The study of psychologism and Bunin. Psychologism and features of external figurativeness of Bunin’s prose

SUBJECT: I.A. Bunin "Clean Monday". Psychologism and features of the “external figurativeness” of Bunin’s prose

GOALS: Identification of the writer’s artistic style; intensification of students' research activities, development of creative reading skills, deepening understanding and experience of the events of the story..

TASKS: formulating conclusions; identifying cause-and-effect relationships Reveal Bunin’s attitude towards Russia through mentioning the monuments of ancient Moscow, using the realities of modern Moscow, everyday sketches, and the heroes’ conclusions about Rus'.

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Lesson No. 6 L-11

SUBJECT: I.A. Bunin "Clean Monday". Psychologism and features of the “external figurativeness” of Bunin’s prose

GOALS : Identification of the writer’s artistic style; intensification of students' research activities, development of creative reading skills, deepening understanding and experience of the events of the story..

TASKS : formulating conclusions; identifying cause-and-effect relationships Reveal Bunin’s attitude towards Russia through mentioning the monuments of ancient Moscow, using the realities of modern Moscow, everyday sketches, and the heroes’ conclusions about Rus'. DURING THE CLASSES:

1. Org moment.

1. Ready for the lesson.
2. Communicate lesson objectives.

1. Checking homework.

1. Let's follow the heroes to Moscow.

• Excursion on behalf of the hero

“Every evening I took her to dinner in Prague, the Hermitage, the Metropol, after dinner to theaters, concerts, and then to Yar, Strelna...”

• Which Moscow, ancient or modern, did we travel through?
• Excursion on behalf of the heroine
• Conception Monastery, Chudov Monastery, Archangel Cathedral, Marfo-Mariinsky Convent, Iverskaya Chapel, Cathedral of Christ the Savior, Kremlin, Novodevichy Convent, Rogozhskoye Cemetery.
• How can you call the excursion on behalf of the heroine? "Ancient Holy Moscow"

1. Identification of psychologism and features of the “external figurativeness” of Bunin’s prose

1. Why was the view from the window of the Kremlin and the Cathedral of Christ the Savior so important for the heroine?

In the story, the signs of the modern era are correlated with the inner world of the narrator, yet, as for antiquity, the inner world of the heroine testifies to Bunin’s deep nostalgia. “Orthodoxy, now that it was so persecuted at home, was recognized by Bunin as an inseparable part of Russia, its culture, its history and its national essence” (Maltsev “I. Bunin”).

1. Is it possible to imagine the heroine in a situation of “earthly happiness”?
2. What religious holidays are discussed in the story?

Clean Monday- the first day of Lent, which comes after Maslenitsa.

Maslenitsa – Shrovetide week, the week preceding Lent.

Lent – 7 weeks before Easter, during which Christian believers abstain from immodest food, do not participate in entertainment, and do not marry. The fast was established in remembrance of the 40-day fast of Christ in the desert. Great Pentecost begins on Monday, colloquially called “clean”.

1. Is the title of the story symbolic?

Clean Monday - in the Orthodox tradition - is a kind of border, the line between a life of vanity, full of temptations, and the period of Lent, when a person is called to cleanse himself of the filth of worldly life. Clean Monday is both a transition and a beginning: from secular, sinful life to eternal, spiritual life

1. Interpretation of the theme of love in the novel.

1. Many feelings and emotions experienced by a person are very difficult to grasp and describe in detail. And, perhaps, the most elusive feeling that permeates Bunin’s book “Dark Alleys” is LOVE.
2. For what reason? How are the stories combined in the book?(Everyone shows the many faces of love from different sides).
3. Now let's think about what faces of love appear before us in the story “Clean Monday”. At the beginning of the story we see the urban landscape of Moscow.“The Moscow gray winter day was darkening, the dull blackening passers-by”. What is special about this landscape?The landscape is followed by a description of the state of a man in love:“How everything should end with an hour spent near her”. This is also an impressionistic description.
4. What would you call this condition?(Confusion. Students write down the word love, draw arrows from it, and write a condition under each of them).
5. Why is the description of confusion preceded by a landscape?(This is not a new technique in literature; with the help of landscape, state hero).
6. This is not the only example of the juxtaposition of the landscape and the hero’s state of mind in the story.“Outside one window I was cooling off from the hot intoxication.”What would you call this face of love?(Passion, intoxication).
7. Why the Cathedral of Christ the Savior is mentioned before the scene of passion, we will answer later.
8. “And again we talked the whole evening and didn’t talk about marriage anymore.”(Love is family happiness).
9. “He kept saying that I don’t think much about him, her wet eyelash blinks.”(Love is tenderness).
10. “And then one of those walking in the middle quietly came out of the gate"(Love is longing, nostalgia).
11. It is no coincidence that we turned to the story “Clean Monday”, because, as you can see, love here appears to be very multifaceted. But pay attention to the title of the story.
12. Before what Orthodox event does Clean Monday come?(Before Great Lent).
13. Why do the heroes break up on this day?(This speaks to the sanctity of their relationship).

1. Final words from the teacher.

The story mentions the Cathedral of Christ the Savior, excerpts from prayers and lives, and a picture of a procession of the cross. It is HOLINESS that takes passion, tenderness, confusion into a common denominator and helps to give human relationships the face of love.

MOSCOW ORDER OF THE RED BANNER OF LABOR

As a manuscript

KOZLOVA Natalya Nikolaeva

PSYCHOLOGICAL SKILLS OF N.A. BUNIN IN PROSE OF THE 1910S

Piocertations for the scientific stapepi of the kenililat of philological sciences

Moscow - 1993

The work was carried out at the Department of Russian Literature of the Moscow Order of the Red Banner of Labor Pedagogical University.

Scientific supervisor: Doctor of Philology, Professor

Smirnova L, A.

Official opponents: Doctor of Philology, Professor

Zakharkin A.F.

Candidate of Philological Sciences, Associate Professor Zakharova V.T.

Running organization - Oryol Order of the Badge of Honor State Pedagogical Institute

The dissertation defense will take place "^" 1993.

at a meeting of the specialized council

D 113.11.02 in literary criticism at the Moscow Order of Labor "Red Banner" Pedagogical University / 107005, Moscow, st. F.Engelsa, D. 21a /. Can you read the dissertation in the reading room of the MP library? / Moscow, st. Radio, 10a/.

Scientific secretary of the specialized council

Candidate of Philological Sciences Baturova T.K.

In the last three decades, the legacy of I.A. Bunin has caused close attention in Russian literary criticism. At present, the features of his realism, the dialectics of the development of prose, many aspects of style, and the influence on the formation of the individuality of a writer of Russian classical literature have been examined in detail. Known works include Vantenkov I.P., Heydeko V.A., Grechnev V.Ya., Klimova G.P., Kozhemyakina L.K., Kolobaeva L.A., Kuchepovsky N.M., Liyanopa V.Ya., Logvyanova. A.S., Lyavdansky E.K., Nefedov V.V., Smirnova L.A., lr. Each of the books and articles contains many interesting and important observations on Bunin’s psychological mastery, manifested in individual works or periods of creativity. However, there is still no special research devoted to understanding the principles of psychologism of the most talented of the artists of the 20th century, a sophisticated connoisseur of the human soul In the dissertation under review, an attempt has been made to fill this gap.

Yves Bunin himself directed his readers and critics to the path chosen in this work. Repeatedly, “in different forms, the writer spoke about one of the most significant attractions for himself: “I am mainly interested in the soul of the Russian person in a deep sense.”* Understand what was filled with and how this “deep meaning” was embodied in Bush’s artistic works: a - necessary, promising, as it seems, line of their research... The study of prose from this point of view made it possible to establish different directions of psychological analysis, caused by Bunin's penetration into current reality and eternal "problems of life, the interaction of real observations with the ideal ideas of the author, perception .em art of the past and the experience of contemporary writers.

Comprehension of the “Russian soul” is inextricably linked with the writer’s knowledge of his contemporary and universal human spiritual processes. There is nothing exceptional here, this is the law of literature. But in relation to Bunin, does this position follow? emphasize. Often his discovery of deep psychological * contradictions, "moral decline is entirely behind the characteristics of the national character. Or he is accused of complete indifference to man, cold "cosmism." In fact, the creator of "The Village", "The Gentleman from San Fran-

\ Bunin "::.A* Collected Opinions, 9 vols., - Mit Khudo", lit.; 1967. T. 9, -P, 536. Further, Without reference to this edition, see the text.

Cisco" explained the tragic state of the individual with pain and empathy. "Unparalleled catastrophes" of Russia and the whole world, the grimaces of Lalyshi civilization of the 20th century. Understanding of reality, the "Russian soul" gravitates to similar conclusions.

The starting point in this work was the recognition of achievements. domestic / ancient and classical / literature, which largely predetermined the search for Bunin the psychologist. As a result of this correlation, a stable time-varying phenomenon was revealed. and Dr. Bunin’s characteristic interest in the different “channels** of human inner existence, its searches, movement, dissonances.. And also - the writer’s peculiar mastery of the “Silver Age”* of a number of traditional forms and the technique of psychological analysis. Close attention to the processes of inheritance of previous artistic conquests made it possible to establish truly Bunin achievements in this area.

The purpose and purpose of the work, the study of the principles and techniques of Bunin’s psychological analysis, determined specific research paths. It is aimed, firstly, at understanding Bunin’s creative connections with ancient Russian hagiographic literature, with some lines in the works of Pushkin, Dostoevsky, Tolstoy and Chekhov. Secondly, to the discovery of facets characteristic of Bunin’s prose in the psychological portrait of his contemporary and, more broadly, features of universal human psychology. Thirdly, to understand the author’s ideas about the harmonious personality and the causes of human spiritual disharmony.

Methods of research” The work uses historical-functional-analysis and comparative-typological methods of studying works of art; which are considered in the unity of content and form." The material for the study was I. A. Bunin's year of the 1910s as the First period, which clearly expressed his attraction to discovering the secrets of the human worldview, in particular, the "Russian soul - "" - Nsihyaki Slav * It was by this time that the main creative principles of Bunin took shape and became established, which largely determined all of his subsequent works * Comparisons of different editions of Bunin’s works of the 1910s were carried out, if necessary, attention was paid to the early works of the writer, the later works of the writer were used © th articles, diaries, Statements, memories of boats close to him, materials from the Central State Medical Institute in the I.S. Turgenev Museum in Orel.

Historical and literary research has also been undertaken in connection with a theoretical problem of interest to us. B responsible

In modern literary criticism, two plans have emerged in the interpretation of psychologism; “as a generic feature of fiction,” since “it is always addressed to a person,” therefore psychological, and as a “thermal way of depicting the inner world of a person.”1 In this dissertation, the first, the general literary function is accepted as a natural prerequisite, the ancestral gaze is directed to the second. For Bunin’s prose of the 1910s, the following, most significant areas of psychological analysis are highlighted in the work:

1/ appeal to the mental state of the characters on the path to understanding current reality;

2/ penetration into the inner world of precision for the purpose of correlating different tendencies of existence; concrete-temporal and eternal, national and universal, ontological and epistemological;

3/ generalization of the heterogeneous spiritual experience of people as a means of expressing the author’s concept of life, social, natural, cosmic. The scientific novelty of the dissertation is due, firstly, to the extremely low degree of knowledge of the problems of psychologism in Bunin’s work. Until today, there is no separate study where and; this issue was examined in detail” Secondly, in this work, for the first time, an attempt is made to establish the origins of the writer’s psychological mastery, to explain the essence of Bunin’s attraction to the experience of classical artists. This approach leads to a clarification of the features of Bunan realism, the place of the writer, in the historical and literary process of the late 19th and early 20th centuries. During the course of the work, a whole series of previously unexplained typological connections between Bunin and the search for great artists were discovered; A.S. Pushkin, F.M. Dostoevsky, L.N. Tolstoy, A.P. Chekhov, A largely new interpretation of the spiritual contradictions of Bunin’s man was carried out, captured by everyone to understand the meaning of being, to surrender to a faded dream, to achieve complete unity with the world and together with the one subject to a terrible reaction of consciousness and lack of will. Delving into the complex and intense internal state of Bunin’s heroes suited the definition of a special direction of the writer’s psychological analysis, as well as his “reflections 6 on the possibility of spiritual harmony. Such observations refute what has been preserved up to ---g.------,. ; I

; Zaitseva J,/C Formation of artistic psychologism in production. Ze M.Yu, Lermontova: Author^ ¿id,.;. Ph.D. Philol. nauk.-M., 1984. С,7„

our days, the idea of ​​supposedly “pure aestheticism”, Bunin’s cold indifference to people. On the other hand, they activate the disclosure of the “underlying” capacity of his short works, “hidden” / from a superficial glance / forms of author’s assessment, that is, they bring closer to understanding the structure of the narrative, various means of artistic expression.

Practical significance of the dissertation. Observations and conclusions obtained during the study can be used in developing a course on literature of the 20th century, as well as special courses and special seminars on the works of I.A. Bunin; connecting with some issues of psychology, they can contribute to the moral education of students in secondary schools and pedagogical universities.

Approbation of scientific results was carried out at interuniversity conferences "Ideological and aesthetic struggle for realism in Russian criticism and journalism of the second half of the 19th - early 20th centuries" / Belgorod Pedagogical Institute named after. M.S.Olminsky; 1935/, at the Tin Bunin Readings, dedicated to the 117th anniversary of the weaning, lOC-letig of the literary activity of I.L. Bunin / Yelets State Pedagogical Institute; 1987/, at the regional conference of young scientists "Current problems of philology in universities and schools" / Voronezh State University; 1939/. The dissertation was discussed at meetings of the Department of Classical Literature of the Moscow Order of Labor!) Red Banner Pedagogical University. The main provisions of the work are presented in published articles and theses. /The list is attached at the end of the abstract/.

Structure and volume. The dissertation consists of an introduction, which reveals the relevance, goals, objectives, scientific novelty of the undertaken research, three main parts, conclusion, bibliography and appendix.

MAIN CONTENT

The content of the dissertation research was determined by the logic of Bunin’s creative quest. The first chapter: “The Origins of the Psychological Mastery of I.A. Bunin” is devoted to Bunin’s perception of the classical heritage, the development of those close to the writer, according to the originally rethought psychological achievements of ancient Russian authors and the discoveries of the greatest artists of the 19th century*

Bunin's constant interest in past times, the history of his family, region, and Fatherland is widely known. Sacred to yourself

Bunin considered the motivation for creativity to be the ability to “feel not only one’s own time, but also someone else’s, not only one’s country, but also others, not only oneself, but also other people. Bunin’s ability to “remelt” someone else’s spiritual experience largely determines his depiction of the inner the human world, being one of the important features of his psychological analysis.

An indicative fact: the development of artistic imports; tions of the past have always coincided with Bunin’s orientation towards his idols. About seven years ago he developed an admiration for M.Yu. Lermontov. In poetry, especially in the early days, the influence of this singing of the sea and starry expanses was very strong. The brilliant skill of Ler. Lontov as a prose writer, with his deep penetration into complex, intense "psychological processes, turned out to be alien to Bunin. On the other hand, he repeatedly expressed his very cool, and in some cases sharply critical attitude towards F.M. Dostoevsky. Nevertheless, a lot in the understanding of urban reality and the poetics of Dostoevsky’s urban, interior paintings was vividly perceived and developed in a unique way by Bunin. Pushkin, Tolstoy, Chekhov, as well as ancient Russian hagiographic literature, always awakened in Bunin the reader an internal attraction to no.

There is information about Bunin’s repeated adaptation to the most common type of ancient Russian literature - the lives of saints. In the 1910s, the writer’s attention to the hagiographic genre and historical and religious themes in general increased noticeably. During that period, he came close to solving the mysteries of the Russian soul and universal human psychology / stories “John the Weeper”, “Brothers”, “Aglaya”, “Mr. from San Francisco”, etc./. Appeal to the wisdom of the past, to ideals * Russian Orthodoxy" / along with other religious teachings / provided the key to understanding the spiritual paths of the people.

Analysis of Bunineka prose / “John the Sower”, “Saints”, “Rodion the Lyricist”, “Aglaya” /, where hagiographic motifs develop, leads to an understanding of the transformed ancient genre. The authors-hagiographers faced a clear, precise task: the establishment of the Christian ideal, moral education of readers and listeners with the help of images of the saint’s feat or his martyrdom, suffering. Heroes

1 Bunin I.A. Literary heritage. - M,: Nauka, 1973. - T.84; I.A.Bunin - Book. 1, - P.384, Further all references to this publication can be found in the text.

These works showed a deep awareness of any action - a quality that, as Bunin notes, is so lacking among his contemporaries. Bunin's story of the 1910s amazes with the depth of its penetration into the contradictory, spontaneous, conscious behavior of a person or a group of people. That is why sad phenomena are illuminated by means of the modified hagiographical genre: the external preservation of sacred covenants and their unexpected violation in reality.

The discrepancy between the past and the present determined Bunin’s perception of life; The artist was interested in the truth most of all from the point of view of the perception of the saints by his contemporaries. Bunin highlighted various kinds of inconsistency in this perception. Many characters retain an unattained craving for faith, a mast for truth. Sometimes the mention of divine truth is given as something familiar, even stagnant, meaningless / Horizons “The Cup of Life”, Taganok “Ancient Man”/. The writer reacted especially painfully to the simplification or distortion of the sacred covenants /"John the Sower", "I am still silent"/. On the other hand, Bunin responded vividly to manifestations of the memory of great deeds that were dear to him and even to updated interpretations of them (Larnik Rodion, Saints). The ethical, instructive side of the lives made it possible to understand where the ancestors drew their spiritual strength and what guided their actions. Bunin spoke with pain about how that energy disappears, although the desire for good* beauty remains /"Aglaya"/.

The desire to reveal various mental states, their underlying manifestations, contradictions, and the dynamism of the inner life of the individual brought Bunin closer to Pushkin’s work. However, it is difficult to correlate Pushkin’s man with Bunin’s man. Pushkin addressed an individual who was extraordinary, even in his vices. Therefore, her actions are likened to a powerful, almost fatal force: “And everywhere there are fatal passions, and there is no protection from fate.” “Spontaneous impulses that control people do not come from somewhere outside” but are inside each of them./“Gypsy”, " Peak d'aua. Pushkin reveals the danger of unbridled revelry of passions and damage to everyday* motives. But Pushkin is completely unfamiliar with the state of extreme unconsciousness, which causes the automatism of all actions, movements, aimlessness and lack of purpose.

For Bunin, the exponent of modern times, such a variant of distortion of the human image exists and is frightening. The triumph of a principle beyond reason dooms innocent people to death /"Brmil", "Spring Evening"/. Moreover, the Carrier himself of uncontrolled, dark

Detects impulses. “Immediately far away from them” or doesn’t notice them in the pile. The "angry" human duiga's destructive "stykhia reaches its limit, beyond which is the darkness of madness.

The chapter reveals the significance for Bunin of Putakin’s holistic heritage. The attraction to the artistic experience of the great classic has an ambiguous character. On the one hand.., this is the desire to “eat up the great achievements of his predecessor: garishness,” brevity, expressiveness of every detail, every phrase. Here, Bunin managed, in relation to his tasks, to develop some of Pulkin’s discoveries in the field of depicting the inner-ego world of a person. On the other hand, interest in the Pushkin era is due to the desire of the writer of the dramatic era to the bright ideals of goodness, reason, justice. Some of Bunin’s heroes carry this beginning, which is confirmed in the work by considering the images of peasants / Anisya in “Vesely yard", Averky "Thin Grass"1/, correlated with folk characters in Pushkin's works,"

Writers of the early 20th century acutely felt uncertainty, instability, and uncertainty in a person’s choice of his earthly path. The time of contrasts: political, social, spiritual - contributed to the mental discord of the individual. The Artist, in his comprehension of this state, turned to the most complex psychological processes of time. It is not surprising that the creativity of Dostoevsky, an expert on the secrets of the human bush, has acquired special significance. Bunin's attitude towards Dostoevsky was complex; Che accepted a lot of Dostoevsky's worldview and poetics, and there was an internal debate between the younger and the older. But the innovation of Dostoevsky, who revealed the depths of a contradictory personality, could not pass by the writer, who so acutely felt the painful waste of his spiritual strength,

Bunin, together with other creators of art of the 20th century, discovered the human tragedy of his contemporary, as evidenced by all his work, in particular such wonderful stories as “Loopy” Ears *, “Yermil”; "Spring Night", "Chang's Dreams", "Kazimir Stanplavovyach". Here Dostoevsky's experience was invaluable. Ooo, bringing writers together, about them you pay attention to a person’s feeling of the “abyss” of his own spirit and, on the contrary, to the doom of loneliness, Bunin, like Dostoevsky; picked up that moment in people’s existence (., when they were in the Stage of highest tension, As a result, “a special sensitivity to the environment was awakened,

individual faces and objects were seen more sharply and clearly, their hitherto unnoticed internal, essential manifestations were perceived.

The work compares Bunin's stories "Loopy Ears", "Ignat", "Kazimir Stanislavovich" with individual motifs from Dostoevsky's novels. New formulation and resolution of the problems of “crime and punishment”, “humiliated and insulted” are considered. And at the same time - the development of many of Dostoevsky’s discoveries in the field of word expression and symbolization of phenomena.

Dostoevsky's man, making mistakes, suffering, one way or another takes the path of moral improvement or carries within himself a reproach of conscience. Bunin's heroes are not capable of such sensations. But the lion is overtaken by another formidable retribution - complete alienation from the world, irrevocable loss of reference points, an eternal journey in a cruel world. The work challenges the now widespread judgment about a “crime without punishment” allegedly uncovered by Bunin. Bunin brought to its logical conclusion those processes of spiritual decay that Dostoevsky brilliantly predicted.

Bunin called L.N. Tolstoy his Teacher, mentor in literature and life. Bunin wrote admiringly: “Perhaps no one in all of world literature was given the ability to feel with such acuteness all the flesh of the world...” “and to debunk what is hidden in the human soul under all forms of a brilliant appearance.” /"X,31/ Bunin was attracted to everything about Tolstoy: attitude, philosophy, artistic creativity.

In Bunin’s prose one very often encounters, as Tolstoy put it, “people who have not returned to life.” How Selikhov, Alexandra Vasilyevna, Iordansky / “The Cup of Lick” / drag out their days in their sleep, not noticing how quickly old age* death overtakes them ,.And from the days that rushed by in the stupid bustle, not a trace remains, even in memory. “Impossible Egor / “Merry Yard” / is not able to grasp something stable in his wandering around other people’s houses. And honest, thoughtful people only in the “last time” before leaving for another world are afraid of their behavior. “I lived, but I don’t remember anything, not understanding anything*.." - reflects the dying Averky / "Thin Grass", 1U, 146/. Following Tolstoy, Bunin found an expressive situation for the utmost enhancement of this tragically imperfect existence. Doubts and reflections come to the per-soyaat of stories at the moment of farewell to earthly »lolyuA

Bunin, like Tolstoy, relies on moral criteria in

defining the meaning of existence. Depending on the content of the years lived, the picture of a person’s death is recreated. Bunin writes about the death of those freed from physical suffering who paid tribute to the joys they experienced and remained faithful to the love of loved ones /Anisya “The Chesely Yard”, Averky “The Thin Grass”, “Zakhar Vorobyov”/. Appeal to the borderline situation - “life - death”. - revealed with unprecedented depth by Tolstoy - an important direction in Bunin’s psychological analysis.

Unlike some researchers who deny this feature of Bunin’s prose, we come to the conclusion that Bunin sensitively perceived and expressively embodied the mobility of inner being, and very often resorted to “mental monologue” of his characters. Undoubtedly, there are other things: many of the characters in Benin’s stories are given in the process of serious reflection and mental metamorphoses. There is, however, a very significant difference in this area between the two writers. The man in Bunin’s works cannot answer the main questions for himself. The painful tossing does not end with getting closer to the truth. A writer of modern times speaks of the fragility and precariousness of mental experience. The youngest of his contemporaries operates with other life “material”, gravitating toward people who, in Tolstoy’s words, do not live, but are only “preparing” for life. That is why the “dialectics of the soul” in Bunin’s prose is different. “It is quite intense, based on collision and interaction, deep experiences, important thoughts. Nevertheless, this process does not lead to insight and is inhibited by doubts.

Bunin's stable, spiritual attraction to the amazing Chekhovian world never dried up. What brought both writers together most of all was their understanding of the personality of their time; Each writer followed his own path, but both discovered in the everyday atmosphere the pulse of time, equally significant and different trends in the inner existence of people. ■ “Stagnation,” “inertia,” immobility are characteristic of the soul of many Chekhov and Bunin heroes. Each author in his own way clearly conveys the idea: human life is terrible, in which “nothing happens,” where everything is dominated by a “getting along” gloomy calm, lethargy, indifference to everyone and everything / Chekhov “Ionych”, “Gooseberry”, Bunin “Caring / # Often Chekhov's Bunin's characters are guided by an attitude that has evolved over centuries: to live “like People, so we do,” according to the principle of “who is assigned to what” / Czech “In the Ravine”,

Bunin "Village"/. However, the views of the creator of the story “The Village” are of a darker nature. Did he suspect that the disintegration of the peasant culture, its stagnation in spaces isolated from cultural centers, had taken a toll on the soul of the inhabitant? countless “bad girls” are an indelible mark of lack of will and weakness. Without establishing themselves in the depths of today, the people in Bunin’s works cannot correctly assess their past, find the reasons for their failures and unfulfilled dreams.

Memories “circle” an unprepared person within the limits of his narrow ideas about the past, the present, the existing. He is able to sense the insufficiency of his own knowledge, but is unable to overcome its limitations. Bunin was reproached for his static prose /Z.Gig pius/. They did not take into account the fact that artistic time in works is subordinated to seeking thought and cannot remain frozen. B^lip comprehends the rare effect of “compression” of impressions from different sources, memories, thinning under the influence of one aspiration. Subordinate to the thought about life, Averkpy / “Thin Grass” / constantly “moves” from distant youth to a later period, then again to the present, then to the relationship between the elder and youth. An equally complex picture of temporal shifts is conveyed by the thoughts of Kuzma Krasov, Anisya /"Tree1 1", "Merry Yard"/, and many others. This is done brilliantly in the short story “The Cup of Life.” Chekhov’s principle of filling a small “vessel” with large contents was adopted and developed by the Bund,

The second important feature that brings Chekhov’s and Bunin’s works together is close attention to the image of a closed space* symbolizing monotony, stagnation of the human soul. In Chokhov's spatial characteristics, they had different tendencies towards the bitch: a solo, lying in a ravine, an estate with gooseberries, a house, even a case of glasses, a coat, galoshes, an umbrella / "In the ravine"" "Gooseberry", " .Man in a Case"/"Bunin's old contemporary brilliantly varied the technique - narrowing and expanding spatial boundaries - to reveal the contradictory state of man*.

In Bunin's prose, "his own version of this phenomenon, determined by the activation of the subjective author's principle in the narrative. The image of a huge, beautiful and mysterious world" in relation to which the area of ​​​​human habitation looks sadly narrowed, the writer creates, guided by his ideals and beliefs * Characters of his stories are not able to rise to such insights. Therefore, two opposite

sambolic images.

At the end of the chapter, the results of the first part of the work are summed up. Bunin’s perception of traditions proceeded along different lines: internal polemics with Dostoevsky, conscious following of the artistic achievements of cutlirops /Putin, Tolstoy/, as a result of a parallel “related” search /jointly with Chekhov/. But no matter how visible contacts Bunin had with his great compatriots, he came to original creative wounds.

Usually, when they talk about the innovation of Bunin the prose writer, they refer to the originality of his literary skill. In the first chapter, considerable space is also devoted to this phenomenon. But turning to it follows the comprehension of the original, primary artistic search. The sources of all of Bunin's innovations in the field of prose have been swept away by a postcard of an opportunistic "slice" of existence, spontaneous for the mass of "average" people, subordinating them to a monotonous existence and visible to some in the short time before their death. Then a “protalnso” flashes in the consciousness to the eternal questions about s!Ya1slo-yaizn!!, lyabpi, ¡fyasoty, Here’s the baked Bunyip differently than Dostoevsky, tmktuat przyatuploikv to punishments, lo-svszmu embodied1:: from ot-kr/tup Thick.) "dlploktnku blows." From the creators of verbal art of the “golden age” Bunin inherited a whole series of methods of psychological analysis and enriched them!

The second chapter - "Nogo.togkchost;^ poptgz? soprzm"znnpt^"1 - is devoted to the principles of creating a psychological portrait of a person at the beginning of the 20th century by I.A. Bunyat. One of the main tasks of art is the writer vipol and the fact that he "?.a. in words, I would say what form I would say, forcing me to spoil my own eyes.. .. . n/1X,3-15/. Every day we are unique, and the face of the whole country about the Specific is visible in the group portrait!

According to the internal similarity of the characters, they belong to different groups, and the expressiveness of the individual cloud highlights the similarity of spiritual characteristics. In 1910-0, Bunin’s insight was especially attracted!

lila, selfless yidute washed away the purpose of zeshego eutmo-"

Those who are in a state of irresistible unconsciousness;

Dreamers who replaced reality with fiction;

Lost people who have made an irreparable mistake;

Those who have found harmonious unity with the world.

A literary text cannot, of course, be divided according to such characteristics. Nevertheless, the author’s keen interest in precisely these inclinations of the human soul in Bunin’s works is obvious.

The writer was especially attentive to truth-seekers seeking to understand the essence of their own and common life. Anxiety, restlessness, faith in some, as yet unknown, destiny drives them. Often these people in Bunin’s works are “wanderers” who never found shelter, did not find the true purpose of existence, nevertheless still touched the secret of existence / “Zakhar Sparrow!” “Aglaya”, “Kuzma Krasov “Lers.nya” /, The gap between the remarkable abilities of the individual and their defective implementation arises, deepens and often ends in painful death,

A supposedly unclouded existence is masterfully depicted, where everything at first seems smooth and calm. The internal tension of the heroes / “Aglaya”, “Son” / or their dangerous delusion is “hidden” from the reader’s eyes / “Otto Stein”/, On surfaces - leisurely - . the whole course of events. Only in the “subtext” of their transmission are notes dissonant with external facts heard, say, “prophetic dreams”, increasing anxiety or isolation of the individual. And when a deceptive / at first glance / series of actions approaches almost the final ones, the established ideas about the heroes suddenly explode. This often happens “at the end” of their lives. This is how a strong emotional effect is achieved, But this is not at all why such an expressive compositional design is used ? reception A hidden, intuitive or conscious, contradictory psychological state rapidly grows at an extreme moment and violently breaks through. The acuteness and painfulness of the spiritual upheaval express the author’s critical view of complex phenomena.

No less attractive for Bunin's reflections, although in the opposite emotional key, is another type of person who completely surrenders to the verse of universal disunity. Sometimes this is how a vague desire for self-affirmation manifests itself (“I’m still silent”/). More often than not, the bitter experience of hiding one’s individuality, natural

possibility, a lost creature / “Night Conversation”, “Yermil”, Yegor “Merry Yard” / or selfish “non-thinking” / “Mr. from San Francisco”/, In any case, life’s wanderings are meaningless, ugly and strange, ending in an objectively tragic collapse personality.

Bunin surprises with the secrets of the human soul. And he writes about them so freely, without resorting to the role of a moralist-educator, that the development of artistic sensitivity and refined perception of the text is required in order to finally understand the depth of the author’s thoughts. It seems that we need to talk not only about stylistic mastery, but above all about the discovery of real, truly effective psychological movements. In “The Merry Yard,” Bunin conveyed glimpses of pain, the desire for warmth in Yegor’s almost extinct consciousness. The “self-destruction” of the individual does not at all seem like a beginningless and endless process, although the author finds in it the root of the fights of the Russian person.

Bright dreams often accompany Bunin's heroes. They tend to have a generalized and maximalist idea of ​​their future. It can be said that in this refined sphere, a contemplative principle devoid of thoughtfulness is felt: the illusory dreams of the “Clan”/ are victorious. They take you away from the complexities of reality. But preserved in the soul until old age, they become the most precious and beautiful memory of the past.

The human dream in Bunin's works is reflected heterogeneously. The writer found in her not only youthful /unstable/ flowering, but also maturity. “Merry Yard”” “Zakhar Vorobyov”, “Thin Grass”, “Good Blood” - everywhere there is a sincere, meaningful hope for the affirmation of healthy and good foundations of life, !TV, who naturally fulfills the sacred promises of existence” are hidden in their imagination ideals that are just as natural.” Spiritual energy is given to the service of earthly beauty, however, even among Bunin’s beloved heroes, the attraction to beauty almost always remains unrealizable. It is not surprising that the writer takes a close look at the origins of human deviations from the truth necessary for everyone, expressively conveying the “hierarchy” of such deviations,

Bunin closely correlated man’s ideas about joy with its dual nature: “reasonable.”, soul” and “mindless mechanism” / Lek-chwt, to whose philosophy the writer gravitated, see “Life of Ar-

Senyev"U. Ideally, they should merge into a phenomenon of personality, capable of "containing in his heart the entire visible and invisible world" /"Brothers"/, ■ spiritualizing earthly sensations and giving sensual strength to elevated desires. In an atmosphere of tragic separation of people, Their insurmountable loneliness dims the fragile impulses for harmony, and the desire for ordinary, beat pleasures fades.

Few of Bunin's heroes achieve a harmonious world-building. But perishably they bring us closer to the author’s ideal. Of particular importance here is the human ability to deeply feel the earthly beauty, enrich oneself in communication with people and give what one has accumulated to people. Works of this kind are imbued with the author’s admiration for truly poetic and humanistic talent / “Lyrnik Rodion”, “Horo:ail of Blood”/. “Lyrnik Rodion” and “Good Bloods” are brought together in the main pathos - admiration for a creative personality who devotes his strength to the benefit of the current moment and to the improvement of human existence. The writer is full of embellishment. Therefore, in these stories there is no shadow of idealization; each person appears in an ordinary appearance, characteristic of his environment and occupation. Nevertheless, it is precisely the rare success of their creative aspirations that is obvious. Rodion and Lipat are truly necessary for people, helping them live and work. On the other hand, both understand their own purpose and carry out their favorite work with deep satisfaction. Here one can read Pivotol’s view of a harmonious worldview - comprehension and joyful, interesting for oneself and necessary for others, invariably selfless and full of a sense of self; Serving the world with great dignity, Awareness of duty and feelings of happiness coincide.

Conventionally dividing the works of the 1910s into positive and negative reactions to the ouiee, we sought to show that all of Bunin’s things carried one or another charge of life-affirmation. With few exceptions, Bunin does not have a hero in whom there would be a bright potential. In the darkest figures, their forced dependence on a permanently unchanged situation is always shaded, that is, here we are not talking about congenital vices. This observation is especially emphasized because that it does not coincide with the conclusions of a number of researchers.

Oenov of the third chapter: “Achieving the causes of spiritual dysgavmonia.” - constitutes an understanding of Bunin’s insight into the causes of man’s spiritual disconnection from the world. Literary scholars have repeatedly noted that personality in Bunin’s works “is outlined against the backdrop of the enormous scale of existence - national-historical life, nature, the beating of the earth, in relation to eternity.”* However, the meaning of the influence of the world on man in Bunin’s work is still unclear installed.

Nature, “entering” the human soul from childhood, largely determines it. What brings them together most of all is their eternal life: movement, the unity of the infinitely large and the infinitely small, the change of states, the ability to sleep and rebirth. But the natural world is harmonious. It reigns supreme, expediency, purity, and naturalness. It is the verse of qualities, Bukin rightly believed, that a person needs. It is not surprising that often images of natural beauty become the systole of a constant urge for characters to get rid of moral * nolugoe / “Chyaza Gizni”, “Thin Grass”, “Dreams of Chapg” /. “In the life of touching, everything is full of meaning, seo significant,” believed Bunya /¡3,203/. However, people come to this conclusion too late. In the rapid fade of gray everyday life, one notices the charms of their rapa. The “insight” comes suddenly, more often when nothing can be corrected*, but it is necessary to sum up the sad results of life. Ra high iota ball I am otirayaena sounds Bunii-skaya *.? The meaning is:.?, that a person knows. ke is taught to peer, listen and<ЗогЬтнЗ, красочней "

Shizzzzzzzzzzzzzzzzzzwill produce Bukin ggpogofutshpepalen. He is not just a phantasm of castrsenpo" creates a fbn narrative, but is an independent character;!* In him there is a "answer to important philosophical questions, Love i sastt&í death" is a dream regardless of the ae-.lanzya of a person to interface with the kingdom:! sound of beauty. The author constantly emphasizes pt* his own tol* In sbgyinny with yarorola, the splaa tieitcmitj, potavgosh motivations buiiybknkh yarsokazhey, the meaning of yah internal mood are highlighted, Eütá esla this connection is omnidirectional /Aireaba’s experiences in “Merry Djore”/. The "ideal" constantly manifests itself in the bright colors of the Blossoms" according to the Motai of retribution, which is also conveyed by the raging nature of nature /"Brothers", "Mr. from San Francisco"/.

* Kolobaava.L.A" The concept of personality in Russian realistic literature at the turn of the Sh-UKh sh-ov, - M.: MSU, na?.-0.39.

The “psychic traits of a Slav” have long been formed under the influence of many natural factors. It is impossible to understand the soul of a Russian in isolation from his land: from those very fields, steppes, forests, snows where poor desert villages are lost. The Russian has long since become one with this landscape - Bunin’s works convince us of this. The appearance of his characters is similar to the native elements: light brown hair, the color of ripe bread, different shades of blue, like the changing sky, eyes. Slowness and eloquence, contemplation and sadness, warmth and dark instinctive impulses - different principles merged in the human personality, formed in an atmosphere familiar to it.

Bunin paints his hero in a certain environment that has been close to him since childhood. The characteristic features of the landscape are often repeated, going from story to story, which allows us to speak not of a random coincidence, but of artistic symbolism. One of the constant signs of Russian topography in Bunin’s prose is the plain, field, steppe, stretching to the horizons. Boundless spaces give rise to a sense of the road in a person, expressing restlessness and a desire to understand oneself and the world. Capacious symbolic images of the earth's expanse and long journey are equally important for depicting the complexities of Russian life and the uniqueness of the human worldview. Therefore, these images, drawn from real phenomena and concretized in the spiritual existence of the individual, are enriched with related ones that clarify them. In 1\yave, the artist’s skill in this area is considered.

The road involves not only approaching the unknown, but also returning to the starting point. This is how the “home” motif appears. Undoubtedly, another symbol is significant, as if extracted by the writer from purely everyday circumstances, but given a general meaning. Movement along country roads and even large highways in the steppe always raised clouds of sand, covering the traveler’s clothes. But this “ "haze" gives a visual idea of ​​the difficulties of the path - not just moving on the ground, but the search for the truth, the knowledge of existence. Akin to this motive, another develops - "snow, blizzards", covering plains, fields, steppes, villages for most of the year, subjugating spiritual state of people. In connection with this figurative series, the author’s thoughts are movingly manifested. They are especially vividly embodied in the stories “Village”, “Sukhodol”, the story “Ermil”,

Bunin's heroes are different in age, social status, state of mind. But they all possess, although to varying degrees, a lack of awakening, unsteadiness of feelings. Only in close kinship with nature

Rolo(*, changeable and always perfect, a pure, harmonious existence of a person could be formed. Such a desired experience is most clearly conveyed in the episode of “The Gentleman from San Francisco,” dedicated to the Yabrutz highlanders.

It is difficult to agree with the widespread opinion about the lack of ideals in Bunin the artist, who managed to see high human impulses even in a tragic atmosphere. Penetrated in depth, he subordinated the understanding of the present to the comprehension of the future, thinking about the continuous connection of generations. The existence of a harmonious personality, in Bunin’s vision, did not groom the framework of real reality, but respected its dreams, the search for the Beautiful was “controlled” by attraction to the majestic beauty of the Universe There was a clear understanding of what a person should be and what this entails. The best human traits are dispersed in many of Bunin’s characters, so the writer’s ideal is comprehended in the unity of observations of the entire layer of pro~y.

The results of the study are summed up, general ones are established: - I whisper important trends in all three chapters, due to Bunin’s creative individuality. Peering into the “bright” and “current” sides of the human personality, reflecting on the historical paths of Russia, the Christmas-tree spiritual state of his compatriots, and the bare-bones natural world, the writer made many dark discoveries, many of which were prepared by independent, creative development of achievements Russian classics. A parallel is drawn here and the broom of the quest "! Bunin and his contemporaries, the long-term prospects of the chosen one are outlined: you.

The main provisions of the dissertation are reflected in the following publications:

1. On the debate about the genre of I. A. Bunin’s work “The Life of Arsenyev” // Idkine-aesthetic struggle for realism in Russian criticism and journalism of the second half of the 19th century. /Study of literary criticism in pedagogical institutes/. Abstracts of reports. - Belgorod, BSPI, 1935, pp. 57-58.

2. I. A. Bunin and L. P. Chekhov /Materials for a literary club lesson for 9th grade students/ //Organization of extracurricular activities in the Russian language and literature in school. Methodological recommendations. - Belgorod, BSPI, 1989, - P. 75-85.

3. The theme of childhood in the poetry and prose of I.A. Bunin // Russian poetry of the 19th century and its relationship with prose. Interuniversity. subject Sat. scientific tr.-M„ MY!!, 1990.-S. 122-131.

184. Psychologism in Ivan Bunin’s story “John the Rydalec” // Creative individuality of the writer and problems of realism, Majvuz. Sat. scientific tr. -Belgorod, BPS, 1991.-0.119-132,

5. On the nature of I.L. Bunin’s psychologism in the 1910s // Abstracts of reports at the interuniversity scientific conference dedicated to the 120th anniversary of the birth of I. A. Bunin 24-2? September 1990. - Orel, 1991.

6. Expression of the word in the poetics of Bunin and Dostoevsky // Interaction of creative individualities of writers of the 19th - early 20th centuries. Interuniversity. those ¡lat. Sat. scientific tr, -M., MLU, 1992,

Signed for publication on January 25, 1393 Volume I 0 c.l. Circulation: 100 copies. Order No. 15 Rotaprint VI01EM, Belgorod, B. Khmelnitsky, 86

Questions of an “eternal”, universal nature raised by writers have interested people at all times. A time as turbulent as the 20th century, marked by revolutions, aroused the need to believe in something brighter. Therefore, the literature of the early twentieth century was characterized by some idealization.

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“Psychologism and poetic features of Bunin’s prose. Lesson summary."

Lesson summary.

Topic: “Psychologism and poetic features of Bunin’s prose”

(repeating and generalizing lesson on the works of I.A. Bunin).

Lesson objectives:

Summarize the knowledge gained in the lessons on creativity by I.A. Bunin;

Improve the skills of artistic analysis of works, developing in students a creative approach to the material studied and their own vision of it;

To encourage students to further independently become acquainted with the works of I.A. Bunina.

Equipment .

Portrait of I.A. Bunin, exhibition of books by Bunin and about Bunin, texts of works by I.A. Bunin, personal computer, interactive board.

The right side of the classroom near the blackboard is set up for a dramatization of the story “The Mister from San Francisco.”

During the classes.

1. Organizational moment.

2. Announcing the topic of the lesson. Introductory speech by the teacher. Record V notebooks.

3. Repeated-summarizing conversation (based on the story “Mr. from San Francisco”).

1. Tell us briefly about the history of the story. What role does 1915 play in the life of the writer himself?

2 . The word "master" is used in the story. What meaning does it have in the explanatory dictionary of S.I. Ozhegov and N.Yu. Shvedova? Additional questions: And in the dictionary V.I. Dalia? What other explanatory dictionaries do you know? What does the title of the work say about the main character?

3. Read with expression a fragment of a story that contains a description of the hero’s appearance. What did the author want to say about him through portrait details?

4. If you had to explain to someone who had not read the story “The Man from San Francisco” the main idea of ​​the text, how would you do it?

5. When the story “The Gentleman from San Francisco” was published and spread throughout the country, M. Gorky, having read it, remarked: “I.A. Bunin forced the broken, shattered Russian society to think seriously about the strict question: to be or not to be Russia...” How do you understand the words of M. Gorky? Do you agree with them? Justify your answer.

4. Dramatization of the story by I.A. Bunin "Mr. from San Francisco".

A conversation between a gentleman from San Francisco and the head waiter.

5. Compilation of a comparative table on the works of I.A. Bunina

(consolidation and systematization of acquired knowledge).

Work	Year of writing	Main motives, images, symbols		“Eternal” questions raised in the work
"Mr. from San Francisco"
"Clean Monday"

The table is filled out on the interactive whiteboard.

Homework.

Compose a written comparative analysis of two works by I.A. Bunin, using the table filled out in class.

Topic: “Images of lovers in “Dark Alleys” and “Clean Monday” (stories of the student’s choice).

Lesson summary.

Students are asked to fill out a “lesson passport” and reflect on the lesson.

At the lesson:

I was

Interesting;

difficult;

boring;

healthy;

_________

I'm in class

have worked;

tried;

did not understand the topic;

worried;

was an observer;

____________

Will try

find additional material;

I read the information in the textbook;

remember interesting lesson material;

_________________________________

Lessons 4–5 “AND THIS IS ALL BUNIN” (A. N. ARKHANGELSKY). ORIGINALITY OF LYRICAL NARRATION IN BUNIN'S PROSE. PSYCHOLOGISM OF BUNINSKAYA PROSE AND

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Lessons 4–5
« And this is all Bunin" (A. N. Arkhangelsky).
The originality of the lyrical narrative
in Bunin's prose. Psychologism of Bunin's prose
and features of external visualization

Goals : introduce the variety of themes of Bunin's prose; teach to identify literary techniques used by Bunin to reveal human psychology, and other characteristic features of Bunin’s stories; develop prose text analysis skills.

Progress of lessons

I. Checking homework.

Reading by heart and analysis of Bunin’s poems: “Epiphany Night”, “Loneliness”, “The Last Bumblebee”.

II. Working with new material.

1. The teacher's word.

Features of Bunin the artist, the uniqueness of his place among his contemporaries and, more broadly, in Russian realism of the 19th–20th centuries. are revealed in works in which, according to him, he was occupied with “the soul of the Russian man in a deep sense, the image of the features of the Slav’s psyche.” Let's get acquainted with some stories.

2. Student messages.

a) The story “Village” (based on textbook material, pp. 39–43).

b) Collection “Dark Alleys”.

Having worked on the “Dark Alleys” cycle for many years, I. A. Bunin, already at the end of his creative career, admitted that he considered this cycle “the most perfect in skill.” The main theme of the cycle is the theme of love, a feeling that reveals the most secret corners of the human soul. For Bunin, love is the basis of all life, that illusory happiness that everyone strives for, but often misses.

Already in the first story, which, like the entire collection, received the name “Dark Alleys,” one of the main themes of the cycle appears: life moves inexorably forward, dreams of lost happiness are illusory, because a person cannot influence the development of events.

According to the writer, humanity is given only a limited amount of happiness, and therefore what is given to one is taken away from another. In the story “Caucasus,” the heroine, running away with her lover, buys her happiness at the cost of her husband’s life.

I. A. Bunin describes in amazing detail and prosaically the last hours of the hero’s life. All this is undoubtedly connected with Bunin’s general concept of life. A person dies not in a state of passion, but because he has already received his share of happiness in life and has no need to live anymore.

Running away from life, from pain, I. A. Bunin’s heroes experience joy, because the pain sometimes becomes unbearable. All the will, all the determination, which a person so lacks in life, is invested in suicide.

Trying to get their share of happiness, Bunin's heroes are often selfish and cruel. They realize that it is pointless to spare a person, because there is not enough happiness for everyone, and sooner or later you will experience the pain of loss - it doesn’t matter.

The writer is even inclined to remove responsibility from his heroes. Acting cruelly, they only live according to the laws of life, in which they are unable to change anything.

IN in the story "Muse" the heroine lives according to the principle that is dictated to her by the morality of society. The main theme of the story is the theme of a brutal struggle for short-term happiness, and the great tragedy of the hero is that he perceives love differently from his beloved, an emancipated woman who does not know how to take into account the feelings of another person.

But, despite this, even the slightest glimpse of love can become for Bunin’s heroes that moment that a person will consider the happiest all his life.

Love for Bunin is the greatest happiness given to man. But eternal doom hangs over her. Love is always associated with tragedy; true love does not have a happy ending, because a person has to pay for moments of happiness.

Loneliness becomes the inevitable fate of a person who fails to discern a close soul in another. Alas! How often found happiness turns into loss, as happened with the heroes of the story “In Paris.”

I. A. Bunin surprisingly accurately knows how to describe the complexity and diversity of the feelings that arise in a loving person. And the situations described in his stories are very different.

In the stories “Steamboat “Saratov”, “Raven”, Bunin shows how intricately love can be intertwined with a sense of possessiveness.

In the story “Natalie,” the writer talks about how terrible passion is that is not warmed by true love.

Love in Bunin’s stories can lead to destruction and grief, because it arises not only when a person “has the right” to love (“Russia”, “Caucasus”).

The story “Galya Ganskaya” talks about the tragedy that can result from the lack of spiritual closeness in people when they feel differently.

And the heroine of the story “Dubki” deliberately goes to her death, wanting to feel true love at least once in her life. Thus, many of Bunin's stories are tragic. Sometimes in one short line the writer reveals the collapse of hopes, the cruel mockery of fate.

Stories from the series “Dark Alleys” - amazing example Russian psychological prose, in which love has always been one of those eternal secrets that artists of words sought to reveal. Ivan Alekseevich Bunin was one of those brilliant writers who came closest to solving this mystery.

3. Working with texts(check home preparation).

A) "Mr. from San Francisco."

In his work, Bunin continues the traditions of Russian classics. Following Tolstoy, the philosopher and artist, Bunin turns to the broadest socio-philosophical generalizations in the story “The Gentleman from San Francisco,” written in 1915, at the height of the First World War.

In the story “Mr. from San Francisco,” the powerful influence of Leo Tolstoy, a philosopher and artist, is noticeable. Like Tolstoy, Bunin judges people, their craving for pleasure, the injustice of the social structure from the point of view of the eternal laws that govern humanity.

The idea of ​​the inevitable death of this world is reflected most forcefully in this story, in which, according to the critic A. Derman, “with some solemn and righteous sadness, the artist painted a large image of enormous evil - the image of sin in which the life of a modern proud man takes place.” with an old heart."

The giant “Atlantis” (with the name of the sunken mythical continent), on which the American millionaire travels to the island of pleasure – Capri, is a kind of model of human society: with the lower floors, where workers, stunned by the roar and hellish heat, scurry around tirelessly, and with the upper ones, where the privileged classes chew.

– What is he like, a “hollow” man, as depicted by Bunin?

I. A. Bunin only needs a few strokes for us to see the whole life of an American millionaire. Once upon a time, he chose a model for himself that he wanted to emulate, and after many years of hard work, he finally realized that he had achieved what he was striving for. He's rich.

And a hero the story decides that the moment has come when he can enjoy all the joys of life, especially since he has the money for this. People in his circle go on vacation to the Old World, and he goes there too. The hero's plans are extensive: Italy, France, England, Athens, Palestine and even Japan. The gentleman from San Francisco has made it his goal to enjoy life - and he enjoys it as best he can, or rather, focusing on how others do it. He eats a lot, drinks a lot.

Money helps the hero create a kind of decoration around himself that protects him from everything that he does not want to see.

But it is precisely behind this decoration that a living life passes, a life that he has never seen and will never see.

– What is the climax of the story?

The climax of the story is the unexpected death of the main character. Its suddenness contains the deepest philosophical meaning. The gentleman from San Francisco is putting his life on hold, but none of us are destined to know how much time we have on this earth. Life cannot be bought with money. The hero of the story sacrifices youth on the altar of profit for the sake of speculative happiness in the future, he does not even notice how mediocre his life has passed.

The gentleman from San Francisco, this poor rich man, is contrasted with the episodic figure of the boatman Lorenzo, a rich poor man, “a carefree reveler and a handsome man,” indifferent to money and happy, full of life. Life, feelings, the beauty of nature - these are, according to Bunin, the main values. And woe to the one who made money his goal.

– What is the theme of love in the work?

It is no coincidence that I. A. Bunin introduces the theme of love into the story, because even love, the highest feeling, turns out to be artificial in this world of the rich.

It is love that the gentleman from San Francisco cannot buy for his daughter. And she experiences trepidation when meeting an eastern prince, but not because he is handsome and can excite the heart, but because “unusual blood” flows in him, because he is rich, noble and belongs to a noble family.

And the highest level of vulgarization of love is a pair of lovers who are admired by the passengers of the Atlantis, who themselves are not capable of such strong feelings, but about whom only the captain of the ship knows that she was “hired by Lloyd to play at love for good money and has been sailing for a long time.” one ship, then on another ship.”

Read the article in the textbook (pp. 45–46).

Make a plan to answer the question: How is the theme of the doom of the world expressed in the story “The Mister from San Francisco”?

Rough plan

1. “The artist painted... an image of sin... a proud man with an old heart.”

2. The name is symbolic ship: Atlantis is a sunken mythical continent.

3. Ship passengers - a model of human society:

b) the death of a gentleman from San Francisco.

4. The theme is in the epigraph: “Woe to you, Babylon, strong city!” Match quotes from the text of the story to the answer according to the resulting plan.

B) “Clean Monday” - one of the stories on the eternal theme of love, which occupies a special place in the work of I. A. Bunin.

– Prove that the images of the main characters are built on antithesis.

– Explain the title of the story.

– Prove that the story is characterized by artistic brevity, condensation of external figurativeness, which allows us to talk about new realism as a writing method.

III. Analysis of the text of I. A. Bunin’s story “Antonov Apples.”

Home training in groups. The assessment of the work is drawn up in a table (on the board), results are summed up, and the number of points is calculated.

When answering, relying on the text is required.

	Answer (5 points)	Addition (3 points)	Question (1 point)

Teacher's word.

In Bunin's story "Antonov Apples" there are motifs of withering and desolation of noble nests, a motif of memory and the theme of Russia. Isn’t it sad to watch how everything dear to you from childhood irrevocably becomes a thing of the past?

For the heir to noble literature I. A. Bunin, proud of his pedigree (“a hundred years of selection of blood and culture!”, in the words of I. Ilyin), this was estate Russia, the entire way of life of the landowners, closely connected with nature, agriculture, tribal customs and life of peasants.

The artist’s memory revives pictures of the past, he seems to see colorful dreams about the past, and with the power of imagination he strives to stop the moment. Bunin associated the withering of noble nests with the autumn landscape. Fascinated by autumn and the poetry of antiquity, Bunin wrote one of the best stories of the beginning of the century - “Antonov Apples”, an enthusiastic and sad epitaph to the Russian estate.

“Antonov Apples” are extremely important for understanding Bunin’s work. With enormous artistic power they capture the image of their native land, its wealth and unpretentious beauty.

Life is steadily moving forward, Russia has just entered a new century, and the writer calls us not to lose what is worthy of memory, what is beautiful and eternal.

In his “autumn” story, Bunin subtly captured and conveyed the unique atmosphere of the past.

Critics are unanimous in their admiration for the amazing artistic skill of the Antonov Apples and their indescribable aesthetic charm.

As a result of the draw, each group receives a question, which is given 5–7 minutes to discuss. The questions were presented to students in advance to allow them to prepare in advance.

1. What pictures come to mind when reading the story?

To help complete this task, here are some lexical models:

nostalgia for the fading nests of the nobility;

elegy of parting with the past;

pictures of patriarchal life;

poeticization of antiquity; apotheosis of old Russia;

withering, desolation of estate life;

sad lyricism of the story.

2. What are the features of the composition? Create a story outline.

Understanding the composition, we come to the conclusion that the story is constructed as a mosaic of heterogeneous impressions, memories, lyrical revelations and philosophical reflections.

In the alternation of chapters we see, first of all, calendar changes in nature and associated associations.

1. Memories of an early fine autumn. Vanity in the garden.

2. Memories of a “fruitful year.” Silence in the garden.

3. Memories of hunting (small-scale life). Storm in the garden.

4. Memories of deep autumn. Half-cut down, naked garden.

3. What is the personality of the lyrical hero?

The lyrical hero is close in his spiritual mood to the author himself. His appearance is sketched, he is not personified (appearance, biography, etc.).

But the spiritual world of this person can be imagined very vividly.

It is necessary to note his patriotism, dreaminess, poetically subtle vision of the world: “And the black sky is lined with fiery stripes by falling stars. You look for a long time into its dark blue depths, overflowing with constellations, until the earth begins to float under your feet. Then you will wake up and, hiding your hands in your sleeves, quickly run along the alley to the house... How cold, dewy and how good it is to live in the world!”

In the center of the image is not only the sequential change of the autumn months, but also the “age” view of the world, for example, a child, a teenager, a young man and a mature person.

“The early fine autumn,” with the description of which the story begins, we see through the eyes of a boy, a “barchuk.”

In the second chapter, the lyrical hero has largely lost the joy and purity characteristic of childhood perception.

In the third and fourth chapters, the light tones diminish and dark, gloomy, hopelessly sad tones are established: “Here I see myself again in the village, in late autumn. The days are bluish, cloudy... In the servant's room, the worker lights the stove, and I, as in childhood, squat down next to a heap of straw, already smelling sharply of winter freshness, and look first into the blazing stove, then at the windows, behind which, blue, twilight dies sadly."

So, Bunin tells not only about how estates fall into disrepair and the wind of change destroys the old way of life, but also about how a person moves towards his autumn and winter seasons.

4. Lexical center – the word GARDEN. How does Bunin describe the garden?

Bunin is an unsurpassed master of verbal coinage. In “Antonov Apples” the lexical center is the word SAD, one of the key words not only in Bunin’s work, but in Russian culture as a whole.

The word “garden” revived memories of something dear and close to the soul.

The garden is associated with a friendly family, home, and with the dream of serene heavenly happiness, which humanity may lose in the future.

You can find many symbolic shades of the word garden: beauty, the idea of ​​time, memory of generations, homeland. But most often the famous Chekhov image comes to mind: a garden - noble nests, which recently experienced a period of prosperity, and now have fallen into decay.

Bunin's garden is a mirror that reflects what is happening to the estates and their inhabitants.

In the story “Antonov Apples” he appears as a living being with his own mood and character. The garden is shown each time through the prism of the author’s moods. In the blessed time of Indian summer, he is a symbol of well-being, contentment, prosperity: “... I remember a large, all golden, dried up and thinning garden, I remember maple alleys, the subtle aroma of fallen leaves and the smell of Antonov apples, the smell of honey and autumn freshness.” In the early morning, it is cool and filled with a “purple fog,” as if hiding the secrets of nature.

But "farewell autumn festival" came to an end and “the black garden will shine through the turquoise sky and obediently wait for winter, warming itself in the sun’s shine”.

In the last chapter, the garden is empty, dull... On the threshold of a new century, only memories of the once brilliant garden remained. The motifs of the abandoned noble estate are consonant with Bunin’s famous poem “Desolation” (1903):

The silent silence torments me.

The nests of the native are languishing in desolation.

I grew up here. But he looks out the window

A dead garden. Decay hangs over the house...

5. The story “Antonov Apples”, in the words of A. Tvardovsky, is exclusively “fragrant”: “Bunin inhales the world; he smells it and gives its scents to the reader.” Expand the content of this quote.

You read Bunin and it’s as if you physically feel the rye aroma of new straw and chaff, “the smell of tar in the fresh air” (ethnographic interest in rural life), “the subtle aroma of fallen leaves,” the fragrant smoke of cherry branches, the strong smell of mushroom dampness that smells from ravines ( romance of childhood, whirlwind of memories); the smell of “old mahogany furniture, dried linden blossom,” the aroma of ancient perfumes that smell like books like church breviaries (nostalgia for the past, a play of imagination).”

The story is dominated by “the smell of Antonov apples, the smell of honey and autumn freshness” (this is the key phrase of the story). The author chose the wonderful gift of autumn - Antonov apples - as a symbol of the passing away native life. Antonovka is an old winter apple variety, beloved and widespread from time immemorial.

A characteristic feature of Antonovka is its “strong, unique ethereal apple aroma” (synonym: “spirit apple”). Coming from the Oryol province, Bunin knew very well that Antonov apples were one of the signs of Russian autumn. Loving Russia, Bunin poeticized them.

Homework.

Selection of material for an essay on the works of I. A. Bunin. Individual assignment for groups of students:

– Create sample essay topics.

– Develop an essay plan on the topic “Love in the understanding of Bunin.”