Ivan Bunin name day analysis. Extracurricular reading lesson on prose by I.A.

The writer’s world is so sensitive, tangible, attentive, and audible that pressing problems come to the surface and forgotten details come to light. Bunin’s short text is just full of the hero’s impressions and the range of sounds. The work of the creator is a monologue in which the writer sets out a moment from his childhood. Bunin appears before the readers both as a participant in a certain event, and at the same time as an observer who sees himself after so many years have passed.

As is known, Bunin completed the composition of this work abroad. During this period of time he became very homesick. Accordingly, the work “Name Day” fully reflected the atmosphere of the prevailing disorder in the writer’s soul. Despite the fact that there is a holiday around, there are name days, the author cannot bring himself to rejoice, because longing and bitterness for his homeland are taking their toll. Mood on holiday for the hero it is something that brings horror and anxiety. While on his name day, he realizes that he is outside of life, cut off from the time of the present, moving with inexorable speed. There is a feeling of falling into a dark and not letting go of antiquity, downtroddenness. The hero experiences emotional mood swings, the stream of consciousness changes, the character’s worldview is no longer the same as it was before. He understands that alienation from this present kills the desire to live. And this, absolutely certainly, should not arise in a person’s consciousness!

What is the ending of the story? In bitterness and longing for their native places and lands. The fact is that time inexorably takes its toll, and it is impossible to return everything back to its place. However, the memories are in full swing, leaving sharp wounds on the heart! Bunin talks about this: that being cut off from your homeland not only breaks you physically, but also cripples you spiritually!

With his monologue, the author was able to describe his own experiences during the period of separation from places that were warm for him. This text provides an opportunity to immerse yourself in inner world Ivan Bunin, to realize how strongly the writer was attached to his native land! A work written while abroad unusually touches all the strings of the soul! This is the talent of the creator: with his own in simple words forever sink into the heart, forcing you to rethink own life!

Several interesting essays

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• Comparative characteristics of Oblomov and Manilov

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• Essay Katerina's protest against the dark kingdom in Ostrovsky's drama The Thunderstorm, grade 10

  The well-known phraseological unit “A ray of light in dark kingdom", which was formed from the title of an article by Nikolai Aleksandrovich Dobrolyubov dedicated to the play "The Thunderstorm" - has long gone beyond the scope of this work.

DURING THE CLASSES

1. Brief historical background.

On January 26, 1920, on the foreign ship “Sparta”, the Bunins left Russia and went to Constantinople. By March they reached Paris. All future life Bunina is connected with France, not counting short trips to England, Italy, Belgium, Germany, Sweden, and Estonia. Bunin and his wife spent most of the year in the south of the country in the town of Grasse, near Nice, where they rented a dacha. For the winter, the Bunins usually stayed in Paris, where they had an apartment on Jacques Offenbach Street. Mainly in exile, Bunin worked on prose, which resulted in several books of new stories: “The Rose of Jericho” [Berlin 1924], “Mitya’s Love” [Paris 1925], “Sunstroke” [Paris 1927], “The Tree of God” ” [Paris 1931]. The five stories used were written in May 1924: “The Saint” - May 7, “Name Day” - May 9, “Scarabs” - May 10, “Music” and “The Blind” - May 25.

It should be especially noted that all of Bunin’s works emigrant period with very rare exceptions, they are built on Russian material. The writer recalled his Motherland in a foreign land, its fields and villages, peasants and nobles, nature. Bunin remains faithful to the classical traditions of Russian literature and continues them in his work, trying to solve eternal questions about the meaning of life, about love, about the future of the whole world. But never before had the feeling of the frailty and doom of all things—beauty, happiness, glory, power—appeared with such intensity in his works.

In emigration, not only was Bunin’s internal connection with Russia not interrupted, but his love for native land. The “eternal themes” that sounded in the writer’s pre-October work are now associated with the thought of Russia, which for him has receded into the realm of memories.

(The guys are divided into groups of 4-5 people to work with the text of the stories.)

2. Bunin’s world is absolutely material: visible, tangible, audible... The famous philosopher of Russian diaspora F.A. Stepun noted: “Bunin’s descriptions... are perceived by all five senses.” And indeed, this world grows into a panorama of countless images, is filled with a diverse range of sounds, and beckons you to feel the weight, shape, and surface of every object. Filled with details, reality in the writer’s stories becomes the foundation of the entire narrative. Bunin himself called the totality of all artistic details external representation. Chekhov wrote about this feature of Bunin’s prose: “It’s very fresh and very good... but it’s just too compact, like a condensed broth...”.

(The children are invited to observe the species diversity artistic detail in five stories by Bunin and make a selection from the texts.)

3. Results group work Based on the texts of the stories, they are drawn up in writing and discussed in oral conversation.

The story “The Saint”

- “visual” detail: beautiful images, feverishly shining gaze;

- “tactile” detail: the warmth of the heater and blankets, kissed him;

Story “Name Day”

- “visual” detail: dusty black cloud, dazzling sunlight, amber broth; glasses with gilded edges;

- “sound” detail: foliage flows on the poplars, the house is full of guests;

- “tactile” detail: the dry steppe heat became more and more burning;

- “gustatory” and “olfactory” details: there is lunch with pies, with amber broth, with marinades for fried turkey, with thick liqueurs, with ice cream, with champagne in narrow old glasses.

The story “Scarabs”

- “visual” detail: multi-colored sarcophagi, golden varnished wood; halls sparkling with deathly cleanliness; small black relics of Ramses the Great; three hundred wonderful bugs made of lapis lazuli and serpentine;

- “tactile” detail: granite sarcophagi; they (scarabs) were placed on the chests of royal mummies;

- “olfactory” detail: spicy, dry and subtle smell - the sacred aroma of mummies; it is a thin and dry incense, ancient, sacred;

- “sound” detail: they called to each other casually and busily, asked something from each other, loudly ordered something to someone as they quickly passed along the ringing corridors... officials.

Story “Music”

- “visual” detail: lunar fields;

- “sound” detail: running train; the orchestra began to play; Now quieter, now louder, now solemnly expanding, now charmingly fading, the music sounded.

Story “Blind”

- “visual” detail: bright sun; the distant winter peaks of the Alps, silver, terrible; white town; shine; people dressed in spring; straw hats; the blue of the sea; bright sky;

- “sound” detail: rustling steps of people walking; he speaks quietly, monotonously and slightly melodiously, sadly and humbly reminding us of our duty; for a moment he interrupts his melodious and composed, memorized speech and speaks simply and heartily; how confidently he pronounces it;

- “tactile” detail: sharp wind; in calm periods it is warm; the sun warming your back.

4. In the process of exchanging textual examples, students come to the conclusion that the ratio of visual, sound images, as well as tactile, olfactory and taste sensations in each of the stories is different.

In the story “The Saint”, visual and sound details are of equal importance. The story “Name Day” is distinguished by a developed structure of taste and olfactory sensations. The “Scarabs” miniature is based on a rich color palette and a subtle “olfactory” aura. It is quite natural that the music in the story of the same name begins to really sound due to the abundance of sound associations. We feel the world of the blind man as if instead of him, seeing the life around him through the eyes of Bunin. But we hear and feel reality together with the blind hero thanks to “sound” and “tactile” details, due to the fact that these feelings are very developed in such people to replace lost vision.

5. The strength and solidity of the material world is enhanced by the abundance of syntactic constructions with common homogeneous members. This favorite technique of writers of the “natural” school [N.V. Gogol, I.A. Goncharov] creates an image of complex existence, a kaleidoscope of impressions:

- “he spoke about his childhood, adolescence, about the works and dreams of his youth, about his first, sweetest prayerful delights” [“The Saint”];

- “the house is full of guests, neighbors, relatives, our own and other people’s servants”, “I am a boy, a child, a smart and happy heir to this whole world”, “everyone around me moves, drinks, eats, talks, laughs” [“Name Day”] ;

- “I made music, a running train, a room...” [“Music”];

- “holds straight, bringing his knees together, placing an inverted cap and large tanned hands on them, raising his as if sculptured face and slightly turning it to the side, guarding with a sensitive ear the voices and ... steps of those walking”; “he called brother not an ordinary passer-by, but a king or president of the republic, famous person or a billionaire”, “I walk, I breathe, I see, I feel - I carry within me life, its fullness and joy” [“Blind”].

Clarifying circumstances concretize reality, force the reader to be present in certain place, where the plot action takes place, or at a certain time:

- “two hundred years ago, on a certain winter day...” [“Saint”];

- “from behind the garden, because of the centuries-old birches and gray Italian poplars”, “and I, too, in the estate, in the house, at dinner” [“Name Day”];

- “I see myself in Cairo, in the Bulak Museum” [“Scarabs”];

- “I see now, in reality, in the light of day” [“Music”].

Sometimes insistent repetitions and contextual synonyms really nail the world Bunin's stories to earthly reality:

- “I feel festive... and it’s unspeakably hard, so hard, as if the whole universe is on the edge of destruction, death. From what? From this terrible cloud..., from this growing silence? [“Name Day”];

- “I walked for a long time and again looked for a long time at ... the relics of Ramses the Great”; “yes, yes, just think: here I am next to the Great Ramses himself, his true body, albeit withered... but still his, his!” [“Scarabs”];

- “I did, I did, something completely incomprehensible: I made music...” [“Music”];

- “yes, yes, we are all brothers...”, “and not at all, not at all because he doesn’t have this fear... no, not at all because” [“Blind”].

In general, the real world is most often associated with Bunin’s feeling of catastrophe:

- “black hell surrounds joyful sunny world estates” [“Name Day”];

- “yes, five thousand years of life and glory, and in the end - a toy collection of pebbles!” [“Scarabs”];

- “I already realized that this was a dream, I was already scared from its extraordinary vitality... I must at all costs free myself from this obsession, in which I felt some kind of otherworldly, alien... force, a powerful inhuman force...” [ "Music"];

- “but only death or great sorrows, great misfortunes remind us of this with genuine and irresistible conviction, depriving us of our earthly ranks, leading us out of the circle of everyday life” [“Blind”].

Perhaps only in “The Saint” the last evening of a dying person is colored with goodness, harmony, and the expectation of eternal peace.

This is how the reader is immersed in the deep world of Bunin’s stories; you feel real power, the living beating of the verbal fabric, which, like an independent organism, lives and develops according to its own laws of its literary state.

And suddenly a miracle happens! And the reality that you so clearly felt a minute before “comes off and soars”! And now you are already in another dimension, in another space, in the kingdom of intuitive fluids... The saint dies easily and quietly: “and this was the last earthly night of the saint: at dawn they found him dead...” He leaves this world, not tired of it, no, but having fulfilled my destiny here... Hero of “Name Day”, a little boy, a child, feels in a house full of guests “beyond everything, outside of life”... The author, examining the scarabs of Marietta, is carried back several thousand years into the past, imagining how “the names of deceased kings were written on these bugs, they were placed on the chests of royal mummies , as a symbol of being born from the earth and eternally reborn, immortal life“... In the story “Music” the hero stops repeating “I made music”, and suddenly finds the exact and simple expression “I created... as easily, as wonderfully... as only God can create...” and loses his status as a citizen of this material world... And an ordinary blind man becomes not an ordinary cripple at all in the narration of the story, because “he is simply greater than everyone else. The right hand of God touched him. It was as if she had deprived him of his name, time and space. He is now just a man to whom everyone is a brother...”

All five stories by I.A. Bunin turn out to be a window into another world! These are not complete miniatures, but artistically “broken” fragments from some very large thing.

V.F. Khodasevich rightly noted that in Bunin’s prose “the world rules over man.” I.A. Bunin himself explains this in the story “Blind” as follows: “What does this mean? This means that I perceive, accept everything that surrounds me, that it is sweet, pleasant, related to me, arouses love in me... your feeling of life is a feeling of love... all suffering is our common suffering, violating our common joy of life, that is feeling each other and everything that exists!”

Bunin acts as an artist-thinker of the existential type, he places his heroes in borderline situations, sees the tragedy of existence and the consequences of human choice (in this case, the decision to leave the homeland is meant), when a person on the edge of an abyss acutely feels the precariousness of his existence, balancing between life and death: “It turns out that I’m not the only one outside of everything, outside of life... I feel the terrible longevity, the antiquity of everything that I see, in which I participate on this fateful, unlike anything else... birthday day on this so dear and dear to me at the same time so distant and fairyland. And such sorrow grows in my soul...” [“Name Day”].

G. Adamovich in his “Memoirs” revealed the reason for Bunin’s longing for the “Russian” past: “He was a symbol of connection with the past... as with a world where beauty was beauty, nature was nature, art was art.” That is why a simple Tambov man, praying in front of the face of the Saint and addressing him in naive simplicity, “Mityushka, dear!”, makes the writer admire the “ineffable beauty of the Russian soul.”

A component of this soul, according to Yu. Maltsev in his monograph “Ivan Bunin.1870–1953,” is the belittlement of individualistic egoism and the exaltation of our highest being, all that highest and best that is in us, allowing us to become a demiurge, creator, for example, such music, “before which the music of all the Beethovens in the world was nothing... What is this? Who created? I, ... thinking and self-aware? Or is there someone existing in me besides me? " ["Music"].

G. Kuznetsova, who knew Bunin closely during the years of emigration, the author of the famous “Grasse Diary,” wrote down her impressions of Bunin at the end of the 20s: “Now, when everyone is moaning about the spiritual impoverishment of emigration ... while other writers are writing or something plaintively sour, or ecclesiastic... in the midst of need, deprivation, loneliness, deprived of his homeland and everything connected with it, the “fanatic” Bunin inspiredly glorifies the creator, heaven and earth, who gave birth to him and allowed him to see much more misfortunes, humiliation and grief, than rapture and joy...” And the writer, contemplating the current of time, the death of distant civilizations, the disappearance of kingdoms, asks and himself exhaustively answers in the story “Scarabs”: “Should I smile bitterly or rejoice? Still be happy. Still, to be in that forever indestructible and most wondrous thing that still vitally connects my heart with the heart that cooled several thousand years ago, with the heart on which this truly divine piece of lapis lazuli rested for millennia - with the human heart, which in those legendary days, just as firmly as in ours, she refused to believe in death, but believed only in life. Everything will pass - only this faith will not pass!”

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. Bunin.

First Russian Nobel laureate Ivan Alekseevich Bunin is called a jeweler of words, a prose writer, a genius Russian literature And the brightest representative Silver Age. Literary critics agree that Bunin’s works have a kinship with paintings, and in their worldview, Ivan Alekseevich’s stories and tales are similar to paintings.

Childhood and youth

Contemporaries of Ivan Bunin claim that the writer felt a “breed”, an innate aristocracy. There is nothing to be surprised: Ivan Alekseevich is a representative of the oldest noble family, dating back to the 15th century. The Bunin family coat of arms is included in the armorial of the noble families Russian Empire. Among the writer’s ancestors is the founder of romanticism, a writer of ballads and poems.

Ivan Alekseevich was born in October 1870 in Voronezh, in the family of a poor nobleman and petty official Alexei Bunin, married to his cousin Lyudmila Chubarova, a meek but impressionable woman. She bore her husband nine children, four of whom survived.

The family moved to Voronezh 4 years before Ivan’s birth to educate their eldest sons Yuli and Evgeniy. We settled in a rented apartment on Bolshaya Dvoryanskaya Street. When Ivan was four years old, his parents returned to the Butyrki family estate in the Oryol province. Bunin spent his childhood on the farm.

The love of reading was instilled in the boy by his tutor, a student at Moscow University, Nikolai Romashkov. At home, Ivan Bunin studied languages, focusing on Latin. The first books the future writer read independently were “The Odyssey” and a collection of English poems.

In the summer of 1881, his father brought Ivan to Yelets. Younger son passed the exams and entered the 1st grade of the men's gymnasium. Bunin liked to study, but this did not concern exact sciences. In a letter to his older brother, Vanya admitted that he considered the math exam “the worst.” After 5 years, Ivan Bunin was expelled from the gymnasium in the middle school year. A 16-year-old boy came to his father’s Ozerki estate for the Christmas holidays, but never returned to Yelets. For failure to appear at the gymnasium, the teachers' council expelled the guy. Further education Ivan's older brother Julius took care of him.

Literature

It started in Ozerki creative biography Ivan Bunin. On the estate, he continued work on the novel “Passion”, which he began in Yelets, but the work did not reach the reader. But the poem of the young writer, written under the impression of the death of his idol - the poet Semyon Nadson - was published in the magazine "Rodina".

On his father's estate, with the help of his brother, Ivan Bunin prepared for the final exams, passed them and received a matriculation certificate.

From the autumn of 1889 to the summer of 1892, Ivan Bunin worked in the Orlovsky Vestnik magazine, where his stories, poems and literary critical articles were published. In August 1892, Julius called his brother to Poltava, where he gave Ivan a job as a librarian in the provincial government.

In January 1894, the writer visited Moscow, where he met a like-minded person. Like Lev Nikolaevich, Bunin criticizes urban civilization. In the stories " Antonov apples", "Epitaph" and " New road“Nostalgic notes for the passing era are discerned, and regret for the degenerating nobility is felt.

In 1897, Ivan Bunin published the book “To the End of the World” in St. Petersburg. A year earlier, he translated Henry Longfellow's poem The Song of Hiawatha. Poems by Alcay, Saadi, Adam Mickiewicz and others appeared in Bunin's translation.

In 1898 it was published in Moscow poetry collection Ivan Alekseevich “Under open air", warmly received literary critics and readers. Two years later, Bunin presented poetry lovers with a second book of poems, “Falling Leaves,” which strengthened the author’s authority as a “poet of the Russian landscape.” St. Petersburg Academy Sciences in 1903 awards Ivan Bunin the first Pushkin Prize, followed by a second one.

But in the poetic community, Ivan Bunin earned a reputation as an “old-fashioned landscape painter.” At the end of the 1890s, “fashionable” poets became favorites, bringing the “breath of city streets” into Russian lyrics, and with their restless heroes. in a review of Bunin’s collection “Poems” he wrote that Ivan Alekseevich found himself on the sidelines “from general movement", but from the point of view of painting, his poetic "canvases" reached " endpoints perfection." Critics cite the poems “I Remember a Long Time” as examples of perfection and adherence to the classics. winter evening" and "Evening".

Ivan Bunin the poet does not accept symbolism and looks critically at revolutionary events 1905–1907, calling himself “a witness of the great and the vile.” In 1910, Ivan Alekseevich published the story “The Village,” which laid the foundation for “a whole series of works that sharply depict the Russian soul.” The continuation of the series is the story “Sukhodol” and the stories “Strength”, “ A good life", "Prince among princes", "Lapti".

In 1915, Ivan Bunin was at the peak of his popularity. Get him out famous stories"Mr. from San Francisco", "Grammar of Love", " Easy breath" and "Chang's Dreams". In 1917, the writer left revolutionary Petrograd, avoiding the “terrible proximity of the enemy.” Bunin lived in Moscow for six months, from there in May 1918 he left for Odessa, where he wrote a diary “ Damned days"- a furious denunciation of the revolution and Bolshevik power.

It is dangerous for a writer who so vehemently criticizes the new government to remain in the country. In January 1920, Ivan Alekseevich left Russia. He leaves for Constantinople, and in March ends up in Paris. A collection of short stories entitled “Mr. from San Francisco” was published here, which the public greeted enthusiastically.

Since the summer of 1923, Ivan Bunin lived in the Belvedere villa in ancient Grasse, where he was visited. During these years, the stories “Initial Love”, “Numbers”, “Rose of Jericho” and “Mitya’s Love” were published.

In 1930, Ivan Alekseevich wrote the story “The Shadow of a Bird” and completed the most significant work, created in exile, is the novel “The Life of Arsenyev.” The description of the hero’s experiences is covered with sadness about the departed Russia, “which perished before our eyes in such a magical short term».

In the late 1930s, Ivan Bunin moved to the Villa Zhannette, where he lived during the Second World War. The writer worried about the fate of his homeland and joyfully greeted the news of the slightest victory Soviet troops. Bunin lived in poverty. He wrote about his difficult situation:

“I was rich - now, by the will of fate, I suddenly became poor... I was famous throughout the world - now no one in the world needs me... I really want to go home!”

The villa was dilapidated: the heating system did not function, there were interruptions in electricity and water supply. Ivan Alekseevich spoke in letters to friends about the “constant famine in the caves.” In order to get at least a small amount of money, Bunin asked a friend who had left for America to publish the collection “ Dark alleys" The book in Russian with a circulation of 600 copies was published in 1943, for which the writer received $300. The collection includes the story “ Clean Monday" Ivan Bunin’s last masterpiece, the poem “Night,” was published in 1952.

Researchers of the prose writer's work have noticed that his stories and stories are cinematic. For the first time, a Hollywood producer spoke about film adaptations of Ivan Bunin’s works, expressing a desire to make a film based on the story “The Gentleman from San Francisco.” But it ended with a conversation.

In the early 1960s, attention was paid to the work of a compatriot Russian directors. A short film based on the story “Mitya’s Love” was directed by Vasily Pichul. In 1989, the film “Non-Urgent Spring” was released. story of the same name Bunina.

In 2000, the biographical film “His Wife’s Diary,” directed by the director, was released, which tells the story of relationships in the prose writer’s family.

The premiere of the drama " Sunstroke" in 2014. The film is based on the story of the same name and the book “Cursed Days.”

Nobel Prize

Ivan Bunin was first nominated for the Nobel Prize in 1922. The Nobel Prize laureate worked on this. But then the prize was given to the Irish poet William Yates.

In the 1930s, Russian emigrant writers joined the process, and their efforts were crowned with victory: in November 1933, the Swedish Academy awarded Ivan Bunin a prize for literature. The address to the laureate said that he deserved the award for “recreating in prose a typical Russian character.”

Ivan Bunin quickly squandered the 715 thousand francs of his prize. In the very first months, he distributed half of it to those in need and to everyone who turned to him for help. Even before receiving the award, the writer admitted that he had received 2,000 letters asking for financial help.

3 years after receiving the Nobel Prize, Ivan Bunin plunged into habitual poverty. Until the end of his life he never had own home. Bunin best described the state of affairs in short poem"The Bird Has a Nest" contains the lines:

The beast has a hole, the bird has a nest.
How the heart beats, sadly and loudly,
When I enter, being baptized, into someone else's rented house
With his already old knapsack!

Personal life

The young writer met his first love when he worked at Orlovsky Vestnik. Varvara Pashchenko, a tall beauty in pince-nez, seemed too arrogant and emancipated to Bunin. But soon he found in the girl interesting interlocutor. A romance broke out, but Varvara’s father did not like the poor young man with vague prospects. The couple lived without a wedding. In his memoirs, Ivan Bunin calls Varvara “the unmarried wife.”

After moving to Poltava and without that difficult relationships worsened. Varvara, a girl from a wealthy family, was fed up with her miserable existence: she left home, leaving Bunin a farewell note. Soon Pashchenko became the wife of actor Arseny Bibikov. Ivan Bunin had a hard time with the breakup; his brothers feared for his life.

In 1898, in Odessa, Ivan Alekseevich met Anna Tsakni. She became Bunin's first official wife. The wedding took place that same year. But the couple did not live together for long: they separated two years later. The marriage produced the writer’s only son, Nikolai, but in 1905 the boy died of scarlet fever. Bunin had no more children.

The love of Ivan Bunin’s life is his third wife Vera Muromtseva, whom he met in Moscow, on literary evening in November 1906. Muromtseva, a graduate of the Higher Women's Courses, was fond of chemistry and spoke three languages ​​fluently. But Vera was far from literary bohemia.

The newlyweds got married in exile in 1922: Tsakni did not give Bunin a divorce for 15 years. He was the best man at the wedding. The couple lived together until Bunin's death, although their life could not be called cloudless. In 1926, rumors appeared among the emigrants about a strange love triangle: in the house of Ivan and Vera Bunin lived a young writer Galina Kuznetsova, for whom Ivan Bunin had far from friendly feelings.

Kuznetsova is called last love writer. She lived in the villa of the Bunins for 10 years. Ivan Alekseevich experienced a tragedy when he learned about Galina’s passion for the sister of the philosopher Fyodor Stepun, Margarita. Kuznetsova left Bunin’s house and went to Margot, which became the reason for the writer’s protracted depression. Friends of Ivan Alekseevich wrote that Bunin at that time was on the verge of madness and despair. He worked day and night, trying to forget his beloved.

After breaking up with Kuznetsova, Ivan Bunin wrote 38 short stories, included in the collection “Dark Alleys”.

Death

In the late 1940s, doctors diagnosed Bunin with pulmonary emphysema. At the insistence of doctors, Ivan Alekseevich went to a resort in the south of France. But my health did not improve. In 1947, 79-year-old Ivan Bunin last time spoke to an audience of writers.

Poverty forced him to turn to Russian emigrant Andrei Sedykh for help. He obtained a pension for a sick colleague from the American philanthropist Frank Atran. Until the end of Bunin’s life, Atran paid the writer 10 thousand francs monthly.

In the late autumn of 1953, Ivan Bunin's health deteriorated. He didn't get out of bed. Shortly before his death, the writer asked his wife to read the letters.

On November 8, the doctor confirmed the death of Ivan Alekseevich. Its cause was cardiac asthma and pulmonary sclerosis. The Nobel laureate was buried in the Sainte-Genevieve-des-Bois cemetery, the place where hundreds of Russian emigrants found rest.

Bibliography

• "Antonov apples"
• "Village"
• "Sukhodol"
• "Easy breath"
• "Chang's Dreams"
• "Lapti"
• "Grammar of Love"
• "Mitya's love"
• "Cursed Days"
• "Sunstroke"
• "The Life of Arsenyev"
• "Caucasus"
• "Dark alleys"
• "Cold autumn"
• "Numbers"
• "Clean Monday"
• "The Case of Cornet Elagin"

Together with a huge dusty-black cloud setting from behind the garden, from behind centuries-old birches and gray Italian poplars, the dazzling sunlight, its dry steppe heat becomes more and more burning - and the estate becomes more and more numb, the foliage flows more and more finely and silvery poplars.

Black hell surrounds the joyful sunny world of the estate.

There is an abundance of contentment and happiness in the estate.

The house is full of guests, neighbors, relatives, their own and other people's servants - it's a name day in the house.

Lunch is going on, long, unusual, with pies, with amber broth, with marinades for fried turkeys, with thick liqueurs, with ice cream, with champagne in narrow antique glasses with gilded edges.

And I, too, am in the estate, in the house, at dinner, but at the same time, all this day, I only see the estate, the guests, and even myself: I feel outside of everything, outside of life.

I am a boy, a child, a smart and happy heir to this whole world, and I, too, feel festive, especially from these grandfather’s glasses full of bitter-sweet, thin-prickly wine, but at the same time it’s unspeakably heavy, so heavy, as if the whole universe is on the edge of destruction, death.

From this terrible cloud that surrounds the world like hell, from this growing silence?

Oh no! Because, it turns out, I’m not the only one outside of everything, outside of life: everyone around me is also outside of it, although they move, drink, eat, talk, laugh.

And also because I feel a terrible long ago, the antiquity of everything that I see, in which I participate on this fateful, unlike anything else (and real, and at the same time so long ago) birthday day, on this so dear and dear to me at the same time such a distant and fabulous country.

And such sorrow grows in my soul that I finally break this dream...

Deep winter night, Paris.