves a special mystery of the female image, erasing the boundaries of the real and the unreal, which is very close to the female ideal in the art of the "Silver Age".

Let's consider with what stylistic devices the author achieves a special feeling of an unearthly female essence.

The author considers the first appearance of the heroines as an event that goes beyond the ordinary world and is striking in its suddenness. This appearance of Ida at the climax immediately divides the artistic space of the episode into two planes: the world of everyday life and the fabulous world of love. Hero, drinking and eating with appetite, "suddenly heard behind his back some terribly familiar, most wonderful in the world female voice" . The semantic load of the episode of the meeting is conveyed by the author in two ways: verbally - "suddenly", and non-verbally by the hero's movement - "turned around impetuously".

In the story "Natalie" the first appearance of the triplets is associated with the image of "lightning" shining at the moment of the climactic explanation of the characters. She "suddenly jumped up from the hallway into the dining room, looked<...>and, sparkling with this orange, golden brightness of hair and black eyes, she disappeared.. Comparison of the qualities of lightning and the feeling of the hero is a psychological parallel with the feeling of love: the suddenness and short duration of a moment, the sharpness of sensation, built on the contrast of light and darkness, are embodied in the constancy of the impression made. Natalie in the ball scene "suddenly<..,> fastand flying with light glides closer to the hero "oninstanther black eyelashes fluttered<...>, black eyesflashedVery close..." and immediately disappears "silver flasheddress hem". In the final monologue, the hero confesses: "I'm blinded by you again."

Revealing the image of the heroine, the author uses a wide range of artistic means; certain color scheme(orange, golden), temporal categories (suddenness, instant, speed), metaphors (dazzled by the appearance), which in their immutability form the timelessness of the image of the heroine in the artistic space of the work.

The heroine of "In Paris" also suddenly appears before the hero: "suddenly his corner lit up." The dark "inside" of the carriage, where the heroes are "for a moment illuminatedflashlight", And "completely different womansat next to him" . Thus, through the contrast of light-darkness, characteristic lighting that transforms the environment, the author affirms the appearance of the heroines as an event of an unusual order.

The same technique is used by the author, revealing the unearthly beauty or iconography of female images. According to I.G. Mineralova, "the beauty of a woman, in Bunin's language, is a reflection, reflection or reflection of divine beauty, spilled in the world and shining without borders in the Garden of Eden or Heavenly Jerusalem. The beauty of earthly life is not opposed to the Divine, it captures the providence of God." The reception of the semantic proximity of sanctification/sanctification and the direction of the fall of light stylistically embody the purity and holiness of the heroines. Portrait of Natalie: "ahead of all, in mourning, with a candle in her hand, illuminating her cheek and golden hair", as if raising her to an unearthly height, when the hero " I couldn't take my eyes off her like an icon." A characteristic assessment of the author is expressed by the direction of the light: not a candle - the symbol of purification blesses Natalie, but Natalie blesses the candle - "It seemed to me that that candle by your face became a saint."

The same height of the unearthly image is achieved in " quiet light"The eye of the heroics of Pure Monday, which tells about the Russian annalistic elders, which for the author constitutes imperishable holiness.

To define unearthly beauty, Bunin uses the traditional semantics of purity: white color, the image of a swan. So, the author, describing the heroine of "Clean Monday" on the only night of closeness and farewell to the hero "only in swan shoes" anticipates at the level of symbolism her decision to leave the sinful world. In the last appearance, the image of the heroine is symbolized by the light of a candle and "white board".

The idealization of the heroine Natalie in the aggregate of metaphors and color epithets is semantically connected with the image of a swan: " how tall is sheV ball high hair, in a ball white dress ... ", her hand" in a white glove to the elbow with such a bend,<" >like a swan's neck.

The "icon-painting" of the heroine of Rus' is achieved by the author in the nostalgic poeticization of her simplicity and poverty: "Carrieda yellow cotton sundress and bare-foot peasant chunks, woven from some kind of multi-colored wool".

According to I.G. Mineralova, the artistic idea that "within the framework of earthly, natural existence, the fate of beauty is tragic, but from the point of view of the transcendental, it is joyful: "God is not the God of the dead, but of the living" (GospelorMatthew 22:32)", is unchanged for Bunin, starting in earlier works ("Light Breath", "Aglaya", etc.) to the late prose of "Dark Alleys".

Such an interpretation of the female essence determines the main features of male heroes, who are characterized by an ambivalent perception of heroines; sensual-emotional and aesthetic.

"Pure love delight, passionatedream to look ather only..." the feeling of the hero for Natalie is filled. "Highest joy" lies in the fact that he "I didn't even think about kissing her." The timelessness of his sensations is confirmed in the final monologue: "When I just looked at this green scab and your knees under it, I felt that I was ready to die for one touch of her lips, only to her."

The feeling of unearthly awe is filled with the hero's feeling for Rusa: "Heno longer dared to touch her", "...sometimes, like something sacred, he kissed her cold chest." In "Clean Monday", the hero at dawn "timidly kissed her hair."

According to the researchers, "women generally play a leading role in Dark Alleys. Men, as a rule, are only a background that drives away the characters and actions of the heroines; there are no male characters, there are only their feelings and experiences, conveyed in an unusually acute and convincing manner.<...>The emphasis is always placed on his aspiration - to her, on the stubborn desire to comprehend the magic and secret of the irresistible female "nature". At the same time, I.P. Karpov believes that the originality of "the figurative system of "Dark Alleys" is not in the absence of characters in the characters, but in the fact that they are only poetically varied carriers of the author's perception of a woman." Such a characteristic feature allows us to speak about the monologism of the author's consciousness in "Dark Alleys", which creates "a phenomenal world of the human soul, awakened by the contemplation of female beauty, love for a woman."

Rusya, like me Natalie, a noble daughter who grew up in the countryside. The only difference is that the artist is a bohemian girl. However, she is fundamentally different from other Bunin representatives of bohemia. Rusya does not look like either the heroine of "Clean Monday" or Galya ("Galya Ganskaya"). It combines metropolitan and rural, some swagger and immediacy. She is not as shy as Natalie, but not as cynical as Musa Graf ("Muse"). Having fallen in love once, she completely surrenders to this feeling. As for Natalie, the love for Meshchersky, the love of Rus' for the hero is forever. Therefore, the phrase uttered by the girl "Now we are husband and wife" Sounds like a wedding vow. It should be noted that here, as in "Business Cards", the author twice returns to the portrait of the heroine, presents her in a situation of exposure before intimacy. This is also not accidental. The heroine is depicted through the eyes of the hero. The girl is picturesque - that's his first impression. Russia seems to him inaccessible, distant, like some kind of deity. It is no coincidence that it is emphasized "iconic" beauty. However, as the heroes get closer, Russia becomes easier and more accessible. Young people are drawn to each other: "One day she got her feet wet in the rain, ran out of the garden into the living room, and he rushed to take off her shoes and kiss her wet narrow feet - there was no such happiness in his whole life". And the peculiar culmination of their relationship is intimacy. As in "Business Cards", when she gets naked, the heroine throws off her mask of inaccessibility. Now she is open to the hero, she is real, natural: "What a completely new creature she has become for him!" However, this girl does not stay long. Once again, Rusya becomes impregnable, distant, alien to him in the scene when, for the sake of her insane mother, she renounces love.

Another representative of Bohemia is Galya ("Galya Ganskaya"). As in most works of the cycle, the image of the heroine here is given through the eyes of the hero. Growing up Gali coincides with the evolution of the artist's love for her. And to show this, Bunin, as in "Tanya", several times refers to the portrait of the heroine. “I knew her as a teenager. She grew up without a mother, with her father ... Galya was then thirteen or fourteen years old, and we admired her, of course, only as a girl: she was extremely sweet, frisky, graceful, her face with blond curls along the cheeks, like an angel, but so flirtatious ... ". Like the heroine of the short story "Zoyka and Valeria" Zoyka, she resembles Nabokov's Lolita. A sort of image of a nymphet. But, unlike Lolita and Zoya, in Gala there are still more children than women. And this childishness remains in her throughout her life. Again, the heroine appears before the hero and the reader no longer as a teenager, not as an angel, but as a fully grown young lady. This "surprisingly pretty - a thin girl in everything new, light gray, spring. Her face under a gray hat is half covered with an ashen veil, and aquamarine eyes shine through it." And yet this is still a child, naive, gullible. Suffice it to recall the scene in the hero's workshop: "... slightly dangles with hanging elegant legs, children's lips are half open, gleaming ... He lifted the veil, tilted his head, kissed ... He went up the slippery greenish stocking, up to the fasteners on it, to the elastic band, unfastened it, kissed the warm pink the body began to hips, then again into a half-open mouth - she began to bite my lips a little ... ". It is not yet a conscious desire for love, intimacy. This is a kind of vanity from the consciousness of what is interesting to a man: "She somehow mysteriously asks: do you like me?".

This is almost a childish curiosity, which the hero himself is aware of. But already here in Gala a feeling of first, passionate love for the hero is born, which later reaches its climax, which will be fatal for the heroine. So, a new meeting of heroes. and Galya "smiling and twirling an open umbrella on his shoulder ... there is no longer the former naivety in his eyes ...". Now this is an adult, self-confident woman, thirsty for love. In this sense, she is a maximalist. It is important for Galya to belong entirely, without a trace, to a loved one, and it is just as important that he belongs entirely to her. It is this maximalism that leads to tragedy. Having doubted the hero, his feelings, she passes away.

2.3 Images of independent and independent women

A peculiar variation of the representatives of Bohemia - images of emancipated, independent women. These are the heroines of the works "Muse", "Steamboat "Saratov", "Zoyka and Valeria" (Valeria), "Heinrich". They are strong, beautiful, lucky. They are independent both socially and in terms of feelings. They decide when start or end relationships. But are they always happy at the same time? Of all the heroines of this type we have named, perhaps only Muse Count is happy in her independence, emancipation. She is like a man, communicates with them on an equal footing. "... in a gray winter hat, in a gray straight coat, in gray boots, looking point-blank, eyes the color of an acorn, on long eyelashes, on the face and on the hair under the hat, raindrops glisten ...". Outwardly, a completely simple girl. And the stronger the impression of se "emancipation". She speaks directly about the purpose of her visit. Such directness surprises the hero and at the same time attracts him: "... I was worried about the combination of her masculinity with all that feminine youthfulness that was in her face, in her straight eyes, in her large and beautiful hand ...". And now he's in love. It is clear that in these relationships the dominant role belongs to the woman, while the man submits to her. Muse is strong and independent, as they say, "by itself." She herself makes decisions, acting as the initiator of the first intimacy with the hero, and their living together, and their separation. And the hero is happy with it. He gets so used to her "independence" that he does not immediately delve into the situation of her departure to Zavistovsky. And only after finding the Muse in his house, he realizes that this is the end of their relationship, his happiness. The music is calm. And what the hero perceives as "monstrous cruelty" on her part is a kind of norm for the heroine. fell out of love - left

The situation is somewhat different with other representatives of this type. Valeria ("Zoyka and Valeria"), like Muse, is a completely independent woman. This self-sufficiency, independence, shine through in all her appearance, gestures, behavior. "... strong, well-built, with thick dark hair, with velvet eyebrows, almost fused, with formidable eyes the color of black sprinkles, with a hot dark blush on a tanned face ...", it seems mysterious and inaccessible to everyone around, "incomprehensible" in its emancipation. She converges with Levitsky and immediately leaves him for Titov, without explaining anything and not trying to soften the blow. For her, such behavior is also the norm. She also lives on her own. But is she happy? Having rejected Levitsky's love, Valeria herself finds herself in the same situation of unrequited love for Dr. Titov. And what happened is perceived as a kind of punishment for Valeria.

The heroine of the short story "Steamboat" Saratov ". Beautiful, self-confident, independent. It is interesting to note that when creating this image, more precisely, when describing the appearance of the heroine; Bunin uses a comparison of her with a snake: "... she immediately entered, too, swaying on the heels of shoes without a back, on her bare feet with pink heels, - long, wavy, in a narrow and motley, like a gray snake, hood with hanging sleeves cut to the shoulder. They were long and her eyes were somewhat slanted. A cigarette in a long amber holder was smoking in a long pale hand. And this is no coincidence. As noted by N.M. Lyubimov, "the originality of Bunin as a portrait painter is in the well-aimed unusualness of definitions and comparisons of the whole appearance of a person or his individual features." These external signs are, as it were, projected onto the characters of the heroes, which also happens with the image of the heroine of the short story we are considering. Let us recall the scene of her meeting with the hero. She looks at him "from the height of her height", carries herself self-confidently, even cheekily: "... she sat down on a silk pouffe, taking her right hand under her elbow, holding a raised cigarette high, putting her foot on her foot and opening the side section of the hood above her knee ...". In all her guise, disdain for the hero is evident: she cuts him off, she herself says "boringly smiling." And as a result, he announces to the hero that their relationship is over. Like Muse, she talks about the breakup as a matter of course. Peremptory tone. It is this tone, a certain squeamishness (“a drunken actor”, as she speaks about the hero) that decides her fate, pushing the hero to commit a crime. The snake temptress is the image of the heroine in the novel.

Excessive self-confidence is the cause of the death of another heroine of "Dark Alleys" Elena ("Heinrich"). A woman, beautiful, successful, independent, held professionally (a fairly well-known translator). But still a woman, with her inherent weaknesses. Let us recall the scene in the train car when Glebov finds her crying. A woman who wants to love and be loved. Klena combines the features of all the heroines we talked about above. Like Galya Ganskaya, she is a maximalist. Loving a man, she wants him to belong to her without a trace, as evidenced by her jealousy of Glebov's former women, but she also wants to belong to him entirely. That is why Elena goes to Vienna to sort out her relationship with Arthur Spiegler. “You know, the last time I left Vienna, we had already sorted out, as they say, relations - at night, on the street; under a gas lamp. And you can’t imagine what hatred he had in his face!”. Here she looks like the heroine of "Steamship" Saratov "- a temptress who plays with fate. Having fallen out of love, just leave, informing and not explaining the reasons. And if for Elena, as well as for the Muse, this is quite acceptable, then for Arthur Spiegler - no He does not stand this test and kills his former mistress.

Thus, the unearthly female essence, organically entering the context of the ideal woman of the Silver Age, is considered by Bunin in an existential aspect, reinforcing the tragic dominant of the motive of love within the framework of the conflict of the Divine / earthly world.

Chapter 3. Methodological aspects of the research topic

3.1 Creativity I.A. Bunin in school literature programs for grades 5-11

This paragraph provides an overview of the current literature programs for secondary schools, which we analyzed from the point of view of studying the works of I.A. Bunin.

In the "Program on Literature (grades 5-11)", created by edited by Kurdyumova, in almost all sections of the course, Bunin's works are recommended for compulsory education. In the 5th grade, the authors of the program offer the poems "Childhood" and "Fairy Tale" for reading and discussion and determine the range of issues related to the study of the world of fantasy and the world of creativity.

In the 6th grade in the section "Myths of the peoples of the world" students get acquainted with an excerpt from the "Song of Hiawatha" by G. Longfellow, translated by I. A. Bunin.

In the 7th grade, the stories "Numbers" and "Bastes" are offered for study. The upbringing of children in the family, the complexity of the relationship between children and adults are the main problems of these stories.

I. Bunin's story "Clean Monday" is studied in the 9th grade. The attention of students is drawn to the features of Bunin's story, the skill of the writer-stylist. In the section "literary theory" the concept of style is developed.

In the 11th grade, Bunin's works open a literature course. For study, the stories "The Gentleman from San Francisco", "Sunstroke", "Ioan Rydalets", "Clean Monday", as well as poems of the choice of the teacher and students are offered. The range of problems that determine the study of the writer's work at the final stage of education is presented as follows: the philosophical nature of Bunin's lyrics, the subtlety of perception of the psychology of man and the natural world, the poetization of the historical past, the condemnation of the lack of spirituality of existence.

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This work is devoted to the analysis of female images in the work of I.A. Bunin.

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MINISTRY OF EDUCATION AND SCIENCE OF THE KRASNODAR REGION

STATE BUDGET PROFESSIONAL

EDUCATIONAL INSTITUTION OF THE KRASNODAR REGION

"BRUKHOVETSKY AGRARIAN COLLEGE"

Work theme:

“Women's images in the works of I.A. Bunin"

2nd year student of GBPOU KK "BAK",

specialty student

"Land and property relations"

Head: Samoylenko Irina Nikolaevna,

teacher of Russian language and literature

Art. Bryukhovetskaya 2015

Introduction……………………………………………………………………p. 3

1. Chapter Features of I.A. Bunin…………………………p. 5
2. Chapter Features of female images in the work of I.A. Bunin…..p. 10

Conclusion………………………………………………………………...p. 19

References……………………………………………………...…p. 21

Introduction

A work of art is a thought expressed figuratively. Through the artistic image - "the main way in artistic creativity of perception and reflection of reality", the author creates and transmits, and the reader perceives the picture of the world, the experiences of the characters. Russian literature is rich in various female images: some heroines are strong in character, spirit, smart, selfless, others are tender and vulnerable. A Russian woman with her amazing inner world could not leave many writers indifferent. For the first time, female images appear in the works of ancient Russian literature, but they become popular in the works of writers of the 19th-20th centuries: more and more often, heroines appear on the pages of novels, short stories, and short stories.

I.A. Bunin is a connoisseur of the human soul. In his works, the writer accurately and fully conveyed the experiences of people, the interweaving of their destinies. I.A. Bunin can rightly be called a connoisseur of the female heart, the female soul. The characters of the heroines in the writer's works are diverse, the images created by him are multifaceted, but all women have one thing in common - the desire to love, and they can love deeply and selflessly.

This research work is devoted to the analysis of images of women in the works of I.A. Bunin.

The object of this study is the stories of I.A. Bunin.

The subject of the research is female images in the works of I.A. Bunin.

The relevance of the work is due to the fact that despite the significant number of literary studies devoted to the analysis of female images in Russian literature of the first half of the 20th century, and the undoubted interest shown in a certain problem, it can be noted that the question of how a woman was depicted in the work of I. A. Bunin, which methods of delineation the author uses, were covered by researchers to a small extent.

The purpose of this work is to describe the female images presented in Bunin's work.

To achieve this goal, a number of tasks need to be solved:

Consider the features of I.A. Bunin;

Analyze female images in the writer's stories;

Make a conclusion about the role played by female images in the work of Bunin I. A.

In the process of research work, the following methods were used: research, descriptive.

The research work consists of an introduction, the main part, a conclusion and a list of references.

Chapter 1. Features of I.A. Bunin

The fate of Ivan Alekseevich Bunin was both happy and tragic. He reached incomparable heights in his literary field, the first among other Russian writers to receive the Nobel Prize, was recognized as an outstanding master of the word. But for thirty years Bunin lived in a foreign land, with an unquenched longing for his homeland. As a sensitive artist, Bunin felt the proximity of great social upheavals. Observing social evil, ignorance, cruelty around him, Bunin at the same time, with grief and fear, expected the imminent collapse, the fall of the “great Russian power”. This determined his attitude to the revolution and the fratricidal civil war, forced him to leave his homeland.

Bunin's literary activity began in the late 80s of the XIX century. The young writer in such stories as Kastryuk, On the Foreign Side, On the Farm, draws the hopeless poverty of the peasantry.

The works of the 1990s are distinguished by their democratism and knowledge of people's life. Bunin's acquaintance with writers of the older generation takes place. During these years, Bunin tried to combine realistic traditions with new techniques and principles of composition. He becomes close to impressionism. In the stories of that time, a blurry plot dominates, a musical rhythmic pattern is created.

The story "Antonov apples" shows outwardly unrelated episodes of the life of the fading patriarchal-noble life, which are colored with lyrical sadness and regret. However, in the story, not only longing for the desolated noble estates. Enchanting landscapes appear before us on the pages, covered with a feeling of love for the motherland, which affirm the happiness of the moment when a person can completely merge with nature.

In 1909, Bunin returned to the theme of the village.

On the eve of the revolutionary events, Bunin writes stories, especially exposing the pursuit of profit. They sound condemnation of bourgeois society. In the story "The Gentleman from San Francisco", the writer especially emphasized the ephemeral power of money over a person.

For a long time, Bunin's fame as a prose writer somewhat obscured his poetry for readers. The writer's lyrics show us an example of high national culture.

Love for the native land, its nature, its history inspires Bunin's muse. At the turn of the twentieth century, when the first sprouts of proletarian literature were already breaking through and the symbolist trend was gaining strength, Bunin's poems stood out for their adherence to strong classical traditions.

Proximity to nature, to village life, its labor interests, its aesthetics could not but be reflected in the formation of the literary tastes and passions of the young Bunin. His poetry becomes deeply national. The image of the Motherland, Russia develops imperceptibly in verses. He has already been prepared by landscape lyrics, which are inspired by the impressions of his native Oryol region, Central Russian nature.

Nature was a favorite theme of his poems. Her image runs through all his poetic work.

The philosophical lyrics of the period of 1917 are increasingly crowding out the landscape. Bunin seeks to look beyond reality.

A nobleman by birth, a commoner by way of life, a poet by talent, an analyst by mentality, a tireless traveler, Bunin combined seemingly incompatible facets of worldview: a sublimely poetic structure of the soul and an analytically sober vision of the world, intense interest in modern Russia and the past , to the countries of ancient civilizations, the tireless search for the meaning of life and religious humility before its unknowable essence.

In 1933, "for the strict artistic talent with which he recreated a typically Russian character in literary prose," Bunin was awarded the most prestigious prize - the Nobel Prize in Literature.

In different years of his work, Ivan Alekseevich approached the theme of love from different angles. Bunin's stories about love are a story about her mysterious, elusive nature, about the secret of a woman's soul, which yearns to love, but will never love. The outcome of love, according to Bunin, is always tragic. It was in love that Bunin saw the “exalted price” of life, in love, which gives consciousness of “acquiring” happiness, although it is always unstable and lost.

If we talk about the early years of his work, then the heroes of his works are young and beautiful, and the love between them is open, natural and beautiful, while their youth is accompanied not only by passion, but also by rapid disappointment.

When Ivan Alekseevich was in exile, he began to write about love, as if looking back on past years. "Love" in his works has become more mature, deep and at the same time saturated with sadness.

From these experiences was born the greatest artistic value cycle of stories "Dark Alleys", which was released in 1943 in New York in a truncated composition. The next edition of this cycle took place in Paris in 1946. It included thirty-eight stories. This collection differed from the coverage of love in Soviet literature.

The theme of love began to be interpreted in a new way by writers in the late nineteenth and early twentieth centuries, when people lived in anticipation of something new and began to look differently at all seemingly unchanged values. I. A. Bunin also gave his vision of the theme of love. For him, this topic became the basis for a whole cycle of stories - "Dark Alleys", which presents various manifestations and shades of the feeling of love: this is love as an eternal expectation of a miracle that flashed in life for a moment and was lost, and feelings balancing on the verge of temptation and holiness , and love is fate, a life sentence to it.

They say about "Dark Alleys" as a kind of encyclopedia of love, which contains the most diverse and incredible stories about this great and often contradictory feeling.

The phrase itself, which served as the name for the collection, was taken by the writer from the poem "An Ordinary Tale" by N. Ogaryov, which is dedicated to first love, which did not have the expected continuation.

It's been a wonderful spring!

They were sitting on the beach

The river was quiet, clear

The sun was rising, the birds were singing;

Stretched for the river dol,

Quietly, luxuriantly green;

Near the wild rose scarlet blossomed,

There was an alley of dark lindens.

A feature of the cycle of stories "Dark Alleys" can be called moments when the love of two heroes, for some reason, can no longer continue. Often, death, sometimes unforeseen circumstances or misfortunes, become an obstacle to the passionate feelings of Bunin's heroes, but most importantly, love is never given to come true.

This is the key concept of Bunin's idea of ​​earthly love between two. He wants to show love at the peak of its heyday, he wants to emphasize its real wealth and highest value, that it does not need to turn into life circumstances, like a wedding, marriage or life together.

The stories that were included in Bunin's collection amaze with their diverse plots and extraordinary style, they are the main assistants of Bunin, who wants to portray love at the peak of feelings, tragic love, but from this - and perfect.

The stories of "Dark Alleys" reveal not only the theme of love, they reveal the depths of the human personality and soul, and the very concept of "love" is presented as the basis of this difficult and not always happy life. Love does not have to be mutual in order to bring unforgettable impressions, it does not have to turn into something eternal and relentlessly ongoing in order to please and make a person happy.

Bunin shrewdly and subtly shows only "moments" of love, for the sake of which it is worth experiencing everything else, for the sake of which it is worth living.

The theme of love is also revealed by the author in his other stories that are not included in the cycle "Dark Alleys": "Mitina's Love", "Sunstroke", "Easy Breath". In these stories, the heroes do not find family happiness, high feelings are not destroyed either by everyday life or everyday life.

The female portraits presented in Bunin's stories are truly intriguing and vivid, just like their love stories.

Particular attention should be paid to the unusual female images that Bunin's stories are so rich in. It is in love stories that the characters of the heroines are revealed, their emotional experiences are shown. Ivan Alekseevich writes out female images with such grace and originality that the portrait of a woman in each story becomes unforgettable. Bunin's skill consists in several precise expressions and metaphors that instantly draw in the reader's mind the picture described by the author with many colors, shades and nuances.

2. Features of female images in the work of I.A. Bunin

Many works of Russian classics are devoted to the creation of the female image.

Russian writers tried to show in female images the best features inherent in our people. In no literature of the world we will meet such beautiful and pure women, distinguished by their faithful and loving hearts, as well as their spiritual beauty. Only in Russian literature has so much attention been paid to the depiction of the inner world and the complex experiences of the female soul.

For the first time, female images appear on the pages of ancient Russian literature, but they become popular and are increasingly found on the pages of works of the 19th-20th centuries. They are shown very clearly by such writers and poets as Pushkin Alexander Sergeevich, Nekrasov Nikolai Alekseevich, Tyutchev Fedor Ivanovich, Ostrovsky Alexander Nikolaevich, Bunin Ivan Alekseevich.

In Bunin's book "Dark Alleys" women play a major role. Men, as a rule, are only a background that sets off the characters and actions of the heroines. The collection itself contains a story with the same name "Dark Alleys". Nadezhda, the main character of the story, is “a dark-haired, black-browed and still beautiful woman who looks like an elderly gypsy, with dark down on her upper lip and along her cheeks, light on the move, but plump, with large breasts under a red blouse, with a triangular, like a goose, belly under a black woolen skirt ", was faithful to one man. However, Nadezhda is good not only outwardly. She has a rich and deep inner world. For more than thirty years, she has kept in her soul love for the master who once seduced her. They met by chance in a "staying room" by the road, where Nadezhda was the hostess, and Nikolai Alekseevich was a passerby. When reading the story, the reader understands that the hero is not able to rise to the height of a woman's feelings, to understand why she did not marry. The hero, turning to Nadezhda, says: “You say you were not married? Why? With such beauty that you had? . A simple Russian girl was able to selflessly and strongly love the hero, even the years did not erase his appearance. Having met thirty years later, she proudly objects to her former lover: “What does God give to whom, Nikolai Alekseevich. Youth passes for everyone, but love is another matter ... No matter how much time passed, everyone lived alone. I knew that for a long time you were gone, that for you it was as if nothing had happened ... ". Only a strong and noble nature is capable of such a boundless feeling. The position of the author is also visible in the text of the story. Bunin, as it were, rises above the heroes, regretting that Nadezhda did not meet a person who could appreciate and understand her beautiful soul. But the best years are gone forever.

In another work of the writer, “Cold Autumn”, the author draws the image of a woman who also carried love for one man through her whole life. The heroine, who escorted her fiancé to the war (he was killed a month later), tells the story of her love, starting the story with the following words: “In June of that year, he visited our estate ...”. From the very first lines, the reader understands that it will be about something personal, akin to a diary entry. Not only did the heroine of the story keep love for her fiancé in her heart for thirty years, but she also believed that in her life there was only that September evening when she said goodbye to her lover: “But what did happen in my life? .. .only that cold autumn evening ... This is all that was in my life - the rest is an unnecessary dream. Moreover, the heroine sincerely believed that “somewhere out there” the hero was waiting for her with the same love and tenderness as on that autumn evening. The soul died along with that evening, and the woman looks at the remaining years as if they were someone else’s life, “as with the soul they look from a height at the body they abandoned” (F. Tyutchev).

In the book "Dark Alleys" there are many other wonderful female images through which the author conveys sublime feelings and experiences (the stories "Rus", "Natalie").

In the story “Rusya”, the author, portraying a girl, gives her the following description: “Thin, tall. She wore a yellow cotton sundress and peasant boots on her bare feet, woven from some kind of multi-colored wool. In addition, she was an artist, studied at the Stroganov School of Painting. Yes, she herself was picturesque, even icon-painting. A long black braid on her back, a swarthy face with small dark moles, a narrow, regular nose, black eyes, black eyebrows... Her hair was dry and coarse and slightly curled. All this, with a yellow sundress and white muslin sleeves of a shirt, stood out very beautifully. The ankles and the beginning of the foot in chunks are all dry, with bones protruding under the thin dark skin. The image of a woman in the smallest details for a long time crashed into the memory of the narrator. The author draws the story of two lovers who, like many other heroes of Bunin's stories, are not destined to be together. Happy, mutual feelings break off unexpectedly for the heroes themselves: it is the mother of Rus' who becomes the reason for their separation: “I understood everything! I felt, I watched! Scoundrel, she can't be yours! Only over my corpse will she step over to you! If he runs away with you, on the same day I will hang myself, I will throw myself from the roof! Scoundrel, get out of my house! Marya Viktorovna, choose: mother or he!” . The girl chooses her mother, but on the last day of the meeting she says to her lover: “And I love you so much now that there is nothing dearer to me than even this smell inside the cap, the smell of your head and your nasty cologne!”.

The story "Natalie" is devoted to the theme of love. The author draws two female images, between which the hero rushes about. Sonya and Natalie are not similar to each other, and the feelings for them on the part of the hero are also different. For Sonya, the hero experiences a heavy carnal attraction, in addition, imbued with that trembling that only a young man has, to whom female nudity is first revealed. The hero's feeling for Natalie is higher, it is based on admiration and worship. Natalie falls in love with a young man, thinking that he loves her friend. Feeling his attention and hearing his “renunciation” of Sonya, she avoids him for several days in a row, apparently trying to subdue her overwhelming feelings; finally, she confesses her love herself - only in order to catch him with Sonya that very evening. Then he enters into a reasonable marriage without love, buries her husband and only many years later meets with her beloved, accepts the humiliating secrecy of their relationship and dies in childbirth.

The fates of many heroines, capable of bestowing happiness and falling in love for life, develop tragically.

Speaking about the beauty of women presented on the pages of works, one cannot but mention Olya Meshcherskaya (story "Easy breathing"). Having developed physically early, turning into a 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 realization of her own femininity. Olya too early for a still fragile soul also knew the physical side of love, which was the most unpleasant surprise for her: “I don’t understand how this could happen, I went crazy, I never thought that I was like that! Now there is only one way out for me ... I feel such disgust for him that I cannot survive this! .. ". 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.The ending of this story, like other Bunin novels, is tragic: Olya dies. However, the charm of her image captivates readers. Here is how K. G. Paustovsky writes about this: “Oh, if only I knew! And if I could! I would cover this grave with all the flowers that only bloom on earth. I already loved this girl. I shuddered at the irreparability of her fate. I ... naively consoled myself with the fact that Olya Meshcherskaya is Bunin's fiction, that only a penchant for a romantic perception of the world makes me suffer because of a sudden love for a dead girl.

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.

Bunin was proud of his book, especially the story "Clean Monday". The image of a young man is simple and understandable, but the image of the heroine is inaccessible, striking in its inconsistency: “And she had some kind of Indian, Persian beauty: a swarthy amber face, magnificent and somewhat sinister in its thick black hair, softly shining like black sable fur, eyebrows, eyes as black as velvet coal; captivating with velvety crimson lips, the mouth was tinted with a dark fluff. This short story is a story-philosophy, a story is a lesson. Here the first day of Lent is shown, she has fun on the "skit". Kapustnik at Bunin is given by her eyes. She drank and smoked a lot on it. Everything was disgusting there. According to custom, on such a day, on Monday, it was impossible to have fun. Kapustnik was supposed to be on a different day. The heroine is watching these people, who are all vulgarized "drooping their eyelids." The desire to go to the monastery, apparently, had already matured with her earlier, but the heroine seemed to want to see it through to the end, as there was a desire to finish reading the chapter, but that evening everything was finally decided. Through the eyes of the heroine, Bunin shows us that much is vulgarized in this life. The heroine has love, only her love for God. She has an inner longing when she sees the life and people around her. The love of God conquers all else.

In the work “Sunstroke”, Bunin introduces readers to an unusual, but quite life-like case, when a strong feeling grew and grew stronger from a random, non-compulsory meeting. In the story, we see a moment of love, which seems to have no beginning and no continuation, no end: although the characters part, the feeling remains for life. Love is depicted as a miracle that cannot be explained. It was it that made the protagonist lieutenant feel "aged ten years." The story does not give the names of the heroes, only separate details are mentioned: the hero is a lieutenant, the heroine is a married woman with a husband and a child. The portrait of the heroine is more important. She is an object of love, an object of all-consuming passion. It is important to note that the carnal side of love is very important and significant for Bunin. The writer emphasizes that the heroine had a tanned body, because she had just rested in Anapa. This woman is like a child: she is small in stature, her "hand, small and strong, smelled of sunburn." The heroine is easy to communicate with, "as fresh as at seventeen". All these descriptions in no way convey to us the inner content of this woman. It is not so important either for the hero or for the writer. What matters is the feeling this woman evokes in the hero. After the night spent, the heroes part. We see that the “beautiful stranger” has a very light attitude to everything that happened. She "as before was simple, cheerful and - already reasonable." The heroine says that this will not happen again, because she is married. You can not calmly read the description of the emotions of the lieutenant. At first, he was given a light attitude towards this connection. But after returning to an empty, already soulless room, "the lieutenant's heart sank." The author describes the state of the hero in this way: “How wild, terrible everything is everyday, ordinary, when the heart is struck ... by this strange “sunstroke”, too much love, too much happiness!” . The love that happened between the characters of the story is like a sunstroke.

The palette of feelings is manifested in the story written in 1924 "Mitya's love". Here you can clearly see how love and life go hand in hand. Bunin to show the formation of a hero, leading him from love to death.In the story, Mitya is haunted by Rubinstein's romance to the words of Heinrich Heine: "I am from the family of poor Azras, / Having fallen in love, we die ...". V.N. Muromtseva-Bunin in the book "The Life of Bunin" writes that for many years Bunin bore the impression of this romance, which he heard in his youth and in "Mitya's Love" seemed to relive it again. The main character of the story, Katya, has "a sweet, pretty face, a small figure, freshness, youth, where femininity still interfered with childishness." She studies at a private theater school, goes to the studio of the Art Theater, lives with her mother, “always smoking, always rouged lady with crimson hair”, who has long since left her husband. Unlike Mitya, Katya is not completely absorbed in love, it is no coincidence that Rilke noticed that Mitya could not live with her anyway - she is too immersed in a theatrical, fake environment. In the spring, important changes take place with Katya - she turns into a "young society lady, always in a hurry somewhere." Meetings with Mitya are shrinking, and Katya's last outburst of feelings coincides with his departure to the village. Contrary to the agreement, Katya writes only two letters to Mitya, and in the second she admits that she cheated on him with the director: “I am bad, I am nasty, spoiled, but I am madly in love with art! I'm leaving - you know with whom ... ". This letter becomes the last straw - Mitya decides to commit suicide. Communication with Alyonka only increases his despair. This female image is different from those that were discussed above, the heroine does not carry a sincere, bright feeling in her soul - love, she is next to a man because of her personal interests.

A brazen and vulgar woman is shown in another story by Bunin, "Lady Clara". The life of the heroine ends as ridiculously as it was lived.

Female images in the works of I.A. Bunin is a whole string. The author draws many types and characters, each of which is alive and real, not leaving the reader indifferent.

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

Bunin always sought to comprehend the miracle of femininity, the secret of irresistible female happiness. “Women seem mysterious to me. The more I study them, the less I understand, ”he writes such a phrase from Flaubert’s diary.

In the stories we see that the most important thing for the lyricist were two things: love and a woman. They are intertwined. Women's images are as bright as their love, and vice versa.

The works of P. A. Bunin cover various aspects of love. For some characters, this feeling causes a feeling of flight, for others - on the contrary: a feeling close to sadness. None of the stories is similar to the other, each has its own zest, because love is many-sided in its manifestation. And most often it is inexplicable, because when they truly love, they can never explain for what exactly, for what quality they love a person, but they love simply for the fact that he exists.

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

Conclusion

A wise artist and person, Bunin saw too little happiness and joy in real life. In a harsh time, the writer lived and worked, he could not be surrounded by carefree and happy people. Living in exile, far from Russia, the writer did not imagine serene and complete happiness away from his homeland. Being an honest artist, he reflected in his work only what he saw in real life. This is probably why his heroines only for a moment feel the bliss of love and lose it.

The works of I. A. Bunin cover various aspects of love. For some characters, this feeling causes a feeling of flight, for others - on the contrary: a feeling close to sadness. In many stories, love becomes a source of spiritual strength, often it turns out to be the most significant and happiest event in a person's life. None of the stories is similar to the other, each has its own zest, because love is many-sided in its manifestation.

In the works of I.A. Bunin presents dissimilar female images, showing all the shades and different moments in the relationship of lovers: these are sublime experiences (the stories "Rus", "Natalie"), conflicting feelings ("Clean Monday"), an animal manifestation of passion ("Lady Clara" ), flash feelings, akin to a sunstroke ("Sunstroke"), love walking next to death ("Mitya's love"), love carried through the years ("Cold Autumn", "Dark Alleys").

In none of his stories does Bunin renounce love, he invariably sings of the true values, greatness and beauty of a person, a person capable of selfless feelings. He describes love as a lofty, ideal and beautiful feeling, despite the fact that it only gives a flash of happiness and most often leads to suffering and grief. However, Bunin is primarily interested in true earthly love. Such love is a great happiness, but happiness is like a spark: it flared up and went out.

There are a whole string of female images in the book. All female images in Bunin's work make you think about the complexity of human life, about the contradictions in the human character. Here are early ripe girls, women of extraordinary spiritual beauty, capable of bestowing happiness and falling in love themselves for life, impudent and vulgar girls and many other types and characters, each of which is alive and real. Amazing female characters appear before the reader, in the light of which male images fade.

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