Bunin is a subtle painter of nature - my files - file directory - mbou "Yafarovskaya oosh". The main themes in the works of Ivan Alekseevich Bunin are eternal themes: nature, love, death

Ivan Alekseevich Bunin - writer and poet, whose works were sung simple life Russian village and ordinary people, their integrity and simplicity indicate greatest talent and mastery of the art of words. The theme of nature is one of the main ones in Bunin’s work.

Bunin was born in an impoverished noble family, he spent his childhood and youth in a village in the Oryol province, where he fell in love with nature and learned to appreciate its beauty. His burning desire was to become an artist, and he indeed became one, but an artist of words who creates a flawless canvas with artless strokes.

The first poem that brought him fame and literary prize, called "Leaf Fall". In it he accurately conveyed the image autumn forest. It’s as if we see through the eyes of a poet the multi-colored “painted tower”, we feel the smell (“The forest smells of oak and pine”), we feel the silence in which we can “hear the rustling of leaves”, we feel how before the frost “the forest stands in a daze.” Following Pushkin, Bunin admires autumn, conveys its quiet nostalgia, which turns into anxiety and dying.

Bunin would write many more poems about nature. Love for the summer thunderstorm in “The Fields Smell”, delight in the changing weather in “Pigeons”, beautiful sketches of nature in the works “On the Open Sea”, “From the Window”, “River”, “Two Rainbows”, “Sunset”, “Evening” . Every word in them speaks of love for nature, how subtly interconnected it is with man, how much perfection there is in even the tiniest of its creations.

Bunin the prose writer continued to create poetic, romantic, very pure works, many of which are more like prose poems than short stories. No wonder they say that he does not have ordinary stories, but there is a story-impression, a story-mood. And in them he continues the theme of nature.

Perhaps his most famous work in prose is “Antonov Apples.” Following the smell of ripe apples, the writer takes us through an ordinary Russian village, through an abandoned estate, through his own memories. And inextricably with every step is a description of nature. Bunin conveys tranquility with his words “August was with warm rains”, “a lot of cobwebs settled on the fields”, “early, fresh, quiet morning”, “the smell of honey and autumn freshness”. In general, there are a lot of smells here: the smell of apples, the smell of rain, the smell of fire, the smell of fallen leaves, the smell of hay, and the house smells again of apples, old furniture, linden blossoms.

Nature in Bunin’s work is alive, the author projects it onto his own feelings, onto human life. If “there was a scent of spring,” then “the secret of young life came into the world” (“Three Nights”), if he sees wildflowers, then they “speak of long-forgotten bright days"("Wildflowers"), and bright light and silk sand are associated with his childhood (“Childhood”).

Bunin's poetry and prose are tender, sad, sad about the past. And his nature is the same, it has only delicate colors: pink morning, matte green bread, blue lowland (“Village”). And Bunin’s people live according to the laws of nature, obeying its cyclicality, its dying and rebirth, and even its mood. Look how the description of nature “cold autumn storm”, rain-drenched roads harmonize with the description of the heroes “a serious and dark-faced man with a stern and tired look (“ Dark alleys»).

Bunin is a poet who glorifies nature, a continuer of the traditions of Pushkin and Tyutchev, a romantic who will always be sad about his homeland, and who, even when apart, will write only about his native open spaces, forests, fields, flowers. All his work is an expression of his quiet love To native nature and the ordinary person.

Bunin belongs to the last generation of writers from noble estate, which is closely related to the nature of the central zone of Russia. “Few people can know and love nature like Ivan Bunin can,” wrote Alexander Blok in 1907. No wonder Pushkin Prize in 1903 it was awarded to Bunin for his collection of poems “Falling Leaves,” glorifying Russian rural nature. In his poems, the poet connected the sadness of the Russian landscape with Russian life into one inseparable whole. “Against the background of a golden iconostasis, in the fire of falling leaves, gilded by sunset, stands an abandoned estate.” Autumn - the “quiet widow” - is in unusual harmony with empty estates and abandoned farmsteads. “The native silence torments me, the nests of my native desolation torment me.” Bunin’s stories, which are similar to poetry, are also imbued with this sad poetry of withering, dying, desolation. This is the beginning of it famous story“Antonov apples”: “I remember an early, fresh, quiet morning... I remember a large, all golden, dried out 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...” And this smell of Antonov apples accompanies him in all his wanderings and in the capitals of the world as a memory of his Motherland: “But in the evenings,” writes Bunin, “I read old poets, close to me in everyday life and in many of my moods, and finally, simply in the area, - central Russia. And my desk drawers are full Antonov apples, and the healthy autumn aroma takes me to the countryside, to the estates of the landowners."

Along with the degeneration of the noble nests, the village is also degenerating. In the story "The Village" he describes the courtyard of a rich peasant family and sees “darkness and dirt” - both in the physical, and in the mental, and in moral life". Bunin writes: "The old man is lying there, dying. He is still alive - and already in Sentsy the coffin has been prepared, pies are already being baked for the funeral. And suddenly the old man gets better. Where was the coffin to go? How to justify spending? Lukyan was then cursed for five years for them, lived with reproaches from the world, and starved to death." And here is how Bunin describes the level of political consciousness of the peasants:

Do you know why the court came?

Judge the deputy... They say he wanted to poison the river.

Deputy? Fool, is this really what deputies do?

And the plague knows them...

Bunin’s point of view on the people is polemically pointed against those lovers of the people who idealized the people and flattered them. The dying Russian village is framed by a dull Russian landscape: “White grain rushed askance, falling on a black, poor village, on bumpy, dirty roads, on horse manure, ice and water; the twilight fog hid endless fields, all this great desert with its snows, forests, villages and cities - the kingdom of hunger and death..."

The theme of death will receive varied coverage in Bunin’s work. This is both the death of Russia and death individual person. Death turns out to be not only the resolver of all contradictions, but also the source of absolute, purifying power (“Transfiguration”, “Mitya’s Love”).

Bunin’s story “The Gentleman from San Francisco” was understood more deeply by Alexander Tvardovsky: “In the face of love and death, according to Bunin, the social, class, and property lines that separate people are erased by themselves - everyone is equal before them.” Averky from “The Thin Grass” dies in the corner of his poor hut: a nameless gentleman from San Francisco dies having just decided to have a good lunch in the restaurant of a first-class hotel on the warm sea coast. But death is equally terrible in its inevitability. By the way, when this most famous of Bunin's stories interpreted only in the sense of denouncing capitalism and a symbolic harbinger of its death, then they seem to lose sight of the fact that for the author the idea of ​​susceptibility and a millionaire is much more important common end, about the insignificance and ephemerality of his power in the face of the same mortal outcome for everyone."

Death, as it were, allows one to see a person’s life in its true light. Before physical death, the gentleman from San Francisco suffered spiritual death.

“Until the age of 58, his life was devoted to accumulation. Having become a millionaire, he wants to get all the pleasures that money can buy: ... he thought of holding the carnival in Nice, in Monte Carlo, where at this time the most selective society flocks, where Some enthusiastically indulge in car and sailing races, others in roulette, others in what is commonly called flirting, and still others in shooting pigeons, which soar very beautifully from cages over the emerald lawn, against the backdrop of a sea the color of forget-me-nots, and immediately knock their white lumps on earth...1 - this is not life, it is a form of life, devoid of internal content. The consumer society has eradicated from itself all the human ability for Sympathy, condolences. The death of the gentleman from San Francisco is perceived with displeasure. After all, “the evening was irreparably ruined,” the owner the hotel feels guilty, gives his word that he will take “all measures in his power" to eliminate the trouble. Money decides everything: guests want to have fun for their money, the owner does not want to lose profit, this explains the disrespect for death, which means moral decline of society, dehumanization in its extreme manifestation.

The deadness of bourgeois society is symbolized by “a thin and flexible pair of hired lovers: a sinfully modest girl with drooping eyelashes, with an innocent hairstyle, and a tall young man with black hair, as if glued on, pale with powder, in the most elegant patent leather shoes, in narrow, long coattails, tailcoat - a handsome man, looking like a huge leech." And no one knew how tired this couple was of pretending to be in love. And what stands underneath them, at the bottom of the dark hold. No one thinks about the futility of life in the face of death.

Many of I. A. Bunin’s works and the entire cycle of stories “Dark Alleys” are devoted to the theme of love. “All the stories in this book are only about love, about its “dark” and most often very gloomy and cruel alleys,” Bunin wrote in one of his letters. Bunin himself considered this book the most perfect in craftsmanship. Bunin sang not platonic, but sensual love, surrounded by a romantic aura. Love, in Bunin’s understanding, is contraindicated in everyday life, any duration, even in a desired marriage, it is an insight,” sunstroke", often leading to death. He describes love in all its states, where it barely dawns and will never come true ("Old Port"), and where it languishes unrecognized ("Ida"), and where it turns into passion ("The Killer" Love captures all thoughts, all the spiritual and physical potentials of a person - but this state cannot last long. So that love does not fizzle out, does not exhaust itself, it is necessary to part - and forever. If the heroes themselves do not do this, then fate intervenes in their lives , fate: one of the lovers dies. The story "Mitya's Love" ends with the hero's suicide. Death here is interpreted as the only possibility of liberation from love.

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Composition

I. A. Bunin describes with extraordinary skill in his works full of harmony world of nature. His favorite heroes are endowed with the gift of subtly perceiving the world around them, the beauty of their native land, which allows them to feel life in all its fullness. After all, a person’s ability to see beauty around him brings peace and a feeling of unity with nature into his soul, helps him better understand himself and other people. We see that not many heroes of Bunin’s works are given the opportunity to feel the harmony of the world around them. Most often this simple people, already wise life experience. After all, only with age does the world open to a person in all its completeness and diversity. And even then, not everyone can comprehend it.

The old farmhand Averky from the story “The Thin Grass” is one of those heroes of Bunin who achieved spiritual harmony. This no longer a young man, who has seen a lot in his life, does not experience horror from the knowledge of approaching death. He waits for it resignedly and humbly, because he perceives it as eternal peace, deliverance from vanity. Memory constantly returns Averky to the “distant twilight on the river”, when he met “that young, sweet one, who now looked at him indifferently and pitifully with senile eyes.” This man carried his love throughout his life. Thinking about this, Averky remembers both the “soft twilight in the meadow” and the shallow creek, turning pink from the dawn, against which a girl’s figure can be seen.

We see how nature participates in the life of this hero Bunin. Twilight on the river now, when Averky is close to death, gives way to autumn withering: “Dying, the grass dried up and rotted. The threshing floor became empty and bare. A mill in a deserted field became visible through the vines. The rain sometimes gave way to snow, the wind howled through the holes of the barn, angry and cold.” The onset of winter caused in the hero of “The Thin Grass” a surge of life, a feeling of the joy of being. “Ah, in winter there was a long-familiar, always pleasing winter feeling! First snow, first blizzard! The fields turned white, drowned in it - hide in a hut for six months! In white snowy fields, in a snowstorm - wilderness, game, and in a hut - comfort, peace. They will sweep the bumpy earthen floors clean, scrub them, wash the table, heat the stove with fresh straw - good!” In just a few sentences Bunin created a magnificent living picture winter.

Like his favorite heroes, the writer believes that the natural world contains something eternal and beautiful that is beyond the control of man with his earthly passions. Laws of life human society, on the contrary, lead to cataclysms and shocks. This world is unstable, it is devoid of harmony. This can be seen in the example of the life of the peasantry on the eve of the first Russian revolution in Bunin’s story “The Village”. In this work, the author, along with moral and aesthetic problems, touches on social problems caused by the reality of the early 20th century.

The events of the first Russian revolution, reflected in the village in peasant gatherings, burning landowners' estates, the revelry of the poor, bring discord into the usual rhythm of life in the village. There is a lot in the story characters. Her characters are trying to understand their surroundings, to find some kind of support for themselves. So, Tikhon Krasov found it in money, deciding that it gives confidence in the future. He devotes his entire life to accumulating wealth, even marrying for profit. But Tikhon never finds happiness, especially since he has no heirs to whom he could pass on his wealth. His brother Kuzma, a self-taught poet, is also trying to find the truth, deeply experiencing the troubles of his village. Kuzma Krasov cannot calmly look at the poverty, backwardness and downtroddenness of the peasants, their inability to rationally organize their lives. And the events of the revolution further aggravate social problems villages, destroy normal human relationships, and pose insoluble problems to the heroes of the story.

The Krasov brothers are extraordinary individuals who are looking for their place in life and ways to improve it not only for themselves, but also for the entire Russian peasantry. They both come to criticism negative aspects peasant life. Tikhon is amazed that in the fertile black earth region there can be hunger, ruin and poverty. “The owner should come here, the owner!” - he thinks. Kuzma considers the reason for this situation of the peasants to be their profound ignorance and downtroddenness, for which he blames not only the peasants themselves, but also the government “empty talkers” who “trampled and killed the people.”

The problem of human relationships and the connection of a person with the world around him is also revealed in the story “Sukhodol”. At the center of the narrative in this work is the life of the impoverished noble family of the Khrushchevs and their servants. The fate of the Khrushchevs is tragic. Young lady Tonya goes crazy, Pyotr Petrovich dies under the hooves of a horse, and the feeble-minded grandfather Pyotr Kirillovich dies at the hands of a serf. Bunin shows in this story the extent to which human relationships can be strange and abnormal. This is what the former serf nanny of the Khrushchevs, Natalya, says about the relationship between masters and servants: “Gervaska bullied the barchuk and grandfather, but the young lady bullied me. Barchuk - and, to tell the truth, grandfather themselves - doted on Ger-vaska, and I doted on her.” And what does such a bright feeling as love lead to in Sukhodol? To dementia, shame and emptiness. The absurdity of human relationships is contrasted with the beauty of Sukhodol, its wide expanses of steppe with their smells, colors and sounds. The world beautiful in Natalya’s stories, in the conspiracies and spells of holy fools, sorcerers, wanderers wandering around native land. “There is no nature separate from us; every slightest movement of air is the movement of our own soul,” wrote Bunin. In his works, imbued with deep love for Russia and its people, the writer was able to prove this. For the writer himself, the nature of Russia was that beneficial force that gives a person everything: joy, wisdom, beauty, a sense of the integrity of the world:

* No, it’s not the landscape that attracts me,
* It’s not the colors that I’m trying to notice,
* And what shines in these colors,
* Love and joy of being.

I. A. Bunin with extraordinary skill describes in his works the natural world full of harmony. His favorite heroes are endowed with the gift of subtly perceiving the world around them, the beauty of their native land, which allows them to feel life in all its fullness. After all, a person’s ability to see beauty around him brings peace and a feeling of unity with nature into his soul, helps him better understand himself and other people. We see that not many heroes of Bunin’s works are given the opportunity to feel the harmony of the world around them. Most often these are simple people, already wise from life experience. After all, only with age does the world open to a person in all its completeness and diversity. And even then, not everyone can comprehend it. The old farmhand Averky from the story “The Thin Grass” is one of those heroes of Bunin who achieved spiritual harmony. This no longer a young man, who has seen a lot in his life, does not experience horror from the knowledge of approaching death. He waits for it resignedly and humbly, because he perceives it as eternal peace, deliverance from vanity. Memory constantly returns Averky to the “distant twilight on the river”, when he met “that young, sweet one, who now looked at him indifferently and pitifully with senile eyes.” This man carried his love throughout his life. Thinking about this, Averky remembers both the “soft twilight in the meadow” and the shallow creek, turning pink from the dawn, against which a girl’s figure can be seen. We see how nature participates in the life of this hero Bunin. Twilight on the river now, when Averky is close to death, gives way to autumn withering: “Dying, the grass dried up and rotted. The threshing floor became empty and bare. A mill in a deserted field became visible through the vines. The rain sometimes gave way to snow, the wind howled through the holes of the barn, angry and cold.” The onset of winter caused in the hero of “The Thin Grass” a surge of life, a feeling of the joy of being. “Ah, in winter there was a long-familiar, always pleasing winter feeling! First snow, first blizzard! The fields turned white, drowned in it - hide in a hut for six months! In white snowy fields, in a snowstorm - wilderness, game, and in a hut - comfort, peace. They will sweep the bumpy earthen floors clean, scrub them, wash the table, heat the stove with fresh straw - good!” In just a few sentences, Bunin created a magnificent living picture of winter. Like his favorite heroes, the writer believes that the natural world contains something eternal and beautiful that is beyond the control of man with his earthly passions. The laws of life of human society, on the contrary, lead to cataclysms and upheavals. This world is unstable, it is devoid of harmony. This can be seen in the example of the life of the peasantry on the eve of the first Russian revolution in Bunin’s story “The Village”. In this work, the author, along with moral and aesthetic problems, touches on social problems caused by the reality of the early 20th century. The events of the first Russian revolution, reflected in the village in peasant gatherings, burning landowner estates, and the revelry of the poor, brought discord into the usual rhythm of life in the village. There are many characters in the story. Her characters are trying to understand their surroundings, to find some kind of support for themselves. So, Tikhon Krasov found it in money, deciding that it gives confidence in the future. He devotes his entire life to accumulating wealth, even marrying for profit. But Tikhon never finds happiness, especially since he has no heirs to whom he could pass on his wealth. His brother Kuzma, a self-taught poet, is also trying to find the truth, deeply experiencing the troubles of his village. Kuzma Krasov cannot calmly look at the poverty, backwardness and downtroddenness of the peasants, their inability to rationally organize their lives. And the events of the revolution further aggravate the social problems of the village, destroy normal human relationships, and pose insoluble problems for the heroes of the story. The Krasov brothers are extraordinary individuals who are looking for their place in life and ways to improve it not only for themselves, but also for the entire Russian peasantry. They both come to criticize the negative aspects of peasant life. Tikhon is amazed that in the fertile black earth region there can be hunger, ruin and poverty. “The owner should come here, the owner!” - he thinks. Kuzma considers the reason for this situation of the peasants to be their profound ignorance and downtroddenness, for which he blames not only the peasants themselves, but also the government “empty talkers” who “trampled and killed the people.” The problem of human relationships and the connection of a person with the world around him is also revealed in the story “Sukhodol”. At the center of the narrative in this work is the life of the impoverished noble family of the Khrushchevs and their servants. The fate of the Khrushchevs is tragic. Young lady Tonya goes crazy, Pyotr Petrovich dies under the hooves of a horse, and the feeble-minded grandfather Pyotr Kirillovich dies at the hands of a serf. Bunin shows in this story the extent to which human relationships can be strange and abnormal. This is what the former serf nanny of the Khrushchevs, Natalya, says about the relationship between masters and servants: “Gervaska bullied the barchuk and grandfather, but the young lady bullied me. Barchuk - and, to tell the truth, grandfather themselves - doted on Ger-vaska, and I doted on her.” And what does such a bright feeling as love lead to in Sukhodol? To dementia, shame and emptiness. The absurdity of human relationships is contrasted with the beauty of Sukhodol, its wide expanses of steppe with their smells, colors and sounds. The world around us is beautiful in Natalya’s stories, in the conspiracies and spells of holy fools, sorcerers, wanderers wandering around their native land. “There is no nature separate from us; every slightest movement of air is the movement of our own soul,” wrote Bunin. In his works, imbued with deep love for Russia and its people, the writer was able to prove this. For the writer himself, the nature of Russia was that beneficial force that gives a person everything: joy, wisdom, beauty, a sense of the integrity of the world: * No, it is not the landscape that attracts me, * It is not the colors that I strive to notice, * But what shines in these colors, * Love and joy of being.