What is the meaning of the story Cold Autumn. Analysis of the story “Cold Autumn” by I.A.

LITERATURE LESSON IN 11TH GRADE

Morozova Elena Ivanovna, MOAU Secondary School No. 5

Linguistic means of expression in a literary text (using the example of I.A. Bunin’s story “Cold Autumn”)

Goals:

Improve your skills in analyzing a work of art, paying attention to the features of Bunin’s style;

Develop the ability to compare, generalize, draw conclusions, and argue your point of view;

Find out how speech means work to express the author's idea.

Methods: analytical conversation; analysis.

Epigraphs:

The better, the deeper a person knows the language, the richer, deeper and more accurate

his thoughts will be expressed. The richness of language is the richness of thoughts.

M. Isakovsky.

There is no word that is so sweeping

smartly, it would burst out from under the very heart, it would boil and vibrate, like an aptly spoken Russian word.

N.V.Gogol.

“...elusive artistic precision, amazing figurativeness...how can one manage in music without sounds, in painting without colors, images...of objects, and in literature without words, things, as we know, but completely ethereal »

I.A. Bunin

1.. Against the background of “music by P. I. Tchaikovsky “Sweet Dream” (the student reads the 1st part of the story.)

Teacher.The opinion of Bunin as one of the greatest stylists in Russian literature has long been firmly established. His work clearly revealed those features of Russian literature that the writer himself considered “the most precious” - elusive artistic precision, amazing figurativeness... how can one manage in music without sounds, in painting without paints and without images, and in literature without a word, things, as we know, are not entirely incorporeal.

It was figurativeness that Bunin considered to be the hallmark of a truly artistic work.

It is about the expressiveness of Bunin’s word, about linguistic means that will be discussed in today’s lesson.

4.0let's turn to the epigraphs.Let's read the epigraphs.

- What is the main idea of ​​these statements?Write down the topic of the lesson, choose an epigraph.

- What a story?(0 love.)

- What do you know about the history of writing, time?

( The story was written in 1944. Part of the “Dark Alleys” cycle. This cycle

is central to Bunin’s work. It is noteworthy that all the stories in this series are about love. All 38 short stories are united by one theme - the themelove. Love makes the life of Bunin's heroes significant.

- Let's look at the title of the story.

( This is an inaccurate reproduction of a line from Fetov's poem without

names.)

A student reads a poem.

What a cold autumn!

Put on your shawl and hood;

Look: because of the slumbering pines

It's like a fire is rising.

Northern night glow

I remember always being near you,

And the phosphorescent eyes shine,

They just don’t keep me warm.

- If the story is about love, then why didn’t Bunin call it differently?

title with the word "love"?

( The title of the story is a metaphor for the loneliness of the middle-aged heroine (“autumn

life"), but at the same time - this is the time she desired, the ideal situation:

return to the autumn of 1914, departure toeternity.

Find in the textconfirmation of this... .yes, but what happened in my life? And I answerto myself: just that cold evening.

.. . And that’s all that happened in my life - the rest is an unnecessary dream.)

- Now prove in your own words thatAllthe rest is an unnecessary dream.

The words of the heroine’s fiancé sound like a sad refrain, a repeated phrase. “Just live, enjoy...” And we see that the heroine lives only one evening.

- What is the composition of the story?

Exposition about one and a half months: first half of June until19 July 1913. The events leading up to the beginning are shown.

Main Part Evening in September, the morning of the hero’s departure (pause-me-

syats). The death of the hero is his departure from life and the “interruption” of the heroine’s life.

The final thirty years of the heroine’s painful existence.

Return from the plot present (1944) to the “beginning” - a memory of Nice 1912.

Let's turn to the exhibition.

- What did you find strange at the beginning of the story?

( Bunin deliberately does not name the names of the heroes.)

- In the first part of the story, too,Howand throughout the story the author uses

realities. Findtheir.

( The beginning of the war, ... lived in Moscow, went to Ekaterinodar, sailed from

Novorossiysk to Turkey...Bulgaria, Serbia, Czech Republic, Belgium, Paris,

Nice...)

-You can draw a parallel between the heroine and the writer himself, on

whose share was a lot of hardships: wanderings, loss of homeland, melancholy.

- Find more realities.(War with Germany, assassination of Ferdinand...)

Student. The word in the storywar brings anxiety. Although we don't see the military

actions, but events dictate another topic for us - the topic of world war.

There is no scale of war, but its destructive power is palpable.

Confirm with text. (... arrived for just a day - to say goodbye to

leaving forfront, our time has comefarewell evening; If mewill kill...,

Killed him in a month...)

Name the linguistic means in the 1st part of the story.

Students find expressive means and draw conclusions.

( Bunin's language is characterized by the stable nature of paths. Crystal ringing, candy face, mourning. In the story, this is the fatal bag, secret thoughts, a farewell party, a chocolate shop. Based on the use of precious stones and gems, the words silver, gold - sprinkled with shining stars, how the eyes sparkle! A golden icon, sparkling frost, handles with silver nails, gold laces.)

This story is characterized by the use of figurative means to designate the “material world,” the world of sensations that create the eternal plan.(Confirm this with text.)

(That evening we sat quietly..., hiding oursecret thoughts and feelings; Well, what if they kill you?I'll be waiting for you there... ...somewhere there he is waiting for me with the same love and youth.

-Yes, these images interact with images of the eternal world, existence, incomprehensible to man.

In order to make sure that many of Bunin’s works are characterized by the image of the eternal world, let’s compare the poem “Through the Window from a Dark Cabin...” and the story “Cold Autumn.”

Only one starry sky,

One firmament is motionless,

Calm and blissful, alien to Everything that is so dark beneath him.

“...In the garden, in the black sky, bright...

“Then they began to appear in the light

in the glowing sky, black branches sprinkled with mineral glitter

stars."

In the story, the divine splendor of the world is contrasted with chaos, the merciless power of fate. Repetitions are used (If Iwill kill. . .What if it’s true?will kill? Well what ifwill kill...

-What is the connection between parts 1 and 2 of the story?

(2- I part begins with the wordkilled. Those. the power of rock is merciless.)

-Name epithets that confirm this. (cold, black, indifferent)

1. Analyzing nature and man, we say that the landscape repeats the state of the lyrical hero. Confirm this with text.

(Surprisingly early andcold autumn. - Younot cold? Cold, a cold evening is associated with cold in the souls of the heroes, a premonition of trouble. Winter evening - the death of a lover.

The variety of shades is fixed using epithets, a combination of adverbs and adjectives(color adverbs). Find them.

Pure icy stars, hot lamp, autumn charm, minerally shining stars, autumn-like.

Teacher. The story is built on associative connections between the present and the past, therefore, it has a space-time perspective. Its peculiarity is that in emotional and evaluative terms, the present and past are colored by a general tone of excitement.(Could I have thought in those happy days what she (Nice) would one day become for me!). The heroine is immersed in herself - in her inner world the past and the present coexist equally, equally vividly experienced now and then.The idea of ​​Bunin's style would be far from complete if we limited ourselves to only characterizing figurative means. After all, Bunin is one of the finest Russian stylists.

- So, let's draw a conclusion about what expressive means of language, what techniques uses I.A.Bunin.

The arsenal of figurative and expressive language in the story “Cold Autumn” is extremely rich and varied. Here are both tropes and stylistic figures designed to embellish speech, make it precise, clear, expressive, containing untold treasures and values. But he reveals his wealth only to those who have a true love for language, for words.

Music is playing. "Sweet Dream"

Homework. Write a review of the story “Cold Autumn.”

Approximate review plan:

1. Date of publication of the work (when it was written or published). 2. History of creation, concept of the work. 3. Genre originality of the work. 4. The plot and composition of the work (what is this work about, name its main events, note the plot, climax, denouement, the role of the epilogue and epigraph (if any). 5. Topic (what is said in the work), what topics are touched upon in the work. 6. Issues (what problems, issues) are addressed in the work, are they important, why are they considered by the author. 7. Characteristics of the main artistic images (names, striking features of appearance, social status, philosophy of life, views on the world, relationships with other characters, experiences, emotions, what problem/problems are associated with this character). 8. The idea and pathos of the work (what the author wanted to say, the author’s view of the issues raised, what he calls for). 9. The place of the work in the writer’s work (is this work important for understanding the writer’s work, does it reflect the main themes and problems in his work, is it possible to judge the writer’s style and worldview from this work). 10. The place of the work in the history of literature (is this work significant for Russian literature and world literature, why). 11. Your impression of the work (liked/disliked, why).

Sections: Literature

Ivan Alekseevich Bunin is an outstanding Russian writer who has gained special worldwide fame. Bunin's poetry and prose come from a common verbal and psychological source; his rich language, full of unique plasticity, is unified beyond the division into literary types and genres. In it, according to K. Paustovsky, there was everything “from ringing copper solemnity to the transparency of flowing spring water, from measured precision to intonations of amazing softness, from a light tune to slow rolls of thunder.”

What attracts today's schoolchildren to the work of I.A. Bunin?

Bunin's work is characterized by an appeal to the inner world of the heroes: penetration into the secret impulses of the soul, the mysteries of actions, the connections between the “mind” and the “heart”. The environment and surrounding material things lose their meaning. The perspective of the author's work of art is narrowed to the psychology and emotionality of the hero.

What a cold autumn
Put on your shawl and hood...
Look between the blackening pines
It's like a fire is rising.

These lines of Fet, uttered by the hero of the story “Cold Autumn,” most clearly reflect the time when I. Bunin, in exile, wrote the cycle “Dark Alleys”. A time of change, a time of struggle, a time of contradiction. It is noteworthy that in the story “Cold Autumn” contradictions appear constantly. If we trace Bunin’s creative activity, we will see that its “distinctive feature is the opposition of the poetic traditions of the Russian muse of the “golden age” to the innovative searches of the symbolists.” According to Yu. Aikhenvald’s definition, Bunin’s work “... stood out against their background as good old stuff.”

But for Bunin himself, this was not just a opposition of views, principles, worldview - it was a stubborn and consistent struggle against symbolism. And this struggle was so heroic that Bunin found himself alone and was not afraid of the deep wounds that it inflicted on him. “He contrasted the extremes of the Symbolists with too much balance of feeling: their whimsicality with too complete a sequence of thought, their desire for unusualness with too deliberately emphasized simplicity, their paradoxes with the obvious irrefutability of statements. The more the subject of symbolist poetry wants to be exceptional, the more the subject of Bunin’s poetry tries to be normal.” An interesting fact is that while in Italy or Capri, Bunin wrote stories about the Russian village, and while in Russia - about India and Ceylon. Even in this example, one can discern the artist’s conflicting feelings. When looking at Russia, Bunin always needed distance - chronological, and even geographical.

Bunin’s position in relation to Russian life looked unusual: to many of his contemporaries Bunin seemed “cold,” albeit a brilliant master. "Cold" Bunin. "Cold autumn". Consonance of definitions. Is it a coincidence? It seems that behind both there is a struggle - the struggle of the new with the old, truth with untruth, justice with injustice - and inevitable loneliness.

"Cold" Bunin. He sought to tear out from his work everything that could be in common with symbolism. Bunin was especially persistent against the symbolists in the field of depicting reality. “A symbolist is the creator of his own landscape, which is always located around him. Bunin steps aside, making every effort to reproduce the reality he idolizes as objectively as possible. But the symbolist, depicting not the world, but the essence of himself, in each work achieves his goal immediately and completely. Bunin complicates the achievement of his goal; he depicts the landscape as accurate, truthful, and alive, which leads to the fact that most often there is no place left for the artist’s personality.” But this is precisely why he contrasted himself with the Symbolists.

"Cold autumn". In this story, Bunin, by awakening in the reader’s mind a system of associative connections, seeks to talk about what is left in the past - simplicity, goodness, purity of thoughts and the inevitability of the coming tragedy.

In it, the fate of the Russian intelligentsia is shown through the fate of a woman, and her fate is revealed not so much through a detailed biography as through a story about love, in which a few days of the past are perceived more fully than the 30 years that have flown by after it. The dissonance between good and evil, peace and war, harmony and chaos can be traced throughout the entire short story. And in the end - loneliness, disappointment in life, although it is brightened up by a dream and faith in happiness “out there”. The story is a tragedy of love in troubled times, a tragedy of reason in the mad flame of revolutionary upheavals.

The contrast of Bunin's worldview and creativity with others, the contrast of the old world and the new, good and evil in the story. This is what unites the consonance of definitions - “cold” Bunin and “Cold Autumn”. Bunin’s antithesis is very attractive, so I would like to consider the story “Cold Autumn” from this point of view.

The purpose of the work is to determine the ideological and artistic role of the antithesis technique in the story “Cold Autumn” at the level of:

• plot
• compositions
• chronotope
• space
• image systems
• artistic and visual media.

The story “Cold Autumn” begins with an event that gives an indication of historical authenticity - the First World War. Events are given in fragments: “He was visiting in June”, “On Peter’s Day he was declared a groom.” The entire work is built on contrast. So in the exhibition we read: “I came in September to say goodbye" And “Our wedding was postponed until spring.” Cold autumn can be interpreted as the end of ordinary peaceful life along with the dying of nature. But the wedding of the heroes was postponed until spring. After all, spring appears not only as a time for the rebirth of nature, but also as the beginning of a new peaceful life.

Further development of the action takes place in the heroine’s house, where “he” came to say goodbye. Bunin succinctly conveys the atmosphere "farewell evening" again applying one antithesis after another. On the one hand, there is a window behind which “ surprisingly early cold autumn.” This laconic phrase has a multi-layered meaning: it is both the cold of autumn and the cold of the soul - as if we are hearing a father’s prophecy to his child: surprisingly, terribly early, you will lose Him, you will know the cold of loneliness. On the other side, “window fogged up from steam.” With this phrase, Bunin emphasizes the warmth of the house, comfort, tranquility - “they sat quietly,” “exchanged insignificant words, exaggeratedly calm, hiding their secret thoughts and feelings,” “with feigned simplicity.” And again, the antithesis is in the manifestation of external calm and internal anxiety. Bunin skillfully contrasts this state of all the people in the room with the feeling that "touching and creepy." In the same part of the story “in the black sky, pure ice stars sparkled brightly and sharply” and “a hot lamp hanging over the table”. Another vivid illustration of the antithesis: “cold” and “warmth”, external “icy stars” and internal “hot lamp” - someone else’s and one’s own.

Subsequent actions take place in the garden. "Let's go into the garden" Bunin uses this very verb so that the reader immediately has a single association: they went to hell (take away the “s” from the word garden). From the world of warmth, family - into autumn, war. “It was so dark at first. Then black branches, showered with shiny mineral stars, began to appear in the brightening sky.”. And from hell “The windows of the house shine very specially, like autumn.” A house-paradise, into which autumn, war, and hell will soon burst. There is a strange dialogue between “her” and “him”. The author escalates the state of approaching disaster. The words quoted by “him” are deeply symbolic: “look between the blackening pines as if a fire is rising..." Her misunderstanding of the symbol: “What fire? “Moonrise, of course.” The moon symbolizes death and cold. And “fire”, fire as a symbol of suffering, pain, destruction of one’s own, dear, warm. The atmosphere of non-comfort, non-lifeliness is discharged by a logical emotional impulse: “Nothing, dear friend. Still sad. Sad and good. I very-very love you". This phrase, warm and light, stands out in contrast to the dark and cold background of the story. This makes the dissonance between good and evil, peace and war even stronger.

The culmination of the story is the farewell scene, which is built on contrast. The heroes become in opposition to nature. “They crossed themselves with impetuous despair and, after standing, entered the empty house.” and felt “only an amazing incompatibility between us and the joyful, sunny, sparkling frost on the grass in the morning around us.” Climax phrase: “They killed him - what a terrible word! - In a month in Galicia"- Bunin succinctly recreated the feeling of erased emotional perception over the years. That descent has already happened: “I lived in Moscow in a basement.” This is from the house where “after dinner they served a samovar as usual!”, “she became a woman in bast shoes.” It's from "Swiss cape!" Here the author aptly and meaningfully uses details that characterize better than lengthy descriptions: sold “some kind of ring, or a cross, or a fur collar...” That is, she sold the past, renouncing it: “The times of our grandparents,” “Oh, my God, my God.” The beauty and slowness of life before the death of the hero are contrasted with the frantic pace of life, the abundance of misfortunes, and failures after. Paradise-home turned into hell-foreign land. The descent is over. There is no life here - it's just an unnecessary dream.

There is another culminating wave in the work - “I always ask myself: yes, but what happened in my life? And I answer myself: only that cold evening.”. Bunin gives the heroine one last chance to realize that that evening was the triumph of the spirit, the meaning of life, life itself.

This contradiction expresses the basis of the tragic plot. Now the heroine only has faith in waiting for the meeting, faith in happiness “there.” Thus, the storyline can be built like this:

The composition has the shape of a ring: “Just live and enjoy the world...”- life - “...I lived a happy life...” Bunin explains the compositional structure as follows: “What happened in my life anyway? Only that cold autumn evening... the rest is an unnecessary dream.” The work begins with a description of an autumn evening and ends with a memory of it. In a conversation in the park, the heroine says: "I won't survive your death." And his words: “You live, enjoy the world, then come to me.” And she admits that she did not survive it, she simply forgot herself in a terrible nightmare. And it becomes clear why she spoke in such an essentially dry, hasty, indifferent tone about everything that happened after. The soul died along with that evening. The ring composition is used to show the closed circle of the heroine’s life: It’s time for her to “go,” to return to “him.” Compositionally, the work can be divided into parts that are contrasting in relation to each other.

Part 1. From the beginning of the story to the words: “...do you want to walk a little?”- an almost absurd picture of tragic calm, regularity in life, on the estate against the backdrop of a distant, seemingly unreal war.

Part 2 . From the words: “It’s in my soul...” to the words: “...or should I sing at the top of my voice?”- He and she, goodbye. Against the background of a joyful, sunny morning, the heroine has emptiness and powerlessness in her soul.

Part 3. From the words: “They killed him...” to the words: “what she became for me”-acceleration of action: on one page - the rest of your life. A depiction of the heroine’s wanderings and hardships, which begin with the climactic phrase about “his” death. The heroine impartially describes her future life, stating the facts.

Part 4. until the end of the story- before us is the heroine-storyteller in the present.

So, the narrative is built on an antithesis. This principle is proclaimed with the exclamation: “Well, my friends, it’s war!” The words “friends” and “war” are the main links in a chain of contradictions: saying goodbye to your beloved - and talking about the weather, the sun - and separation. Absurd contradictions.

But there are also contradictions associated with human psychology that accurately convey mental confusion: “...cry for me or sing at the top of my voice.” And then the beauty and leisurely life before “his” death is contrasted with the frantic pace and abundance of failures and misfortunes after.

The chronotope of the work is very detailed. In the first sentence there is a time of year: "in June". Summer, the blossoming of the soul and feelings. There is no exact date of “that year”: the numbers are not important - this is the past, gone. The past, our own, dear, blood, organic. The official date is a foreign concept, so the foreign date is indicated precisely: “they killed on the fifteenth of July” “On the nineteenth of July, Germany declared war on Russia,” to emphasize rejection even over time. A vivid illustration of Bunin’s antithesis “friend or foe.”

The time boundaries of the entire story are open. Bunin states only facts. Mention of specific dates: “They killed on July 15,” “on the morning of the 16th,” “but on June 19.” Seasons and months: “in June of that year”, “in September”, “postponed until spring”, “during a hurricane in winter”, “they killed him a month later”. Listing the number of years: “A whole 30 years have passed since then,” “we stayed in the Don and Kuban for two years,” “in 1912.” And words by which you can determine the passage of time: “she lived a long time”, “the girl grew up”, “that cold autumn evening”, “the rest is an unnecessary dream”. Of course, there is a feeling of vanity and mobility of time. In the episode of the farewell evening, Bunin uses only words by which one can determine time and feel it: “after dinner”, “that evening”, “time to sleep”, “stayed a little longer”, “it was so dark at first”, “he left in the morning”. There is a feeling of isolation, everything happens in one place, in one small period of time - the evening. But it is not burdensome, but evokes a feeling of concreteness, reliability, and warm sadness. The specificity and abstractness of time is the antithesis of “one’s own” time and “someone else’s”: the heroine lives in “hers,” but lives in “someone else’s” as if in a dream.

The boundaries of time and the meaning of living life are contradictory. The words of time throughout the story are numerous enumerations, but they are insignificant for the heroine. But the words of time in the episode of the farewell evening, in the sense of living, are a whole life.

The contrast of the narrative is felt immediately in the work. The space of the story seems to expand when the stars appear. They appear in two images: first sparkling in the black sky, and then shining in the brightening sky. This image carries a philosophical meaning. Stars in world culture symbolize eternity, the continuity of life. Bunin emphasizes the contrast: the quick separation and death of the hero - the eternity and injustice of life. In the second part of the story, when the heroine talks about her wanderings, the space lengthens first to Moscow, and then to Eastern and Western Europe: “lived in Moscow”, “lived in Constantinople for a long time”, “Bulgaria, Serbia, Czech Republic, Paris, Nice...” The measured, calm life on the estate turned into endless bustle, the chaos of the heroine’s living space : “I was in Nice for the first time in 1912 - and could I have thought in those happy days what it would one day become for me”.

One of the main means in forming the author’s position is a system of images. Bunin's principle of presenting heroes is distinguished by its brightness and unusualness. So none of the characters has a name, the name of the “guest” and “groom” is never mentioned - it is too sacred to trust the sacred letters, the sounds of a favorite name on paper. Name of dear person "He" akin to Blok’s name for the Beautiful Lady in verse - “She”. But the name of someone else’s, not your own, is named - “Ferdinand was killed in Sarajevo.” In a surreal sense, it can be considered a source of trouble. Evil is “more expressive” than good - here it has a specific name. These images embodied Bunin's antithesis “one's own - someone else's.”

Bunin introduces a new layer of images into the work: “family - people.” The family is comfortable, kind, happy, and the people are strangers “like destroyers,” thieves of harmony, “like many,” “A lot of people came to us on Peter’s Day”, “Germany declared war on Russia”, “Me too(like mass ) was engaged in trade, sold”, “sailed with a countless crowd of refugees.” The author seems to emphasize, using these images, that his story is not only about what happened to each person personally, but also about what happened to an entire generation. Bunin shows the tragedy of a generation most clearly using the fate of a woman - the main character. The image of a woman has always been associated with the image of a homemaker, and family and home are the main values ​​of the time. The events of the First World War, the revolution that followed, the post-revolutionary years - all this fell to the lot of the heroine - a blooming girl when she first met her and an old woman close to death - at the end of the story with her memories, similar to the outcome of her life. Her character combines the pride of an emigrant with defiance of fate - isn’t this a trait of the author himself? A lot of things coincide in life: he experienced a revolution, which he could not accept, and Nice, which could not replace Russia.

An important touch in the “girl” image system. She is indifferent to her past: she has become "French". The heroine describes “sleek hands”, “silver marigolds” and “golden laces” his pupil with bitter irony, but without any malice. “A sunny bunny” among the dull colors of “her” narrative, but we don’t feel the warmth - an icy shine. The greatest tragedy of the intelligentsia is shown by Bunin through its image: the loss of the future, lack of demand, the death of Russia in the souls of the children of emigrants.

The metonymic image of soldiers also appears in the story “in folders and unbuttoned overcoats.” This is obvious, the Red Army, to whom people who did not suit the new time sold their things. The image of the heroine's husband is interesting. He is also not named, but the contrast between the place where they (the heroine and her future husband) met (on the corner of Arbat and the market) and the very laconic but capacious characterization of the husband himself is emphasized "a man of rare, beautiful soul." This perhaps symbolizes the chaotic nature of Russian history at that time. By choosing several characters, Bunin reflected the great tragedy of Russia. Again the contrast - what was and what has become. Thousands of elegant ladies who have turned into "women in bast shoes" And "people, rare, beautiful souls" dressed “worn Cossack zipuns” and those who released "black beards" So gradually, following " ring, cross, fur collar" people were losing their country, and the country was losing its color and pride. The contrast of Bunin's system of images is obvious.

Bunin, as a master of words, brilliantly and masterfully uses antithesis at all levels of language. The most interesting is Bunin's syntax. The language of this work of art is characteristic of the author: it is simple, not replete with elaborate metaphors and epithets. In the first part of the novella (see the boundaries of the parts above), the author uses simple, less common sentences. This gives the impression of flipping through photographs in a family album, just a statement of facts. Offer - frame. Fifteen lines - ten sentences - frames. Let's look through the past. “On the fifteenth of June, Ferdinand was killed in Sarajevo.” “On the morning of the sixteenth, newspapers were brought from the post office.” "This is war!" “And now our farewell evening has come.” “Surprisingly early and cold autumn.” In the episode of the farewell evening, the author seems to stop time, stretch the space, filling it with events, and the sentences become complex, each of their parts is widespread. This part contains many secondary members of the sentence, contrasting in meaning: « fogged up from the steam window" and "surprisingly early and cold autumn", "on black sky bright And acute sparkled clean icy stars" and "hanging over the table hot lamp". Numerically, this is expressed as follows: there are five sentences in fourteen lines. “That evening we sat quietly, only occasionally exchanging insignificant words, exaggeratedly calm, hiding our secret thoughts and feelings.” “Then black branches, sprinkled with mineral-shining stars, began to appear in the brightening sky.” “Left alone, we stayed in the dining room for a little while,” I decided to play solitaire, “he silently walked from corner to corner, then asked: “Do you want to walk a little?” In the next part, Bunin reveals the inner world of the characters using dialogue. Dialogues play a particularly important role in this part. Behind all the stock phrases, remarks about the weather, about “autumn,” there is a second meaning, subtext, unspoken pain. They say one thing and think about something else, they speak only for the sake of words, conversation. The so-called “undercurrent”. And the reader understands that the father’s absent-mindedness, the mother’s diligence, and the heroine’s indifference are feigned even without the author’s direct explanation: “only occasionally they exchanged insignificant words, exaggeratedly calm, hiding their secret thoughts and feelings.” “While getting dressed in the hallway, he continued to think about something, with a sweet smile he remembered Fet’s poems:

What a cold autumn

Put on your shawl and hood...

- I do not remember. It seems so:

Look between the blackening pines as if a fire is rising...

- What fire?

- Moonrise, of course. There is some charm in these verses: “Put on your shawl and hood...” The times of our grandparents... Oh, my God, my God!

- What you?

- Nothing, dear friend. Still sad. Sad and good. I really, really like you I love".

The final part of the story is dominated by narrative sentences, complicated by homogeneous sentence parts. An unusual feeling of rhythm and overflowing with life events is created: “some kind of ring, then a cross, then a fur collar”, “Bulgaria, Serbia, Czech Republic, Belgium, Paris, Nice...”, “worked..., sold..., met..., went out. ..”, “sleek hands with silver nails... gold laces.” Bunin contrasts all this with the heroine’s inner emptiness and fatigue. She states her misfortunes without any emotion. Life overcrowded with events turns into the fact that there is no life. At the level of syntax, the antithesis is clearly expressed: simple - complex sentences, prevalence, saturation of homogeneous members of the sentence and their absence, dialogic - the heroine's monologue. Consciousness splits: there is yesterday and now, the past and all life. Syntax tools help with this.

The masterful use of morphological means of language is also noteworthy. So in the first part of the work the verbs are put in the past tense. Memories... The heroine seems to be making her way through the windfall of the past to the present, living her life, growing old, and becoming disillusioned: “stood up”, “crossed”, “passed”, “looked”, “lived”, “wandered”. In the last part of the story, the narration is told using present tense forms: “I ask”, “I answer”, “I believe”, “Waiting”. The heroine seems to be awakening. And life ended.

So, the main feature of the “Bunin” antithesis is that it permeates all levels of the story “Cold Autumn”.

1. "Bunin's" antithesis is a way of expressing the author's position.
2. Bunin's contrast is a way of reflecting reality, creating a picture of the world.
3. The contrast is used to reveal the worldview and philosophical concept of the author.
4. Antithesis as a demonstration of the catastrophic nature of time at the junction of two centuries, revolutions, wars.
5. Contrasting psychology of people at the beginning of the 20th century.
6. Antithesis in Bunin's story “Cold Autumn” is a technique for creating a composition, plot, chronotope, space, system of images, and linguistic features.

The title of the collection “Dark Alleys” evokes images of dilapidated gardens of old estates and overgrown alleys of Moscow parks. Russia, fading into the past, into oblivion.

Bunin is a master who knows how to be unique in the most banal situations, to always remain chaste and pure, because love for him is always unique and holy. In “Dark Alleys,” love is alien to the concept of sin: “After all, cruel tears remain in the soul, that is, memories that are especially cruel and painful if you remember something happy.” Perhaps in the melancholy of the short stories “Dark Alleys” the old pain from the happiness once experienced finds voice.

Bunin is not a philosopher, not a moralist or a psychologist. For him, what the sunset was like when the heroes said goodbye and went somewhere is more important than the purpose of their trip. “He was always alien to both God-seeking and God-fighting.” Therefore, it is pointless to look for deep meaning in the actions of the heroes. “Cold Autumn” is a story where, in fact, love is not talked about. This work is the only one with a documented precise chronology. The language of the narrative is emphatically dry... An elderly woman, neatly dressed, sits somewhere in a coastal restaurant and, nervously fiddling with her scarf, tells her story to a random interlocutor. There are no emotions anymore - everything has been experienced a long time ago. She speaks equally casually about the death of the groom and about the indifference of her adopted daughter. As a rule, Bunin's action is concentrated in a short time interval. “Cold Autumn” is not just a segment of life, it is a chronicle of a whole life. Earthly love, cut short by death, but thanks to this death becoming unearthly. And at the end of her stormy life, the heroine suddenly realizes that she had nothing but this love. “Bunin, at the time of his joyless “cold autumn”, having survived the revolution and exile, during the days of one of the most terrible wars, writes a story about love, just as Boccaccio wrote “The Decameron” during the plague. For the flashes of this unearthly fire are the light that illuminates the path of humanity.” As one of the heroines of “Dark Alleys” said: “All love is great happiness, even if it is not shared.”

List of used literature

1. Adamovich G.V. Loneliness and freedom. New York, 1985.
2. Alexandrova V.A. “Dark Alleys” // New Journal, 1947 No. 15.
3. Afanasyev V.O. On some features of Bunin’s late lyrical prose // News of the USSR Academy of Sciences. Dept. Literature and Language, 1979, vol. 29 issue 6.
4. Baboreko A.K. Bunin during the war of 1943-1944 // Daugava, 1980 No. 10.
5. Dolgopolov L.O. On some features of the realism of late Bunin // Russian literature, 1973 No. 2.
6. Muromtseva - Bunina V.N. Life of Bunin, Paris, 1958.
7. School of classics. Criticism and comments. Silver Age. 1998.

Preparing for a review of Bunin’s story “Cold Autumn”.

This work from the series “Dark Alleys” was written in May 1944. The plot as such is difficult to see: one evening and compressed events spanning 30 years. The conflict of this story: the love of the heroes and the obstacles in their path. Here love is death. The conflict between love and death begins when the word “war” is heard at the tea table. Development - the engagement of the heroes, which coincides with the father's name day. An engagement is announced - war is declared. The farewell party arrives, the hero comes to say goodbye, the wedding is postponed until spring (the heroes do not expect the war to last long). The culmination of the story is the words of the hero: “You live, enjoy the world, then come to me.” Denouement - the heroine has carried her love through 30 years, she perceives death as a quick meeting with her beloved.

Typical of Bunin's stories is that the heroes have no names. The pronouns HE and SHE imply the destinies of many. There are no portrait characteristics in the story (who else but the heroine would describe her lover, but this is not the case). In addition, the story is full of details: “eyes shining with tears” (of the heroine), “glasses” (of mother), “newspaper”, “cigarette” (of father) - which is typical for Bunin’s stories.

The central episode of the story is the farewell evening. Each of the characters at this moment protects the feelings of the other. Everyone is outwardly calm. The mask of calm disappears at the moment of farewell in the garden.

Bunin reveals the character of the main character through his speech: this young man is educated, delicate, and caring. The heroine in Bunin's portrayal is infantile. At the moment of farewell, HE reads Fet’s poems (the text of which is distorted) in order to emotionally reinforce the general atmosphere. The heroine knows nothing about poetry. In this situation, she has no time for her: a few more minutes and they will part.

This story has the same plot outline, problems, and the short duration of love, but at the same time it is not similar to any of the stories in the “Dark Alleys” series: in 22 stories the narration is told from an impersonal person, and only in “Cold Autumn” is the narration led by the heroine.

The dates are noteworthy, among which we can note the exact dates - 1914 (historical similarity - the murder of Ferdinand), that year is a periphrasis, some dates - one can only guess about them (the author does not mention anything about 1917, the years of the Civil War).

The story can be divided into 2 compositional parts: before the death and after the death of the hero.

TIME

Art space

Characters

The heroine is a naive girl.

She lost everything, but saved herself: his will is her journey through torment, which she speaks about calmly, indifferently; she is no more than 50 years old, but her voice sounds like the voice of an old woman, because everything remainsthere in the past .

Artistic details

Glasses, newspaper (belong to loved ones)

Silk bag, golden icon (symbolizes the present)

Cape (desire to hug)

Basement, corner of Arbat and market (all of Russia has turned into a market)

There are no details related to loved ones.

The gold cord used to tie the candies and the satin paper are symbols of unreal life and tinsel.

Bast shoes, zipun - the fate of millions.

Conclusion: BEFORE – security, AFTER – universal loneliness.

The memory motif sounds from the beginning to the end of the story. Memory is the only opportunity to preserve the features of a loved one, but at the same time, memory for the heroine is a duty: “I lived, I was happy, now I’ll come back soon.”

The story “Cold Autumn” shows not only the death of the hero, but also the death of Russia, which we lost. Bunin makes the reader think about how early the horror that they had to endure fell on the souls of the heroes.

The general meaning of all works by I.A. Bunin's message about love can be conveyed with a rhetorical question: “Is love private?” Thus, in his cycle of stories “Dark Alleys” (1943), there is probably not a single work dedicated to happy love. One way or another, this feeling is short-lived and ends dramatically, if not tragically. But Bunin claims that, in spite of everything, love is beautiful. It, albeit for a short moment, illuminates a person’s life and gives him meaning for his further existence.

Thus, in the story “Cold Autumn,” the narrator, having lived a long and very difficult life, sums it up: “But, remembering everything that I have experienced since then, I always ask myself: yes, what was in my life? life? And I answer myself: only that cold autumn evening.” Only that cold autumn evening when she said goodbye to her fiancé, who was leaving for war. It was so bright and, at the same time, sad and heavy in her soul.

Only at the end of the evening did the heroes talk about the worst thing: what if their beloved does not return from the war? What if they kill him? The heroine doesn’t want and can’t even think about it: “I thought: “What if they really kill me? and will I really forget him at some point - after all, everything is forgotten in the end? And she quickly answered, frightened by her thought: “Don’t say that! I will not survive your death!

The heroine's fiance was actually killed. And the girl survived his death - this is a feature of human nature. The narrator even got married and gave birth to a child. After the revolution of 1917, she had to wander around Russia, endure many humiliations, menial work, illness, the death of her husband, and the alienation of her daughter. And so, at the end of her years, thinking about her life, the heroine comes to the conclusion that there was only one love in her life. Moreover, in her life there was only one autumn night, which illuminated the woman’s entire life. This is her meaning in life, her support and support.

The narrator in her bitter life, cut off from her homeland, is warmed by only one memory, one thought: “You live, enjoy the world, then come to me...” I lived, I was happy, now I’ll come soon.”

So, the main part of the story, which has a ring composition, is a description of a cold autumn evening, the last in the life of the heroes together. From the words of the girl’s father, we learn that the Austrian crown prince was killed in Sarajevo. This meant that war would inevitably begin. The heroine's lover, who was one of her own in her family, had to go to the front.

That same sad evening he was announced as the heroine’s fiancé. Ironically, their first evening as bride and groom was also their last. That is why this whole evening, in the perception of the narrator and her lover, was permeated with light sadness, aching melancholy, and fading beauty. Just like the cold autumn evening that surrounded the heroes in the garden.

Everyday details are of great importance in the story, which turn into psychological ones in the work. Thus, the heroine accurately lists all the dates that “surrounded” the events described. She remembers everything in the smallest detail, although thirty years have passed and she has a very difficult life behind her. This suggests that this evening was very significant for the woman.

The last home-cooked dinner is described psychologically and subtly. All its participants sat in suspense, thinking that this might be their last evening together. But everyone exchanged insignificant words, masking their tension and what they really wanted to say.

But finally the young people were left alone. The lover invites the narrator to take a walk in the autumn garden. He quotes lines from Fet's poem. They, to some extent, predict both his fate and the fate of their couple:

Look - between the blackening pines

It's like a fire is rising...

And then the hero adds: “It’s still sad. Sad and good. I love you very, very much...” What simple and, at the same time, piercing words! Young people love each other, but cannot be together. This, according to Bunin’s theory, is simply impossible. After all, love is always just a flash, just a short moment that burns for a lifetime...

The next morning the hero left, as it turned out, forever. They put a “fatal bag” with an icon around his neck, but it did not save the heroine’s lover from death. The narrator returned to the house, not noticing the sunny morning and not feeling any joy from it. Bunin subtly conveys her state on the verge of hysteria, a huge emotional experience: “... not knowing what to do with myself now and whether to cry or sing at the top of my voice...”

Many years have passed since then. But the elderly heroine in Nice keeps returning in her memory to this evening and hopefully awaits her imminent death. What else can she do? A poor old age, deprived of the support of her only relative - her daughter.

The image of the heroine's daughter in the story is very important. Bunin shows that a person, cut off from his roots, far from his homeland, loses the main thing - his soul: “she became completely French, very nice and completely indifferent to me, worked in a chocolate store near Madeleine, with sleek hands with silver nails she wrapped boxes in satin paper and tied them with gold laces..."

The narrator’s daughter is a doll that has lost its essence behind the material tinsel.

“Cold Autumn”... The title of the story is symbolic. This is also a specific designation of the time frame of what is happening in the story. This is both a symbol of the first and last evening in the lives of the heroes. This is also a symbol of the heroine’s entire life. This is also a symbol of the life of all emigrants who lost their homeland after 1917... It is also a symbol of the state that comes after the loss of a flash of love...

Cold autumn... It is inevitable, but it also enriches a person, because he is left with the most valuable thing - memories.

The man lived a long life. There were many difficulties and losses in it. But before his death, he remembers only one day. Decades separate him from this day, but it seems that only this day matters. Everything else is an unnecessary dream. The tragic fate of a Russian emigrant is told in “Cold Autumn” by Bunin. Analysis of a small work only at first sight may seem like a simple task. The writer, using the example of one story, told the tragic fate of Russian nobles who were forced to leave their homeland after the revolution.

Analysis of Bunin's story “Cold Autumn” according to plan

Where to start with this task? The analysis of Bunin's story “Cold Autumn” can begin with a short biographical information. It is permissible to state a few words about the author at the end, as was done in this article. The main thing that must certainly be present in the artistic analysis of Bunin’s “Cold Autumn” is a mention of important historical events that occurred in Russia in 1914-1918.

Analysis plan for “Cold Autumn” Bunin:

1. War.
2. Farewell evening.
3. Parting.
4. Smolensk market.
5. Kuban.
6. Emigration.

War…

The narration is told in the first person - from the point of view of a woman who remembers her youth. True, the reader will learn later that the main character is in nostalgic thoughts. Events take place on a family estate. In Russia, news of Ferdinand's murder in Sarajevo becomes known. Two months later, the house will celebrate the engagement of a girl and a young man whom she has loved for a long time and will love until the last days of her life. And on this day it will become known: Germany declared war on Russia. The war has begun.

At the end of June 1914, the Austrian Archduke was assassinated in Sarajevo. This event became a formal reason for war. In those days, many in Russia were convinced that Germany would not attack Russia. Nevertheless, it happened. But even when the war began, people believed that it would not last long. No one suspected how large-scale and long this armed conflict would be.

When analyzing Bunin's "Cold Autumn" it is very important to pay attention to the historical background. The events that followed the assassination of the Archduke changed the whole world. On the eve of the war in Russia, nobles made up 1.5% of the total population. This is about two million people. Some, who made up the majority, emigrated. Others remained in Soviet Russia. It was not easy for both.

Farewell evening

Why is it necessary to make an excursion into history when analyzing Bunin’s “Cold Autumn”? The fact is that the writer's style is quite laconic. He talks very little about his heroes. You need to have at least a superficial knowledge of what happened at the beginning of the last century in Russia and in the world as a whole. Who is the main character? Probably the daughter of a hereditary nobleman. Who is her lover? White officer. In 1914 he went to the front. This happened in September. In 1914 it was an early and cold autumn.

Bunin, when analyzing the work it is worth mentioning, does not name his heroes. The writer has always been true to his principle: not a single extra word. It doesn't matter what the name of the heroine's lover is. It is important that she remembers that farewell evening forever.

Parting

How did that day go? The mother was sewing up a small silk bag. The next day she was supposed to hang it around the neck of her would-be son-in-law. In that bag of gold icon, which she got it from her father. It was a quiet autumn evening, filled with boundless, disappointing sadness.

On the eve of parting, they went out into the garden for a walk. Suddenly he remembered Fet’s poems, which begin with the words “What a cold autumn...”. An analysis of Bunin’s work should begin with reading the story itself. There's a lot in it seemingly insignificant details, which reveal the depth of the main character’s experiences. He quoted Fet’s poems and, perhaps, thanks to these lines, she remembered all her life that the autumn of 1914 was very cold. In reality, she didn't see anything around her. I was just thinking about the upcoming separation.

In the morning she saw him off. The girl and her parents, who loved the young man as their own son, looked after him for a long time. They were in a state of stupor, typical of people who are seeing someone off for a long time. He was killed a month later in Galicia.

The Battle of Galicia began on August 18 and lasted more than a month. The Russian army won. Since then, Austria-Hungary has not risked launching any major operations without the help of German troops. This was an important stage in the First World War. There is no exact information about how many Russian officers and soldiers died in this battle.

Smolensk market

Four years have passed. Neither the father nor the mother of the main character remained. She lived in Moscow, not far from the Smolensk market. Like many, she was engaged in trade: she sold what she had left from the old days. On one of these gray days, the girl met a man of amazing kindness. He was a middle-aged retired officer who soon married her.

After the October Revolution, civilians ranks and classes no longer existed. The nobles also lost their land ownership, which was the main source of subsistence for many. Finding new sources was also difficult due to class discrimination.

When analyzing Bunin’s text “Cold Autumn,” it is worth citing several quotes. During her short Moscow period, the heroine lived in the basement of a merchant, who addressed her only as “Your Excellency.” In these words there was, of course, not respect, but mockery. Representatives of the nobility, who just a few years ago lived in huge luxurious estates, suddenly found themselves the very day of social life. Justice has triumphed - something like this was thought by those who only yesterday servilely before them.

In Kuban

Life in Russia became more unbearable every day. Former nobles were heading further and further from Moscow. The main character and her husband lived in Kuban for more than two years. Together with them was his nephew - a very young man who dreamed of joining the ranks of volunteers. As soon as the opportunity presented itself, they, along with other refugees, headed to Novorossiysk. From there to Turkey.

Emigration

The heroine talks about what happened after the death of her lover as if it were a strange, incomprehensible dream. She got married and then went to Turkey. My husband died of typhus on the way. She has no relatives left at all. Only the husband's nephew and his wife. But they soon went to Wrangel, in Crimea, leaving her with a seven-month-old daughter.

She wandered with the child for a long time. I was in Serbia, Bulgaria, the Czech Republic, and France. Settled in Nice. The girl grew up, lives in Paris, and has no filial feelings for the woman who raised her.

In 1926, about a thousand Russian refugees lived in Europe. A fifth of them remained in France. Longing for a homeland that no longer exists is the basis of the mental torment of a Russian emigrant.

Live, enjoy...

30 years have passed. The woman understood: the real thing in her life was that distant and close autumn evening. The following years passed as if in a dream. Then, the day before leaving, he suddenly started talking about death. “If they kill me, you live a little longer, and I’ll wait for you there” - these were his last words, which she remembered for the rest of her life.

Bunin's story about the unbearable pain of a person separated from his homeland. This work is about loneliness and the terrible losses that the war brought.

Many of Ivan Bunin’s works are permeated with nostalgia. The writer left Russia in 1920. He was engaged in literary work abroad and received the Nobel Prize in 1933. Until the last days of his life, he remained a stateless person. The story "Cold Autumn" was published in 1944. The writer died 11 years later. Buried in the cemetery Sainte-Genevieve-des-Bois.