Written analysis of any work by Bunin. Collection of stories "Dark Alleys"

The guest called once, twice - quietly behind the door, no answer. He pressed the button again, ringing for a long time, persistently, demandingly - he heard heavily running footsteps - and a short, stocky, fish-like girl opened the door and looked in bewilderment, all smelling of the child of the kitchen: muddy hair, cheap earrings with turquoise in her thick earlobes, a Chukhon face covered in red freckles, blue bloodshot, and like oily hands. The guest quickly, angrily and cheerfully attacked her:

- Why don’t you open the door? Did you sleep, or what?

“No, I can’t hear anything from the kitchen, the stove is very noisy,” she answered, continuing to look at him in confusion: he is thin, dark, with teeth, a black, rough beard, and piercing eyes; on his arm is a gray coat lined with silk, a gray hat is pulled down from his forehead.

- We know your kitchen! Is it true that you have a fire godfather?

- No way...

- Well, that’s it, look at me!

As he spoke, he glanced quickly from the hallway into the sunlit living room with garnet velvet armchairs and a portrait of a wide-cheeked Beethoven in the wall.

- Who are you?

- Like who?

- New cook?

- Yes sir…

- Thekla? Fedosya?

- No way... Sasha.

- And gentlemen, it means there is no home?

- The master is in the editorial office, and the lady went to Vasilievsky Island... to what’s her name? Sunday school.

- It's a shame. It’s okay, I’ll come back tomorrow. So tell them: they say, a terrible, black gentleman, Adam Adamych, came. Repeat as I said.

- Adam Adamych.

- That's right, Flemish Eve. Look, remember. In the meantime, here's what...

He looked around again quickly, threw his coat on the hanger near the chest:

- Come here quickly.

- You will see…

And in one minute, with his hat on the back of his head, he threw her onto the chest, threw up the hem of her red woolen stockings and full beet-colored knees.

- Master! I'll scream at the whole house!

- And I will strangle you. Attention!

- Master! For God's sake... I'm innocent!

- It's not a problem. Let's go!

And a minute later he disappeared. Standing at the stove, she quietly cried with rapture, then began to sob louder and louder, sobbing for a long time, until hiccups, until breakfast, until the owner’s call. The lady, young, wearing a gold pince-nez, energetic, confident, fast, arrived first. Upon entering, she immediately asked:

- Nobody came in?

- Adam Adamych.

“Didn’t you tell me to convey anything?”

- No way... Tomorrow, they said, they will come again.

- Why are you all crying?

- From the bow...

At night in the kitchen, sparkling with cleanliness, new paper scallops along the edges of the shelves and red copper pots, a light was burning on the table, it was very warm from the stove that had not yet cooled down, there was a pleasant smell of the remains of dishes in sauce with bay leaves, and sweet everyday life. Forgetting to turn off the light, she slept soundly behind her partition - as she lay down without undressing, she fell asleep, in the sweet hope that Adam Adamych would come again tomorrow, that she would see his terrible eyes and that, God willing, the gentlemen would not be at home again.

But in the morning he did not come. And at dinner the master said to the lady:

– You know, Adam went to Moscow. Blagosvetlov told me. That's right, I popped in yesterday to say goodbye.

Brown Anastasia, FR-401

Analysis of the story by I.A. Bunin "Muse".

The story was written on October 17, 1938, included in the collection “Dark Alleys”. With World War II approaching, Bunin personally encountered the Nazis in 1936 while traveling in Germany: in Lindau he was arrested and subjected to an unceremonious and humiliating search. Although there are no direct references to these events in Bunin's works, they significantly influenced the general mood of his work. The feeling of catastrophic existence, loneliness, the impossibility of happiness, characteristic of Bunin’s prose before, has only intensified in these years.

Like all the works in the “Dark Alleys” series, the story “Muse” reveals the theme of love. The main stylistic principle of the story is antithesis. He manifests himself on all levels.

The narration is told from the 1st person in the form of a memoir, which means that a view of events is given through the prism of the narrator’s perception, therefore, this is a subjective view. Bunin chooses this form of narration to show the image of the narrator from the inside: which of the events of those distant years were most important to him, what feelings they evoked.

There are two central images in the work: the narrator and the conservator Muse Graf. There is also “someone Zavistovsky”, but his image is secondary and in many ways parallel to the image of the narrator.

The narrator is a weak, weak-willed person who has no purpose in life. He abandoned his estate in the Tambov province to study painting, then just as easily abandoned his hobby when the Muse appeared in his life. He studied with a mediocre but famous artist, and although he was aware of the vulgarity of his nature, he still continued his studies. He spent his free time in the company of bohemians, all of whose bohemianism is immediately removed by the remark that they were equally committed to “billiards and crayfish with beer.” This means, at least during his youth, he was not much different from all these ordinary people.

The image of Zavistovsky echoes the image of the narrator; he is “lonely, timid, narrow-minded.” That is, just like the narrator, a person who does not particularly stand out from others. But there is something about both of them that attracted the Muse's attention to them. Zavistovsky is “not a bad musician,” Muse says about the narrator: “You are quite beautiful,” in addition, she probably heard about his painting activities.

These two images are contrasted with the image of the main character. The external image of the Muse does not correspond to the expectations that her name generates. This is “a tall girl in a gray winter hat, a gray straight coat, gray boots, ..., eyes the color of acorns,” she has “rusty hair.” There is neither lightness nor ephemerality in her appearance: “... her knees lay round and plump,” “convex calves,” “elongated feet”; “She sat comfortably on the sofa, apparently not planning to leave soon.” She is direct and categorical. In her addresses to the narrator, imperative intonations predominate: “accept”, “remove”, “give”, “order” (whereas in the narrator’s speech we see the passive voice, impersonal constructions “very flattered”, “nothing interesting about me, it seems.” No"). This is a strong, decisive, rather eccentric nature. She cannot be called tactful and sensitive to the feelings of others. The author does not say anything about her inner world; we can only guess about what caused her offensive tactics. But most likely this is how her desire for happiness is expressed, although the methods for achieving it are somewhat naive. The muse says to the narrator: “But in fact, you are my first love.”

Such antagonism between the male and female worlds is characteristic of Bunin’s work. The peculiarities of Bunin's perception of these worlds are reflected in the joking words of the heroine of the story "Smaragd": "... the worst girl is still better than any young man."

The significance of the appearance of this unusual girl in the narrator’s life is indicated by both the composition of the story and the organization of artistic time and space.

One of the characteristic features of Bunin's work is the laconicism of the narrative. The events described on several pages of the story take a year. The narrator begins the story with winter, when he “was no longer in his early youth and decided to study painting.” He evaluates this period with the words: “I lived an unpleasant and boring life!” The space is closed in type: an artist’s house, cheap restaurants, “Capital” rooms.

Next comes the “suddenly” characteristic of Bunin’s work, when the hero’s life changes due to some unexpected event: the Count Muse knocks on the narrator’s door. This happens in early spring. Two phrases serve as a kind of marker for changes in the mood of the narrative:

Winter period of life: “It remains in my memory: the light constantly pours outside the windows, the trams rattle dully and ring along the Arbat, in the evening there is a sour stink of beer and gas in the dimly lit restaurant...”

The beginning of spring: “... through the open windows of the double frames there was no longer a whiff of sleet and rain in the dampness of winter, horseshoes were clicking on the pavement in an unwinter manner, and as if the horse-cars were ringing more musically, someone knocked on the door of my hallway.”

Here there is a kind of enlargement of the frame, focusing on one of the key moments of the hero’s life, the narrative develops in jerks, it seems that the hero’s heart is beating: “I shouted: who is there?”, “I waited...”, “I stood up.” , opened..." This is expressed grammatically by the transition from past tense to present: "... a tall girl is standing at the threshold." About this moment the narrator says: “Where does such happiness suddenly come from!” And again the phrase as a marker of mood and feeling: “As if in a dream, I heard the monotonous ringing of horse-drawn horses, the clatter of hooves...” This constant mention of street sounds may indicate the connection of the hero’s life with the space of the city.

Further May, summer is approaching. The hero, at the request of the Muse, moves to a dacha near Moscow. Now he is surrounded by the world of nature, silence and tranquility. This is an open space. Even inside the house in which the hero lives is spacious: there is almost no furniture in it. Bunin uses the technique of natural parallelism: when the Muse arrives at the hero’s dacha, it is usually clear and sunny, everything around breathes freshness. After he sees off the Muse, the sky darkens, it rains, and a thunderstorm rages.

June. The muse moves to the narrator.

Autumn. Here, as a harbinger of trouble, Zavistovsky appears.

And now attention is again focused on an important, decisive moment in the hero’s life. Winter again: “Before Christmas, I once went to the city. I returned by moonlight.” Again the narrative develops in jerks, like a restless heartbeat: “suddenly fell asleep,” “suddenly woke up,” “but she left me!”, “maybe she came back?”, “no, she didn’t come back,” etc. Bunin greatly emphasizes the hero’s despair at the level of the character of filling the space: “alley of bare trees”, “poor house”, “door in shreds of upholstery”, “burnt-out stove”. The muse, with her characteristic categoricalness, says: “The matter is over and clear, the scenes are useless.” Here the absolute end of their relationship is highlighted grammatically, which the hero himself noticed: “You are already speaking to me on “you”, you could at least not speak to him on “you” in front of me.”

Figurative system:

Man Woman

Composition:

There are 2 key moments in the construction of the text: meeting the Muse and parting with her; and 2 connecting links between these moments: life before meeting the Muse, and life before parting with her. The elements of these pairs are opposed. Also, these pairs themselves are opposed to each other in terms of the nature of the description and emotional intensity.

meeting - parting

life before meeting - life before parting

Time:

The story can be divided into 4 parts. The story takes a year. The description of two days, when key events in the hero’s life take place, is equal in volume to the description of the rest of the time. Since the narrative is given in the form of a memory, we conclude that this is psychological, subjective time. This means that these two days were the most emotionally filled, the most important for the hero. These days are, as it were, relived by the hero: this is evidenced by both the emotional intensity of the narrative and the transition to the present tense at the grammatical level.

The development of the relationship between the Muse and the narrator correlates with the seasons. Winter (the hero's life before meeting the Muse), spring-summer (life with the Muse), autumn (Zavistovsky appears), winter (Muse goes to Zavistovsky).

The same pattern can be noted in relation to times of day. The meeting of the hero and the Muse takes place during the day, and their separation occurs at night.

Space:

The periods in the hero's life when the Muse is near him are contrasted with those when she is not near him. This girl seems to free him from the closed space of the city with its constant noise, second-rate restaurants, and frees him from vulgar, empty people. At her request, he moves to a dacha near Moscow. Now he is surrounded by an open space, free from everything unnecessary, and it is easier to breathe in it.

So, we have already determined the theme of the story - love. Now let's see how Bunin reveals this topic. According to Bunin, love is tragic, it is fleeting, but leaves a deep mark on the heart. This story reveals such a facet of love as its similarity to inspiration. It visits the artist against his will, and can leave as suddenly as it came. Here this idea is personified in the Muse Count. We can only guess about the logic of her actions; she comes to bad artists, mediocre musicians, and colors their lives, making them more beautiful and spiritual. But a person in the union of the Muse acts as a passive principle, as an object, and not as a subject. And so, when she leaves him, and she inevitably leaves him, he experiences excruciating grief, but realizes his powerlessness to change anything.

"is often called the "encyclopedia of love." The thirty-eight stories included in the cycle are united by this great feeling. "Dark Alleys" became the most significant event in the late work of the famous Russian writer.

2. History of creation. Bunin wrote the stories included in the “Dark Alleys” cycle from 1937 to 1949. It wasn't easy to work. The 70-year-old writer lived in France when it was occupied by German troops. By creating his “temple of love,” Bunin tried to protect himself from the anger and hatred that was gradually enveloping the whole world.

3. The meaning of the name. The collection opens with a story of the same name, the title of which immediately sets the mood of the entire cycle. “Dark Alleys” symbolize the deepest recesses of the human soul, in which love is born and never dies.

Night walks of lovers along the alleys are mentioned in other stories of the cycle ("Natalie", "Swing"). Bunin recalled that the idea for the first story came to him while reading Ogarev’s poem. Lines from it emerge in the memory of the main character: “there were dark linden alleys...”

4. Gender and genre. A series of short stories about love.

5. Main theme collection - love, manifested in the form of a sudden flash of all-consuming passion. There is no long-term relationship established between the main characters of the stories. Most often, love comes to them for just one night. This is the great tragedy of all stories. Lovers are separated in different ways: at the request of their parents (“Rusya”), due to the inevitable return to family life (“Business Cards”), due to different social status (“Styopa”).

Sometimes disastrous passion leads to death. In the story "Caucasus" a deceived husband commits suicide. The death of the main character in the story “Zoyka and Valeria” is very tragic. A number of stories are dedicated to the love between a nobleman and a simple peasant girl. On the one hand, it was very easy for a representative of the upper class to gain favor from a peasant woman who revered him. But for some time, social barriers really crumbled before the great feeling. The inevitable separation resonated with great pain in the hearts of the lovers.

6. Issues. The main problem of the cycle is the fleeting nature of true love. It resembles a bright flash that literally blinds a person in love and forever remains the most memorable event in his life. This leads to another problem - a short moment of bliss will inevitably be followed by retribution. It can take any form. But lovers never regret that they succumbed to the call of their hearts.

Having matured and gained life experience, they still return to the past in their dreams. This problem is posed in the first story. The main character, thirty years later, meets a peasant woman whom he once cruelly deceived. He is amazed that she has been faithful for many years, but still has not forgiven him for his insult. Memories of past love extremely excited a man who was already approaching old age. Having said goodbye to the woman, he cannot come to his senses for a long time, thinking about another direction in his life’s path.

Bunin also touches on the problem of violent love, as an extreme manifestation of unbridled desire. One of the most tragic stories is "The Fool". A seminarian who seduced a cook and fathered an ugly child with her is ashamed of his act. But a defenseless woman has to pay for it. Love is rightly called the most powerful human feeling.

A large number of suicides occur under the influence of unrequited love. Moreover, not only obvious betrayal, but some insignificant reason for those around him can push a person to take a fatal step. In the story "Galya Ganskaya" the main character just told the woman that he would go to Italy for a while. This was enough reason for Gali to take poison.

7. Heroes. The main characters of the cycle are simply people in love. Sometimes the story is told in the first person. The most striking psychological images include Marusya (“Rusya”), Natalie and Sonya (“Natalie”), and Polya (“Madrid”). Bunin generally pays more attention to female characters.

8. Plot and composition. In the cycle of stories "Dark Alleys" there is no general plot. The collection is divided into three parts. The stories are arranged in the chronological order of their writing: Part I - 1937-1938, Part II - 1940-1941, Part III - 1943-1949.

9. What does the author teach? Bunin is often accused of excessive eroticism in the Dark Alleys cycle. Immodest descriptions are the desire to show love as it really is. This is Bunin’s huge truth in life. He directly says that behind all sublime words lies the satisfaction of carnal desire, which is the main goal of a love relationship. This may indeed seem too rude and straightforward to some. But there is no escape from this. Bunin proves that only love is the main engine of human life. To love and be loved is the natural desire of any person.

The story “Dark Alleys” opens perhaps Bunin’s most famous cycle of stories, which got its name from this first, “title” work. It is known what importance the writer attached to the initial sound, the first “note” of the narrative, the timbre of which was supposed to determine the entire sound palette of the work. A kind of “beginning” that creates a special lyrical atmosphere of the story were lines from N. Ogarev’s poem “An Ordinary Tale”:

It was a wonderful spring
They sat on the shore
She was in her prime,
His mustache was barely black.
The scarlet rose hips were blooming all around,
There was an alley of dark linden trees...

But, as always with Bunin, “sound” is inseparable from “image”. As he wrote in the notes “The Origin of My Stories,” when he began working on the story, he imagined “some kind of big road, a troika harnessed to a tarantass, and autumn bad weather.” We must add to this the literary impulse, which also played a role: Bunin called L.N.’s “Resurrection” as such. Tolstoy, the heroes of this novel - young Nekhlyudov and Katyusha Maslova. All this came together in the writer’s imagination, and a story was born about lost happiness, the irrevocability of time, lost illusions and the power of the past over man.

The meeting of the heroes, once united in their youth by a passionate feeling of love, takes place many years later in the most ordinary, perhaps even nondescript setting: in a muddy road, at an inn located on a large road. Bunin does not skimp on “prosaic” details: “a mud-covered tarantass,” “simple horses,” “tails tied up from the slush.” But the portrait of the arriving man is given in detail, clearly designed to arouse sympathy: “a slender old military man,” with black eyebrows, a white mustache, and a shaved chin. His appearance speaks of nobility, and his stern but tired look contrasts with the liveliness of his movements (the author notices how he “threw” his leg out of the tarantass and “ran up” onto the porch). Bunin clearly wants to emphasize the combination of cheerfulness and maturity, youthfulness and sedateness in the hero, which is very important for the overall plan of the story, which is implicated in the desire to collide the past and the present, to strike a spark of memories that will illuminate the past with a bright light and will incinerate and turn into ash what exists Today.

The writer deliberately drags out the exposition: of the three and a half pages devoted to the story, almost a page is occupied by the “introduction”. In addition to the description of the stormy day, the hero’s appearance (and at the same time a detailed description of the coachman’s appearance), which is supplemented with new details as the hero gets rid of his outerwear, it also contains a detailed description of the room where the visitor found himself. Moreover, the refrain of this description is an indication of cleanliness and neatness: a clean tablecloth on the table, cleanly washed benches, a recently whitewashed stove, a new image in the corner... The author emphasizes this, since it is known that the owners of Russian inns and hotels were not known for their neatness and a constant feature of these places were cockroaches and dim windows covered with flies. Consequently, he wants to draw our attention to the almost unique way in which this establishment is maintained by its owners, or rather, as we will soon learn, by its mistress.

But the hero remains indifferent to the surrounding environment, although later he will note the cleanliness and neatness. From his behavior and gestures it is clear that he is irritated, tired (Bunin uses the epithet tired for the second time, now in relation to the entire appearance of the arriving officer), perhaps not very healthy (“pale, thin hand”), and is hostile to everything that is happening (“ “hostilely” called the owners), absent-minded (“inattentively” answers the questions of the hostess who appeared). And only this woman’s unexpected address to him: “Nikolai Alekseevich,” makes him seem to wake up. After all, before that, he asked her questions purely mechanically, without thinking, although he managed to glance at her figure, note her rounded shoulders, light legs in worn Tatar shoes.

The author himself, as if in addition to the “unseeing” gaze of the hero, gives a much more sharply expressive, unexpected, juicy portrait of the woman who entered: not very young, but still beautiful, similar to a gypsy, plump, but not overweight, a woman. Bunin deliberately resorts to naturalistic, almost anti-aesthetic details: large breasts, a triangular belly, like a goose’s. But the anti-aestheticism of the image is “removed”: the breasts are hidden under a red blouse (the diminutive suffix is ​​intended to convey a feeling of lightness), and the stomach is hidden by a black skirt. In general, the combination of black and red in clothes, the fluff above the lip (a sign of passion), and the zoomorphic comparison are aimed at emphasizing the carnal, earthly nature in the heroine.

However, it is she who will reveal - as we will see a little later - the spiritual principle as opposed to the mundane existence that, without realizing it, the hero drags out, without thinking or looking into his past. That's why she's the first! - recognizes him. No wonder she “looked inquisitively at him all the time, squinting slightly,” and he will look at her only after she addresses him by name and patronymic. She - and not he - will name the exact number when it comes to the years they have not seen each other: not thirty-five, but thirty. She will tell you how old he is now. This means that she meticulously calculated everything, which means that every year she left a notch in her memory! And this is at a time when he should never forget what connected them, for in the past he had - no less than - a dishonest act, however, completely ordinary at that time - having fun with a serf girl when visiting friends' estates, sudden departure...

In the terse dialogue between Nadezhda (that’s the name of the owner of the inn) and Nikolai Alekseevich, the details of this story are restored. And the most important thing is the different attitude of the heroes towards the past. If for Nikolai Alekseevich everything that happened is “a vulgar, ordinary story” (however, he is ready to put everything in his life under this standard, as if removing from a person the burden of responsibility for his actions), then for Nadezhda her love became a great test, and a great event, the only one of significance in her life. “Just as I didn’t have anything more valuable than you in the world at that time, so I didn’t have anything later,” she will say.

For Nikolai Alekseevich, the love of a serf was only one of the episodes of his life (Nadezhda directly states this to him: “It’s as if nothing happened for you”). She “wanted to kill herself” several times, and despite her extraordinary beauty, she never got married, never being able to forget her first love. That’s why she refutes Nikolai Alekseevich’s statement that “everything passes over the years” (he, as if trying to convince himself of this, repeats the formula that “everything passes” several times: after all, he really wants to brush aside the past, to imagine everything is not enough significant event), with the words: “Everything passes, but not everything is forgotten.” And she will say them with unshakable confidence. However, Bunin almost never comments on her words, limiting himself to monosyllabic “answered”, “approached”, “paused”. Only once does he slip an indication of the “unkind smile” with which Nadezhda utters the phrase addressed to her seducer: “I was deigned to read all the poems about all sorts of “dark alleys”.”

The writer is also stingy with “historical details.” Only from the words of the heroine of the work: “The gentlemen soon after you gave me my freedom,” and from the mention of the hero’s appearance, which had “a resemblance to Alexander II, which was so common among the military during his reign,” we can get the idea that The story apparently takes place in the 60s or 70s of the 19th century.

But Bunin is unusually generous in commenting on the condition of Nikolai Alekseevich, for whom a meeting with Nadezhda becomes a meeting with both his past and his conscience. The writer here reveals himself as a “secret psychologist” in all his splendor, making it clear through gestures, intonation of voice, and the behavior of the hero what is happening in his soul. If at first the only thing that interests a visitor at the inn is that “from behind the stove damper there was a sweet smell of cabbage soup” (Bunin even adds this detail: the smell of “boiled cabbage, beef and bay leaf” was felt, from which we can conclude that the guest is clearly hungry), then upon meeting Nadezhda, upon recognizing her, upon further conversation with her, fatigue and absent-mindedness instantly disappear from him, he begins to look fussy, worried, talking a lot and confusedly (“mumbled”, “added quickly” , “hurriedly said”), which is a sharp contrast with the calm majesty of Nadezhda. Bunin points three times to Nikolai Alekseevich’s reaction of embarrassment: “he quickly straightened up, opened his eyes and blushed,” “he stopped and, blushing through his gray hair, began to speak,” “blushed to the point of tears”; emphasizes his dissatisfaction with himself with sudden changes in position: “he walked decisively around the room,” “frowning, he walked again,” “stopping, he grinned painfully.”

All this testifies to what a difficult, painful process is taking place in him. But at first, nothing comes to mind except the divine beauty of the young girl (“How beautiful you were!... What a figure, what eyes!... How everyone looked at you”) and the romantic atmosphere of their rapprochement, and he is inclined brush aside what he had heard, hoping to turn the conversation, if not into a joke, then into the direction of “whoever remembers the old will...” However, after he heard that Nadezhda could never forgive him, because one cannot forgive the one who took away the most dear - the soul, who killed it, he seems to see the light. He is especially shocked, apparently, by the fact that to explain her feeling she resorts to the proverb (obviously, especially loved by Bunin, already used by him once in the story “The Village”) “they don’t carry the dead from the graveyard.” This means that she feels like she died, that she never came back to life after those happy spring days, and that for her, who knew the great power of love, it was not without reason that his question-exclamation: “You couldn’t love me all your life!” - she firmly answers: “So, she could. No matter how much time passed, I still lived alone,” there is no return to the life of ordinary people. Her love turned out to be not just stronger than death, but stronger than the life that came after what happened and which she, as a Christian, had to continue, no matter what.

And what kind of life this is, we learn from several remarks exchanged between Nikolai Alekseevich, who is leaving the short-term shelter, and the coachman Klim, who says that the owner of the inn is “smart,” that she is “getting rich” because she “gives money on interest,” that she is “cool”, but “fair”, which means she enjoys both respect and honor. But we understand how petty and insignificant for her, who has fallen in love once and for all, all this mercantile frivolity, how incompatible it is with what is going on in her soul. For Nadezhda, her love is from God. No wonder she says: “What does God give to whom... Everyone’s youth passes, but love is another matter.” That is why her unpreparedness for forgiveness, while Nikolai Alekseevich really wants and hopes that God will forgive him, and even more so Nadezhda will forgive him, because, by all standards, he committed not such a great sin, is not condemned by the author. Although such a maximalist position runs counter to Christian doctrine. But, according to Bunin, a crime against love, against memory is much more serious than the sin of “grudge.” And it is precisely the memory of love, of the past, in his opinion, that justifies a lot.

And the fact that a true understanding of what happened gradually awakens in the hero’s mind speaks in his favor. After all, at first the words he said: “I think that in you I too have lost the most precious thing I had in life,” and his act - he kissed Nadezhda’s hand goodbye - do not cause him anything but shame, and even more - the shame of this shame, are perceived by him as false, ostentatious. But then he begins to understand that what came out accidentally, in a hurry, perhaps even for the sake of a catchphrase, is the most genuine “diagnosis” of the past. His internal dialogue, reflecting hesitation and doubt: “Isn’t it true that she gave me the best moments of my life?” - ends with an unshakable: “Yes, of course, the best moments. And not the best, but truly magical.” But right there - and here Bunin acts as a realist who does not believe in romantic transformations and repentance - another, sobering voice told him that all these thoughts were “nonsense”, that he could not do otherwise, that nothing could be corrected then , not now.

So Bunin, in the very first story of the cycle, gives an idea of ​​the unattainable height to which the most ordinary person is capable of rising if his life is illuminated, albeit tragic, by love. And short moments of this love can “outweigh” all the material benefits of future well-being, all the joys of love interests that do not rise above the level of ordinary affairs, and in general the entire subsequent life with its ups and downs.

Bunin draws the subtlest modulations of the characters’ states, relying on the sound “echo”, the consonance of phrases that are born, often without meaning, in response to spoken words. Thus, the words of coachman Klim that if you don’t give Nadezhda the money on time, then “blame yourself,” echo like echolalia when Nikolai Alekseevich pronounces them out loud: “Yes, yes, blame yourself.” And then in his soul they will continue to sound like “crucifying” his words. “Yes, blame yourself,” he thinks, realizing what kind of guilt lies with him. And the brilliant formula created by the author and put into the heroine’s mouth: “Everything passes, but not everything is forgotten,” was born in response to Nikolai Alekseevich’s phrase: “Everything passes. Everything is forgotten,” which was previously supposedly confirmed in a quotation from the book of Job: “as you will remember the flowing water.” And more than once throughout the story words will appear that refer us to the past, to memory: “Over the years, everything passes”; “everyone’s youth passes”; “I called you Nikolenka, and you remember me”; “Do you remember how everyone looked at you”, “How can you forget this”, “Well, why remember.” These echoing phrases seem to be weaving a carpet on which Bunin’s formula about the omnipotence of memory will be forever imprinted.

It is impossible not to notice the obvious similarity of this story with Turgenev’s “Asya”. As we remember, even there the hero at the end tries to convince himself that “fate was good in not uniting him with Asya.” He consoles himself with the thought that “he probably would not be happy with such a wife.” It would seem that the situations are similar: in both cases the idea of ​​misalliance, i.e. the possibility of marrying a woman of a lower class is initially rejected. But what is the result of this, it would seem, from the point of view of the attitudes of the right decision accepted in society? The hero of “Asia” found himself condemned to forever remain a “familyless loner”, dragging out “boring” years of complete loneliness. It's all in the past.

For Nikolai Alekseevich from “Dark Alleys” life turned out differently: he achieved a position in society, is surrounded by family, he has a wife and children. True, as he admits to Nadezhda, he was never happy: his wife, whom he loved “without memory,” cheated and left him, his son, on whom great hopes were pinned, turned out to be “a scoundrel, a spendthrift, an insolent person without a heart, without honor, without conscience.” ....” Of course, it can be assumed that Nikolai Alekseevich somewhat exaggerates his feeling of bitterness, his experiences, in order to somehow make amends for Nadezhda, so that it would not be so painful for her to realize the difference in their states, their different assessment of the past. Moreover, at the end of the story, when he tries to “learn a lesson” from the unexpected meeting, to sum up his life, he, reflecting, comes to the conclusion that it would still be impossible to imagine Nadezhda as the mistress of his St. Petersburg house, the mother of his children. Consequently, we understand that his wife, apparently, returned to him, and besides the scoundrel son, there are other children. But why, in this case, is he so initially irritated, bilious, gloomy, why does he have a stern and at the same time tired look? Why is this look “questioning”? Maybe this is a subconscious desire to still give oneself an account of how he lives? And why does he shake his head in bewilderment, as if driving away doubts... Yes, all because the meeting with Nadezhda brightly illuminated his past life. And it became clear to him that there had never been anything in his life better than those “truly magical” minutes when “the scarlet rose hips were in bloom, there was an alley of dark linden trees,” when he passionately loved passionate Nadezhda, and she recklessly gave herself to him with all recklessness youth.

And the hero of Turgenev’s “Asia” cannot remember anything more vividly than that “burning, tender, deep feeling” that was given to him by a childish and serious girl beyond his years...

Both of them have only “flowers of memories” left from the past - a dried geranium flower thrown from Asya’s window, a scarlet rose hip from Ogarev’s poem that accompanied the love story of Nikolai Alekseevich and Nadezhda. Only for the latter it is a flower that has caused unhealed wounds with its thorns.

So, following Turgenev, Bunin depicts the greatness of the female soul, capable of loving and remembering, in contrast to the male one, burdened with doubts, entangled in petty addictions, subordinate to social conventions. Thus, already the first story of the cycle reinforces the leading motifs of Bunin’s late work - memory, the omnipotence of the past, the significance of a single moment in comparison with the dull succession of everyday life.

A series of stories called “Dark Alleys” is dedicated to the eternal theme of any type of art - love. “Dark Alleys” is spoken of as a kind of encyclopedia of love, which contains the most diverse and incredible stories about this great and often contradictory feeling.

And the stories that are included in Bunin’s collection are stunning with their varied plots and extraordinary style; they are the main assistants of Bunin, who wants to portray love at the peak of feelings, tragic love, but therefore perfect.

Feature of the cycle “Dark Alleys”

The very phrase that served as the title for the collection was taken by the writer from the poem “An Ordinary Tale” by N. Ogarev, which is dedicated to first love, which never had the expected continuation.

In the collection itself there is a story with the same name, but this does not mean that this story is the main one, no, this expression is the personification of the mood of all the stories and tales, a common elusive meaning, a transparent, almost invisible thread connecting the stories with each other.

A special feature of the series of stories “Dark Alleys” can be called moments when the love of two heroes for some reason cannot continue. Often the executioner of the passionate feelings of Bunin’s heroes is death, sometimes unforeseen circumstances or misfortunes, but most importantly, love is never allowed 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 blossoming, he wants to emphasize its true richness and highest value, the fact that it does not need to turn into life circumstances, like a wedding, marriage, life together...

Female images of “Dark Alleys”

Particular attention should be paid to the unusual female portraits that “Dark Alleys” are so rich in. Ivan Alekseevich paints images of women with such grace and originality that the female portrait of each story becomes unforgettable and truly intriguing.

Bunin's skill lies in several precise expressions and metaphors that instantly paint in the reader's mind the picture described by the author with many colors, shades and nuances.

The stories “Rusya”, “Antigone”, “Galya Ganskaya” are an exemplary example of different but vivid images of a Russian woman. The girls, whose stories were created by the talented Bunin, partly resemble the love stories that they experience.

We can say that the writer’s key attention is directed precisely to these two elements of the cycle of stories: women and love. And the love stories are just as intense, unique, sometimes fatal and willful, sometimes so original and incredible that it’s hard to believe in them.

The male characters in “Dark Alleys” are weak-willed and insincere, and this also determines the fatal course of all love stories.

The peculiarity of love in “Dark Alleys”

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” appears as the basis of this difficult and not always happy life.

And love does not have to be mutual in order to bring unforgettable impressions; love does not have to turn into something eternal and tirelessly ongoing in order to please and make a person happy.

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

The story "Clean Monday"

The story “Clean Monday” is a mysterious and not fully understood love story. Bunin describes a pair of young lovers who seem to be perfect for each other on the outside, but the catch is that their inner worlds have nothing in common.

The image of the young man is simple and logical, and the image of his beloved is unattainable and complex, striking her chosen one with its inconsistency. One day she says that she would like to go to a monastery, and this causes complete bewilderment and misunderstanding for the hero.

And the end of this love is as complex and incomprehensible as the heroine herself. After intimacy with the young man, she silently leaves him, then asks him not to ask anything, and soon he finds out that she has gone to a monastery.

She made the decision on Clean Monday, when intimacy between lovers occurred, and the symbol of this holiday is a symbol of her purity and torment, which she wants to get rid of.

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