It is unlikely that anyone will argue that some of the best pages of Bunin’s prose are dedicated to Woman. The reader is presented with amazing female characters, in the light of which they fade men's images. This is especially true for the book “Dark Alleys”. Women play here main role. Men, as a rule, are just a background that sets off the characters and actions of the heroines.
Bunin always sought to comprehend the miracle of femininity, the secret of irresistible female happiness. “Women seem somewhat mysterious to me. The more I study them, the less I understand,” he writes out this phrase from Flaubert’s diary.
Here in front of us is Nadezhda from the story “Dark Alleys”: “... a dark-haired, also black-browed and also still beautiful woman beyond her age, who looked like an elderly gypsy, with dark fluff on her upper lip and along her cheeks, walked lightly, but complete, with big breasts under a red blouse, with a triangular belly, like a goose’s, under a black woolen skirt.” With amazing skill, Bunin finds the right words and images. They seem to have color and shape. A few precise and colorful strokes - and before us is a portrait of a woman. However, Nadezhda is good not only in appearance. She has a rich and deep inner world. For more than thirty years she has kept in her soul the love for the master who once seduced her. They met by chance in an “inn” by the road, where Nadezhda is the hostess and Nikolai Alekseevich is a traveler. He is not able to rise to the height of her feelings, to understand why Nadezhda did not marry “with such beauty that ... she had,” how one can love one person all his life.
In the book “Dark Alleys” there are many other charming female characters: sweet gray-eyed Tanya, a “simple soul”, devoted to her beloved, ready to make any sacrifice for him (“Tanya”); the tall, stately beauty Katerina Nikolaevna, the daughter of her age, who may seem too bold and extravagant (“Antigone”); simple-minded, naive Polya, who retained the childish purity of her soul, despite her profession (“Madrid”) and so on.
The fates of most of Bunin's heroines are tragic. Suddenly and soon the happiness of Olga Alexandrovna, an officer's wife, who is forced to serve as a waitress ("In Paris"), breaks up with her beloved Rusya ("Rusya"), and Natalie ("Natalie") dies from childbirth.
The ending of another short story in this cycle, “Galya Ganskaya,” is sad. The hero of the story, the artist, never tires of admiring the beauty of this girl. At thirteen years old, she was “sweet, playful, graceful...extraordinarily, her face with light brown curls along her cheeks, like an angel.” But time passed, Galya grew up: “... no longer a teenager, not an angel, but an amazingly pretty thin girl... Her face under a gray hat is half covered with an ashen veil, and aquamarine eyes shine through it.” Her feeling for the artist was passionate, and his attraction to her was great. However, he soon got ready to leave for Italy for a long time, for a month and a half. In vain does the girl persuade her lover to stay or take her with him. Having been refused, Galya committed suicide. Only then did the artist realize what he had lost.
It is impossible to remain indifferent to the fatal charm of the Little Russian beauty Valeria (“Zoyka and Valeria”): “...she was very beautiful: strong, well-made, with thick dark hair, with velvet eyebrows, almost fused, with menacing eyes the color of black blood, with a hot dark blush on a tanned face, with a bright shine of teeth and full cherry lips.” Heroine little story“Comargues,” despite the poverty of her clothes and the simplicity of her manners, simply torments men with her beauty. The young woman from the short story “One Hundred Rupees” is no less beautiful.
Her eyelashes are especially beautiful: “...like those heavenly butterflies that twinkle so magically on the heavenly Indian flowers.” When the beauty reclines in her reed chair, “measurably flickering with the black velvet of her butterfly eyelashes,” waving her fan, she gives the impression of a mysteriously beautiful, unearthly creature: “Beauty, intelligence, stupidity - all these words did not suit her, just as it did not suit her.” everything human: truly she was as if from some other planet.” And what is the surprise and disappointment of the narrator, and with him ours, when it turns out that anyone with a hundred rupees in their pocket can possess this unearthly charm!
The string of charming female characters in Bunin's short stories is endless. But, speaking about the female beauty captured on the pages of his works, one cannot fail to mention Olya Meshcherskaya, the heroine of the story “Easy Breathing”. What was it like amazing girl! This is how the author describes her: “At the age of fourteen, she thin waist and slender legs, breasts and all those forms were already clearly outlined, the charm of which has never yet been expressed by human words; at fifteen she was already considered a beauty.” But this was not the main essence of Olya Meshcherskaya’s charm. Everyone has probably seen very beautiful faces, which you get tired of looking at after just a minute. Olya was, first of all, a cheerful, “lively” person. There is not a drop of primness, affectation or self-satisfied admiration of her beauty in her: “And she was not afraid of anything - not ink stains on her fingers, not a flushed face, not disheveled hair, not a knee that became bare when falling while running.” The girl seems to radiate energy and joy of life. However, “the more beautiful the rose, the faster it fades.” The ending of this story, like other Bunin short stories, is tragic: Olya dies. However, the charm of her image is so great that even now romantics continue to fall in love with it. This is how K.G. writes about it. Paustovsky: “Oh, if I only knew! And if I could! I would strew this grave with all the flowers that bloom on earth. I already loved this girl. I shuddered at the irreparability of her fate. I... naively reassured myself that Olya Meshcherskaya was Bunin’s fiction, that only a penchant for a romantic perception of the world made me suffer because of my sudden love for dead girl».
Paustovsky called the story “Easy Breathing” a sad and calm reflection, an epitaph to girlish beauty.
On the pages of Bunin's prose there are many lines dedicated to sex, descriptions of naked female body. Apparently, the writer’s contemporaries more than once reproached him for “shamelessness” and base feelings. This is the rebuke the writer gives to his ill-wishers: “... how I love... you, “women of men, a network of human deception”! This “network” is something truly inexplicable, divine and devilish, and when I write about it, try to express it, I am reproached for shamelessness, for low motives... It is well said in one old book: “The writer has the same full right to be bold in their verbal depictions of love and its faces, which at all times was provided in this case to painters and sculptors: only vile souls see vileness even in the beautiful...”
Bunin knows how to speak very frankly about the most intimate things, but never crosses the line where there is no longer a place for art. Reading his short stories, you don’t find even a hint of vulgarity or vulgar naturalism. The writer subtly and tenderly describes love relationship, “Earthly love.” “And how he hugged his wife and he hugged her, her whole cool body, kissing her still wet breast, smelling toilet soap, eyes and lips from which she had already wiped the paint.” ("In Paris").
And how touching are the words of Rus' addressed to her beloved: “No, wait, yesterday we kissed somehow stupidly, now I’ll kiss you first, just quietly, quietly. And you hug me... everywhere...” (“Rusya”).
The miracle of Bunin's prose was achieved at the cost of the writer's great creative efforts. Without this, great art is unthinkable. This is how Ivan Alekseevich himself writes about this: “...that wondrous, unspeakably beautiful, something completely special in all earthly things, which is the body of a woman, has never been written by anyone. We need to find some other words.” And he found them. Like an artist and sculptor, Bunin recreated the harmony of colors, lines and shapes of a beautiful female body, glorifying the Beauty embodied in a woman.
In this textbook collected the most popular essays on the works of great writers and poets of the 20th century. This book will help you short time get acquainted with the works of A. P. Chekhov, I. Bunin, M. Gorky, A. Blok, V. Mayakovsky, A. Akhmatova, M. Tsvetaeva, S. Yesenin and other geniuses of Russian literature, and will also provide an invaluable service in preparing for exams. This manual is intended for schoolchildren and students.
9. Women's images in the stories of I. Bunin
It is unlikely that anyone will argue that some of the best pages of Bunin’s prose are dedicated to Woman. The reader is presented with amazing female characters, in the light of which male images fade. This is especially true for the book “Dark Alleys”. Women play a major role here. Men, as a rule, are just a background that sets off the characters and actions of the heroines.
I. Bunin always sought to comprehend the miracle of femininity, the secret of irresistible female happiness. “Women seem somewhat mysterious to me. The more I study them, the less I understand,” he writes out this phrase from Flaubert’s diary.
The heroines of I. Bunin's late prose are distinguished by directness of character, bright individuality and soft sadness. The unforgettable image of Nadezhda from the story “Dark Alleys”. A simple Russian girl was able to selflessly and deeply fall in love with the hero, even years did not erase his appearance. Meeting after 30 years, she proudly objects ex-lover: “What does God give to whom, Nikolai Alekseevich. Everyone’s youth passes, but love is another matter... No matter how much time passed, she still lived alone. I knew that you had not been the same for a long time, that it was as if nothing had happened for you, but…” Only a strong and noble nature is capable of such a boundless feeling. I. Bunin seems to rise above the heroes of the story, regretting that Nadezhda did not meet a man who was able to appreciate and understand her beautiful soul. But it's too late to regret anything. Gone forever best years.
But there is no unhappy love, as the heroes of another wonderful story, “Natalie,” claim. Here, a fatal accident separates the lovers, still too young and inexperienced, who perceive the absurdity as a catastrophe. However, life is much more diverse and generous than one might imagine. Fate brings lovers together again in adulthood, when much is understood and comprehended. It seems that fate has turned favorably towards Natalie. She still loves and is loved. Boundless happiness fills the souls of the heroes, but not for long: in December Natalie “died on Lake Geneva in premature birth.”
What is happening, why is it impossible for the heroes to enjoy earthly happiness? A wise artist and man, I. Bunin saw too little happiness and joy in real life. Being in exile, far from Russia, the writer could not imagine serene and complete happiness far from his homeland. This is probably why his heroines feel the bliss of love only for a moment and lose it.
In the book “Dark Alleys” there are many other charming female characters: sweet gray-eyed Tanya, a “simple soul”, devoted to her beloved, ready to make any sacrifice for him (“Tanya”); the tall, stately beauty Katerina Nikolaevna, the daughter of her age, who may seem too bold and extravagant (“Antigone”); simple-minded, naive Polya, who retained the childlike purity of her soul, despite her profession (“Madrid”), etc.
The fates of most of Bunin's heroines are tragic. Suddenly and soon the happiness of Olga Alexandrovna, an officer's wife, who is forced to serve as a waitress ("In Paris"), breaks up with her beloved Rusya ("Rusya"), and Natalie ("Natalie") dies from childbirth.
The string of charming female characters in Bunin's short stories is endless. But, speaking about the female beauty captured on the pages of his works, one cannot fail to mention Olya Meshcherskaya, the heroine of the story “Easy Breathing”. What an amazing girl she was! This is how the author describes her: “At the age of fourteen, with a thin waist and slender legs, her breasts and all those forms, the charm of which had never yet been expressed by human words, were already clearly outlined; at fifteen she was already considered a beauty.” But this was not the main essence of Olya Meshcherskaya’s charm. Everyone has probably seen very beautiful faces that you get tired of looking at after just a minute. Olya was, first of all, a cheerful, “lively” person. There is not a drop of stiffness, affectation or self-satisfied admiration of her beauty in her: “And she was not afraid of anything - not ink stains on her fingers, not a flushed face, not disheveled hair, not a knee that became bare when falling while running.” The girl seems to radiate energy and joy of life. However, “the more beautiful the rose, the faster it fades.” The ending of this story, like other Bunin short stories, is tragic: Olya dies. However, the charm of her image is so great that even now romantics continue to fall in love with it. This is how K. G. Paustovsky writes about this: “Oh, if I only knew! And if I could! I would strew this grave with all the flowers that bloom on earth. I already loved this girl. I shuddered at the irreparability of her fate. I...naively reassured myself that Olya Meshcherskaya was Bunin’s fiction, that only a penchant for a romantic perception of the world made me suffer because of my sudden love for the dead girl.” K. G. Paustovsky called the story “Easy Breathing” a sad and calm reflection, an epitaph to girlish beauty.
Like an artist and sculptor, Bunin recreated the harmony of colors, lines and forms of a beautiful female body, glorifying the beauty embodied in a woman.
At the very beginning of Bunin’s work “,” a cemetery and the fresh grave of the main character of the story, Olya Meshcherskaya, opens before us. All further narration takes place in the past tense and describes to us not much, but very bright life young girl.
Olya was open and very kind person who loves life to the fullest. The girl was from a rich family. At the beginning of the story, Bunin shows us Olya as a simple, no different high school student in a colorful dress. One thing made her stand out from the crowd - her childish spontaneity and large eyes burning with joy and fun. Olya was not afraid of anything and was not shy. She was not ashamed of her disheveled hair, ink stains on her hands, or her knees. Nothing overshadowed her lightness and airiness.
Later, Bunin describes the process of Olya’s sharp maturation. In a short period of time, an inconspicuous girl turned into a very beautiful girl. But even though she was a beauty, she did not abandon her childish spontaneity.
Not all my long life Olya strove for something sublime and bright. Lacking wise advice from her surroundings, the girl sought to learn everything about personal experience. It cannot be said that Olya was a cunning and insidious person, she simply enjoyed life, fluttering like a butterfly.
Ultimately, all this brought the girl severe mental trauma. Olya became a woman too early and for this act she reproached herself for the rest of her life. Most likely, she was looking for an opportunity to commit suicide. After all, how can one explain her action when she gave a page from her diary, which described the moment of her intimacy with Malyutin, to the officer whom she had planned to marry? The officer then shot and killed the girl in front of hundreds of witnesses.
Olya Meshcherskaya became " easy breathing”, which dissipated in her carefree and spontaneous life.
In completely different colors, Bunin shows us Olina, a cool lady. The author does not name her. All we know about her is that she was no longer a young woman with gray hair and that she lived in some kind of imaginary world of her own. At the end of the story the author tells us that cool lady Every Sunday I came to the girl’s grave and thought about something for a long time.
In these two female images, Bunin showed us two worlds: one is cheerful and real, filled with feelings, and the second is invented, perishable. Light breathing and a suffocating sigh.
- 70.00 KbFemale images in works
I.A. Bunina.
Introduction
A woman is a subtle, elusive world, beyond the understanding of men. And the only one who can reveal the secret of a woman is a writer, we see evidence of this in literature.
Women in the literature of the 19th century very often act as bearers of moral and spiritual qualities and values affirmed by the author. They are undoubtedly more humane, more sublime, spiritually richer and even, at times, stronger than men.
A woman’s inner world, as a rule, is formed in relative independence from the influence of the social environment, from the bustle of everyday life, in a girlish oasis, sublime book impressions, ideal dreams. The sphere of her interests and aspirations is the sphere of feeling, high love, moral ideality. Writers of the 19th century very vividly and emotionally reveal female nature. One of these writers is Ivan Alekseevich Bunin. A connoisseur of female character, a singer of beauty, he gives us a wonderful gallery of female images in his poetic prose.
Relevance
The works of I. A. Bunin cannot leave anyone indifferent - neither a young reader nor a person wise with life experience. They are sad and sublime, full of reflection, truthful. Bunin does not exaggerate when he talks about loneliness, about sorrows, about the troubles that haunt a person throughout his life. High school students read Bunin's poetic prose with interest. After all, all the problems: issues of morality, love, and purity, revealed in Bunin’s works, are relevant to this day.
Purpose of the work: Consider and analyze female images in the prose of I.A. Bunina. And also to explore some patterns of the intersection of the material, everyday and spiritual, to find and understand the spiritual and philosophical subtext of Bunin’s story “ Clean Monday».
Female characters in Bunin's stories are especially attractive. The theme of love in Bunin's work occupies a leading place. One way or another, it can be traced in the most different stories and stories. And we understand what the writer wanted to say when he showed how close death and love are in our lives. Bunin always sought to comprehend the miracle of femininity, the secret of irresistible female happiness. “Women seem somewhat mysterious to me. “The more I study them, the less I understand,” he writes this phrase from Flaubert’s diary
Bunin always sought to comprehend the miracle of femininity, the secret of irresistible female happiness. This is especially characteristic of the book “Dark Alleys.” The creation of the cycle of stories “Dark Alleys” was a source of spiritual elation for Bunin during the war years. The author himself considered the works in the collection, written in 1937-1944, to be his highest achievement. Critics defined the cycle of stories as an “encyclopedia of love” or, more precisely, an encyclopedia of love dramas. Love here is depicted as the most beautiful, highest feeling. In each of the stories ("Dark Alleys", "Russia", "Antigone", "Tanya", "In Paris", "Galya Ganskaya", "Natalie", "Clean Monday"; this also includes the one written before "Dark Alleys" " story " Sunstroke") shows the moment of the highest triumph of love. All the stories in the collection are united by the motif of memories of youth and homeland. They are all fictional, which the author himself has repeatedly emphasized. However, all of them, including their retrospective form, are caused by the state of the author’s soul. Women play here the main role. With amazing skill, Bunin finds the right words and images. It seems that they have color and shape. A few precise and colorful strokes - and we have a portrait of a woman.
Here in front of us is Nadezhda from the story “Dark Alleys”: “...a dark-haired, also black-browed and also still beautiful woman for her age, who looked like an elderly gypsy, with dark down on her upper lip and along her cheeks, walked lightly, but was plump. , with large breasts under a red blouse, with a triangular belly, like a goose’s, under a black woolen skirt.”
In the book “Dark Alleys” there are many other charming female characters: sweet gray-eyed Tanya, a “simple soul”, devoted to her beloved, ready to make any sacrifice for him (“Tanya”); the tall, stately beauty Katerina Nikolaevna, the daughter of her age, who may seem too bold and extravagant (“Antigone”); simple-minded, naive Polya, who retained the childish purity of her soul, despite her profession (“Madrid”) and so on.
The fates of most of Bunin's heroines are tragic. Suddenly and soon the happiness of Olga Alexandrovna, an officer's wife, who is forced to serve as a waitress ("In Paris"), breaks up with her beloved Rusya ("Rusya"), and Natalie ("Natalie") dies from childbirth.
The ending of another short story in this cycle, “Galya Ganskaya,” is sad. The hero of the story, the artist, never tires of admiring the beauty of this girl. At thirteen years old, she was “sweet, playful, graceful... extremely, with a face with light brown curls along her cheeks, like an angel.” But time passed, Galya matured: “... no longer a teenager, not an angel, but an amazingly pretty thin girl... Her face under a gray hat is half covered with an ashen veil, and aquamarine eyes shine through it.” Her feeling for the artist was passionate, and his attraction to her was great. However, he soon got ready to leave for Italy for a long time, for a month and a half. In vain does the girl persuade her lover to stay or take her with him. Having been refused, Galya committed suicide. Only then did the artist realize what he had lost.
It is impossible to remain indifferent to the fatal charm of the Little Russian beauty Valeria (“Zoika and Valeria”): “...she was very beautiful: strong, well-made, with thick dark hair, with velvet eyebrows, almost fused, with menacing eyes the color of black blood, with a hot a dark blush on a tanned face, with a bright shine of teeth and full cherry lips.” The young woman from the short story “One Hundred Rupees” is no less beautiful. Her eyelashes are especially beautiful: “...like those heavenly butterflies that twinkle so magically on the heavenly Indian flowers.” When the beauty reclines in her reed chair, “measurably flickering with the black velvet of her butterfly eyelashes,” waving her fan, she gives the impression of a mysteriously beautiful, unearthly creature: “Beauty, intelligence, stupidity - all these words did not suit her, just as it did not suit her.” everything human: truly she was as if from some other planet.”
The string of charming female characters in Bunin's short stories is endless. It is impossible not to mention the unfortunate, abandoned, still “green” girl Parashka (“On the Road”, 1913). The girl gives herself to the first person she meets, who turns out to be a thief and a scoundrel. The author does not obscure her instinctive attraction to the male strong start, the desire to “spill the wine” of one’s blossoming femininity. But that is not where the origin of the unfolding drama lies. The lack of clarity of the simplest concepts, loneliness, and the unclean environment in which Parashka lives make her easy and lifeless for a potential criminal. The unfortunate woman, as soon as she falls under his power, painfully feels the terrible instability and depravity of her existence.
At the other “pole” of life, compared to Parashka, is the beauty, daughter of wealthy aristocrats Olya Meshcherskaya, the heroine of the story “Easy Breathing”. The story itself is light and transparent, like Olya Meshcherskaya’s whole life. Only what happened to Olya cannot be deciphered so easily.
From the first lines of the story, one gets a dual impression: a sad, deserted cemetery, where on one of the crosses there is “a photographic portrait of a schoolgirl with joyful, amazingly lively eyes.” Life and death, joy and tears - a symbol of the fate of Olya Meshcherskaya
This contrast is further developed. Cloudless childhood, adolescence of the heroine: Olya stood out from the carefree and cheerful crowd of girls of her age. She loved life, accepting it as it was. The young schoolgirl has much more joys and hopes than sorrows and disappointments. Besides, she was really lucky: she was pretty, from a rich family. “Yuna was not afraid of anything” and therefore she was always open, natural, light, attracting the attention of those around her with her love of life, the sparkle of her clear eyes, and the grace of her movements.
Having developed physically early, turning into charming girl Olya Meshcherskaya intuitively strove to fill her soul with something sublime, bright, but she had neither experience nor reliable advisers, so true to herself, she wanted to try everything on her own. Not distinguished by either cunning or cunning, she fluttered frivolously between gentlemen, receiving endless pleasure from the awareness of her own femininity. It’s more than unusual to combine her half-childish state as a student running around during recess, and then her almost proud recognition that she is already a woman. Yes, she felt like a woman very early. “But is that bad?” – asks the author. To love and be loved, to find happiness and strength in the inner feeling of belonging to the weaker sex - don’t many people need to be taught this specifically even today? However, not yet able to stop her experiments in time, Olya learned the physical side of love too early for her still fragile soul, which became the most unpleasant surprise for her: “I don’t understand how this could happen, I’m crazy, I never thought what am I like! Now I have only one way out... I feel such disgust for him that I can’t survive it!..” It seems that what happened was for Olga the first heavy blow in her life, which caused a cruel emotional drama. Unable to do anything half-heartedly, giving herself over to thoughts and feelings completely, without a trace, Olya probably hated herself for her unconscious transgression. There is no vice, no revenge, no firmness of decision in Olya’s actions. But just such a turn is terrible: a creature perishes, not understanding the horror of its situation.
Bunin compares Olya with a light breath that “dissipated in the world,” in the sky, the wind, that is, in life to which she always completely belonged.
And how contrasting the image of another woman seems, her cool lady, an “middle-aged girl” whose name we don’t even know. She had long lived “by some kind of fiction that replaced her real life.” Now her dream, the subject of her persistent thoughts and feelings, has become Olya, whose grave she visits so often.
Two female images, so different, stand before your eyes after reading a short story: Olya - a precociously developed woman and the head of the gymnasium - a gray-haired “middle-aged girl”, life and a dream about life, a flood of feelings and an invented, illusory world of her own sensations. Easy breathing and oxygen mask. It awakens thoughts about the perishable and the eternal, about life and its transience. It helps to see the beauty of the world behind simple phenomena and objects, to realize the value of an ever-changing life.
A.I. Bunin’s story “Clean Monday” is very interesting and unusual in its own way. Bunin put his soul into the creation of this story. According to his wife, on one of the sleepless nights he left his confession on a piece of paper: “I thank God that he gave me the opportunity to write “Clean Monday.”
Heroes: He and she are Russians, they live in Russia, but they are beautiful not with Russian, but with exotic beauty: “At that time I was beautiful for some reason, with hot southern beauty.” “She had some kind of Indian, Persian beauty: a dark-amber face, magnificent and somewhat ominous hair in its thick blackness...” “Most often silent...” "The Tsar-Maiden Queen of Shamakhan."
In her apartment, overlooking the oldest part of Moscow, languages, styles, objects from all over the world were mixed: a Turkish sofa, an expensive piano, “ Moonlight Sonata", books by Hofmannsthal, Schnitzler, Tetmeyer, Przybyshevsky, portrait of the anathematized Tolstoy.
These interior details emphasize that the heroine herself has mixed “high” and “low”. She loved delicious dishes, entertainment, drank a lot, smoked, wore beautiful expensive clothes, and allowed him impudent caresses. Before the reader is a modern woman, born of the New Time. And yet there was a lot in her that was incomprehensible, mysterious, romantic, dreamy, and wise. It seems that incompatible things have been combined in one image.
Who will win in it: a patriarchal woman or an emancipated person?
She was unattainable in her perfection: she was so beautiful that people watched her, she wore a garnet velvet dress or a black velvet one, shoes with gold clasps, and diamond earrings emphasized the exquisite beauty of the heroine. It seems that thoughts about the everyday are never born in this perfect form. How simple, earthly, her confession sounds: “It’s not clear why,” she said thoughtfully, stroking my beaver collar, “but it seems that nothing can be better than the smell of winter air...”
The author helps the reader to see a tender, trembling soul in the heroine. Her physical appearance, bright, bold, catchy, frivolous, does not correspond to the depth of her spiritual experiences. It turns out that there is not a single historical place in Moscow and the surrounding area where she has not been or would not like to be - from the schismatic cemetery to Griboedov’s apartment. She is interested in the history of the Fatherland, this is not clear to the hero: “... There was not a soul passers-by, and who would Of these, Griboyedov could be needed.” She is interested in the life of Peter and Fevronia, as a symbol of eternal love. She reflects on the purpose of man together with Platon Karataev, tries to understand the philosophical views of L. Tolstov, and admires the heroes of the Battle of Kulikovo, Peresvet and Oslyabya. Pays tribute to Chekhov, a true Russian intellectual. She loves “Russian, chronicle, Russian legends”, rereads them so often that she memorizes them. She remembers how last year, on Holy Day, she went to the Miracle Monastery: “There are puddles everywhere, the air is already soft, spring, my soul is somehow tender, sad, and all the time there is this feeling of the homeland of her ancient times.” The heroine says about herself: “I often go in the mornings or evenings, when you don’t drag me to restaurants and Kremlin cathedrals.”
At the beginning of the story, the heroine speaks in short sentences that end with an ellipsis:
You don't like everything!
Yes, a lot...
No, I'm not fit to be a wife. I'm not good, I'm not good...
The image of the heroine gradually develops, and so does her speech: from short sentences to complex constructions with philosophical concepts and definitions:
How good. And now only this Rus' remains in some northern monasteries. Yes, even in church hymns. I recently went to the Conception Monastery - you can’t imagine how wonderfully the stichera are sung there! And in Chudovoy it’s even better. Last year I kept going there for Strastnaya. Oh, how good it was! There are puddles everywhere, the air is already soft, my soul is somehow tender, sad, and all the time there is this feeling of the homeland, its antiquity... All the doors in the cathedral are open, all day long ordinary people come and go, all day long the service... Oh, I’ll leave I’m going somewhere to a monastery, to some very remote one, in Vologda, Vyatka!
But what remains unchanged is that she still doesn’t say something, holds something back, leaving the unsaid for speculation,
Bunin, gradually changing his narrative style, leads the reader to the idea that the heroine’s departure from the worldly bustle is natural and deliberate. And it’s not all about religiosity, in her opinion, but about the desire to live a spiritual life. Giving up life “here” is not a spiritual impulse, but a thoughtful decision that the heroine can justify. She knows everything about the modern world, but rejects what she learns. Yes, the heroine is trying to find meaning, support in the world around her, but she doesn’t find it, even the hero’s love does not bring her happiness. She cannot respond to her strong feelings and, surrendering to him, goes to the monastery.
Description of work
A woman is a subtle, elusive world, beyond the understanding of men. And the only one who can reveal the secret of a woman is a writer, we see evidence of this in literature.
Women in the literature of the 19th century very often act as bearers of moral and spiritual qualities and values affirmed by the author. They are undoubtedly more humane, more sublime, spiritually richer and even, at times, stronger than men.
A woman’s inner world, as a rule, is formed in relative independence from influence social environment, from the bustle of life, in a girlish oasis, sublime bookish impressions, ideal dreams. The sphere of her interests and aspirations is the sphere of feeling, high love, and moral ideality. Writers of the 19th century very vividly and emotionally reveal female nature. One of these writers is Ivan Alekseevich Bunin. A connoisseur of female character, a singer of beauty, he gives us a wonderful gallery of female images in his poetic prose.
Denisova R.A.
This work is devoted to the analysis of female images in the works of I.A. Bunina.
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MINISTRY OF EDUCATION AND SCIENCE OF THE KRASNODAR REGION
STATE BUDGET PROFESSIONAL
EDUCATIONAL INSTITUTION OF KRASNODAR REGION
"BRYUKHOVETSKY AGRICULTURAL COLLEGE"
Work theme:
“Female images in the works of I.A. Bunin"
2nd year student of State Budgetary Educational Institution KK "BAK",
student in specialty
"Land and property relations"
Head: Irina Nikolaevna Samoilenko,
teacher of Russian language and literature
Art. Bryukhovetskaya 2015
Introduction…………………………………………………………………………………pp. 3
- Chapter Features of creativity I.A. Bunin…………………………pp. 5
- Chapter Features of female images in the works of I.A. Bunin…..p. 10
Conclusion……………………………………………………………………....p. 19
References……………………………………………………......page. 21
Introduction
A work of art is a thought expressed figuratively. Through artistic image- “the main one in artistic creativity a way of perceiving and reflecting reality,” the author creates and conveys, and the reader perceives, a picture of the world and the experiences of the characters. Russian literature is rich in a variety of female characters: some heroines are strong in character, spirit, smart, selfless, others are tender and vulnerable. The Russian woman with her amazing inner world could not leave many writers indifferent. For the first time, female images appear in works ancient Russian literature, but become popular in creativity writers of the 19th century– XX centuries: more and more often, heroines appear on the pages of novels, short stories, and novellas.
I.A. Bunin is an expert human soul. In his works, the writer accurately and completely conveyed the experiences of people and the intertwining of their destinies. I.A. Bunin can rightfully be called an expert on the female heart, the female soul. The characters of the heroines in the writer’s works are varied, the images he created are multifaceted, but all women have one thing in common - the desire to love, and they can love deeply and selflessly.
This research work is devoted to the analysis of images of women in the works of I.A. Bunina.
The object of this study is the stories of I.A. Bunina.
The subject of the study is female images in the works of I.A. Bunina.
The relevance of the work is due to the fact that despite the significant number of literary studies, dedicated to analysis female images in Russian literature of the first half of the 20th century, and the undoubted interest shown in a certain problem, it can be noted that the question of how a woman was depicted in the works of I.A. Bunin, what methods of depiction the author uses, have been covered to an insignificant extent by researchers.
The purpose of this work is to describe the female images presented in Bunin’s works.
To achieve this goal, a number of tasks need to be solved:
Consider the features of I.A.’s creativity. Bunin;
Analyze female characters in the writer’s stories;
Draw a conclusion about the role played by female images in the works of I. A. Bunin.
In progress research work The following methods were used: exploratory, descriptive.
The research work consists of an introduction, main part, conclusion and list of references.
Chapter 1. Features of I.A.’s creativity Bunina
The fate of Ivan Alekseevich Bunin was both happy and tragic. He reached incomparable heights in his literary field, the first among other Russian writers to receive the Nobel Prize, and was recognized as an outstanding master of words. But Bunin lived for thirty years in a foreign land, with an unquenchable longing for his homeland. As a sensitive artist, Bunin felt the proximity of great social upheavals. Watching around social evil, ignorance, cruelty, Bunin at the same time, with sorrow and fear, expected the imminent collapse, the fall of the “great Russian power.” This determined his attitude towards the revolution and fratricidal civil war, forced me to leave my homeland.
Bunin's literary activity began in the late 80s of the 19th century. The young writer, in such stories as “Kastryuk”, “On the Other Side”, “On the Farm”, depicts the hopeless poverty of the peasantry.
The works of the 90s are distinguished by democracy, knowledge folk life. Bunin meets writers of the older generation. During these years, Bunin tried to combine realistic traditions with new techniques and principles of composition. He becomes close to impressionism. In the stories of that time, a blurred plot dominates, a musical rhythmic pattern is created.
In the story "Antonov Apples" they are shown outwardly not related episodes the lives of a fading patriarchal-noble life, which are colored with lyrical sadness and regret. However, the story is not only about longing for desolate noble estates. On the pages, enchanting landscapes appear before us, covered with a feeling of love for the homeland, which affirm the happiness of that moment when a person can completely merge with nature.
In 1909, Bunin returned to the theme of the village.
On the eve of the revolutionary events, Bunin writes stories, especially exposing the pursuit of profit. They sound a condemnation of bourgeois society. In the story “Mr. from San Francisco,” the writer especially emphasized the ephemeral power of money over a person.
For a long time, the fame of Bunin the prose writer somewhat obscured his poetry for readers. The writer's lyrics provide us with an example of high national culture.
Love to native land, its nature, its history inspires Bunin’s muse. At the turn of the twentieth century, when the first shoots of proletarian literature were already emerging and the symbolist movement was growing stronger, Bunin’s poems stood out for their commitment to strong classical traditions.
Closeness to nature, to village life, her labor interests, her aesthetics could not but affect the formation of the literary tastes and passions of young Bunin. His poetry becomes deeply national. The image of the Motherland, Russia, develops imperceptibly in poetry. He is already prepared with landscape lyrics, which are inspired by the impressions of his native Oryol region, Central Russian nature.
Nature was his favorite theme in his poems. Her image runs through all of his poetic work.
Philosophical lyrics of the period of 1917 are increasingly crowding out landscape poetry. Bunin strives to look beyond reality.
A nobleman by origin, a commoner by way of life, a poet by talent, an analyst by mentality, a tireless traveler, Bunin combined seemingly incompatible facets of his worldview: a sublimely poetic structure of the soul and an analytically sober vision of the world, an intense interest in modern Russia and to the past, to the countries of ancient civilizations, the tireless search for the meaning of life and religious humility before its unknowable essence.
In 1933, “for the strict artistic talent with which he recreated in literary prose typical Russian character" Bunin was awarded the most prestigious prize - Nobel Prize in the field of literature.
IN different years In his work, Ivan Alekseevich approached the theme of love from different angles. Bunin's stories about love are a story about its mysterious, elusive nature, about the secret of a woman's soul, which yearns to love, but will never love. The outcome of love, according to Bunin, is always tragic. It was in love that Bunin saw the “exalted price” of life, in love that gives the consciousness of the “acquisition” of happiness, although always unstable and lost.
If we talk about the early years of his work, the heroes of his works are young and beautiful, and the love between them is open, natural and beautiful, while their youth is accompanied not only by infatuation, but also by quick disappointment.
When Ivan Alekseevich was in exile, he began to write about love, as if looking back at past years. “Love” in his works became more mature, deeper and at the same time saturated with sadness.
From these experiences the greatest in his own way was born artistic value the cycle of stories “Dark Alleys”, which was published in 1943 in New York in a shortened version. The next edition of this series took place in Paris in 1946. It included thirty-eight stories. This collection differed from the coverage of love in Soviet literature.
The theme of love began to be interpreted in a new way by writers in the late nineteenth and early twentieth centuries, when people lived in anticipation of something new and began to look differently at all seemingly unchangeable values. I. A. Bunin also gave his vision of the theme of love. For him, this theme became the basis for a whole series of stories - “Dark Alleys”, which present various manifestations and shades of the feeling of love: this is love as an eternal expectation of a miracle, flashed for a moment in life and lost, and feelings balancing on the brink of temptation and holiness , and love is destiny, a lifelong sentence to it.
“Dark Alleys” is spoken of as a kind of encyclopedia of love, which contains the most diverse and incredible stories about this great and often contradictory feeling.
The very phrase that served as the title for the collection was taken by the writer from the poem “An Ordinary Tale” by N. Ogarev, which is dedicated to first love, which never had the expected continuation.
It was a wonderful spring!
They sat on the shore -
The river was quiet, clear,
The sun was rising, the birds were singing;
The valley stretched beyond the river,
Calm, lush green;
Nearby, a scarlet rosehip was blooming,
There was an alley of dark linden trees.
A special feature of the series of stories “Dark Alleys” can be called moments when the love of two heroes for some reason cannot continue. Often, the obstacle to the ardent feelings of Bunin’s heroes is death, sometimes unforeseen circumstances or misfortunes, but most importantly, love is never allowed to come true.
This is the key concept of Bunin's idea of earthly love between two. He wants to show love at its peak, he wants to emphasize its true richness and highest value, the fact that it does not need to turn into life circumstances like a wedding, marriage or life together.
The stories included in Bunin’s collection are stunning with their varied plots and extraordinary style; they are Bunin’s main assistants, who wants to portray love at the peak of feelings, love that is tragic, but therefore also perfect.
The stories of “Dark Alleys” reveal not only the theme of love, they reveal the depths human personality both souls, and the very concept of “love” seems to be the basis of this difficult and not always happy life. Love doesn't have to be reciprocal to bring unforgettable experience, does not have to turn into something eternal and tirelessly ongoing in order to please and make a person happy.
Bunin insightfully and subtly shows only the “moments” of love, for the sake of which everything else is worth experiencing, for which it is worth living.
The theme of love is revealed by the author in his other stories that are not included in the “Dark Alleys” cycle: “Mitya’s Love,” “Sunstroke,” “Easy Breathing.” In these stories, the heroes do not find family happiness, high feelings are not destroyed either by everyday life or by everyday life.
The female portraits presented in Bunin's stories are truly intriguing and vibrant, as are their love stories.
Particular attention should be paid to the unusual female images that Bunin’s stories are so rich in. It is in love stories that the characters of the heroines are revealed and their emotional experiences are shown. Ivan Alekseevich writes female characters with such grace and originality that the portrait of a woman in each story becomes unforgettable. Bunin's skill lies in several precise expressions and metaphors that instantly paint in the reader's mind the picture described by the author with many colors, shades and nuances.
2. Features of female images in the works of I.A. Bunina
Many works of Russian classics are devoted to the creation of the female image.
Russian writers tried to show in female characters the best features characteristic of our people. In no literature in the world will we meet such beautiful and pure women, distinguished by their faithfulness and with a loving heart, as well as its spiritual beauty. Only in Russian literature is so much attention paid to depicting the inner world and complex experiences of the female soul.
For the first time, female images appear on the pages of ancient Russian literature, but they become popular and are increasingly found on the pages works of the XIX– XX century. They are shown very clearly in such writers and poets as Pushkin Alexander Sergeevich, Nekrasov Nikolai Alekseevich, Tyutchev Fedor Ivanovich, Ostrovsky Alexander Nikolaevich, Bunin Ivan Alekseevich.
In Bunin's book "Dark Alleys" women play the main role. Men, as a rule, are only a background, shading the characters and actions of the heroines. The collection itself contains a story with the same title, “Dark Alleys.” Nadezhda, the main character of the story, “is a dark-haired, black-browed and still beautiful woman beyond her age, looking like an elderly gypsy, with dark fluff on her upper lip and along her cheeks, light on her feet, but plump, with large breasts under a red blouse, with a triangular, like a goose, with her belly under a black woolen skirt,” she was faithful to one man. However, Nadezhda is good not only in appearance. She has a rich and deep inner world. For more than thirty years she has kept in her soul the love for the master who once seduced her. They met by chance in an “inn” by the road, where Nadezhda was the hostess, and Nikolai Alekseevich was a traveler. When reading the story, the reader understands that the hero is not able to rise to the heights of a woman’s feelings, to understand why she did not get married. The hero, turning to Nadezhda, says: “You say you weren’t married? Why? With such beauty as you had? . A simple Russian girl was able to selflessly and deeply fall in love with the hero, even years did not erase his appearance. Having met thirty years later, she proudly objects to her former lover: “What does God give to whom, Nikolai Alekseevich. Everyone’s youth passes, but love is another matter... No matter how much time passed, she lived alone. I knew that you had not been the same for a long time, that it was as if nothing had happened for you...” Only a strong and noble nature is capable of such boundless feeling. The author's position is also visible in the text of the story. Bunin seems to rise above the heroes, regretting that Nadezhda did not meet a person who could appreciate and understand her beautiful soul. But the best years are gone forever.
In another work of the writer, “ Cold autumn", the author paints the image of a woman who also carried love for one man throughout her life. The heroine, who accompanied her fiancé to the war (he was killed a month later), tells the story of her love, beginning the story with the following words: “In June of that year, he visited us on the estate...”. From the very first lines, the reader understands that we are talking about something personal, akin to a diary entry. Not only did the heroine of the story keep love for her fiancé in her heart for thirty years, but she also believed that in her life there was only that September evening when she said goodbye to her lover: “What happened in my life after all?.. .only that cold autumn evening... That’s all that happened in my life - the rest is an unnecessary dream.” Moreover, the heroine sincerely believed that “somewhere out there” the hero was waiting for her with the same love and tenderness as on that autumn evening. The soul died along with that evening, and the woman looks at the remaining years as at someone else’s life, “as the soul looks from above at the body they abandoned” (F. Tyutchev).
In the book “Dark Alleys” there are many other wonderful female images, through which the author conveys sublime feelings, experiences (stories “Rusya”, “Natalie”).
In the story “Rusya,” the author, depicting a girl, gives her the following description: “Thin, tall. She wore a yellow cotton sundress and peasant shorts on her bare feet, woven from some kind of multi-colored wool. In addition, she was an artist and studied at the Stroganov School of Painting. Yes, she herself was picturesque, even iconographic. A long black braid on the back, a dark face with small dark moles, a narrow regular nose, black eyes, black eyebrows... The hair was dry and coarse, slightly curly. All this, with a yellow sundress and white muslin sleeves of a shirt, stood out very beautifully. The ankles and the beginning of the foot in the ankles are all dry, with bones protruding under the thin dark skin.” The image of the woman in the smallest detail was etched in the narrator’s memory for a long time. The author paints the story of two lovers who, like many other heroes of Bunin's stories, are not destined to be together. Happy, mutual feelings end unexpectedly for the heroes themselves: it is Rus’ mother who becomes the reason for their separation: “I understood everything! I felt it, I was watching! Scoundrel, she can't be yours! Only she will step over my corpse to you! If he runs away with you, I’ll hang myself that same day, throw myself off the roof! Scoundrel, get out of my house! Marya Viktorovna, choose: mother or him!” . The girl chooses her mother, but on the last day of the meeting she says to her lover: “And I love you so much now that there is nothing sweeter to me, even this smell inside the cap, the smell of your head and your disgusting cologne!”
The story "Natalie" is dedicated to the theme of love. The author draws two female images, between which the hero rushes. Sonya and Natalie are different from each other, and the hero’s feelings towards them are also different. The hero experiences a heavy carnal attraction to Sonya, in addition, imbued with that trepidation that only happens to a young man to whom female nudity is revealed for the first time. The hero’s feeling for Natalie is more sublime; it is based on admiration and worship. Natalie falls in love with young man, thinking that he loves her friend. Feeling his attention and hearing his “renunciation” of Sonya, she avoids him for several days in a row, apparently trying to reconcile the experiences overwhelming her; finally, she confesses her love herself - only to find him with Sonya that same evening. Then she enters into a reasonable marriage without love, buries her husband and only many years later meets her beloved, accepts the humiliating secrecy of their relationship and dies in childbirth.
The fates of many heroines who are capable of bestowing happiness and who fall in love for life turn out tragically.
Speaking about the beauty of the women presented on the pages of the works, one cannot fail to mention Ola Meshcherskaya (the story “Easy Breathing”). Having developed physically early, turning into a charming girl, Olya Meshcherskaya intuitively strove to fill her soul with something sublime, bright, but she had neither experience nor reliable advisers, therefore, true to herself, she wanted to try everything on her own. Not distinguished by either cunning or cunning, she fluttered frivolously between gentlemen, receiving endless pleasure from the awareness of her own femininity. Olya learned too early for her still fragile soul the physical side of love, which became the most unpleasant surprise for her: “I don’t understand how this could happen, I’m crazy, I never thought I was like this! Now I have only one way out... I feel such disgust for him that I can’t get over it!..” Bunin compares Olya with a light breath that “dissipated in the world,” in the sky, the wind, that is, in life to which she always completely belonged.The ending of this story, like other Bunin short stories, is tragic: Olya dies. However, the charm of her image fascinates readers. This is how K. G. Paustovsky writes about this: “Oh, if I only knew! And if I could! I would strew this grave with all the flowers that bloom on earth. I already loved this girl. I shuddered at the irreparability of her fate. I... naively reassured myself that Olya Meshcherskaya was Bunin’s fiction, that only a penchant for a romantic perception of the world made me suffer because of my sudden love for the dead girl.”
The ending of another short story in this cycle, “Galya Ganskaya,” is sad. The hero of the story, the artist, never tires of admiring the beauty of this girl. At thirteen years old, she was “sweet, playful, graceful... extremely, with a face with light brown curls along her cheeks, like an angel.” But time passed, Galya grew up: “... no longer a teenager, not an angel, but an amazingly pretty thin girl... Her face under a gray hat is half covered with an ashen veil, and aquamarine eyes shine through it.” Her feeling for the artist was passionate, and his attraction to her was great. However, he soon got ready to leave for Italy for a long time, for a month and a half. In vain does the girl persuade her lover to stay or take her with him. Having been refused, Galya committed suicide. Only then did the artist realize what he had lost.
Bunin was proud of his book, especially the story “Clean Monday”. The image of the young man is simple and understandable, but the image of the heroine is unattainable, striking in its inconsistency: “And she had some kind of Indian, Persian beauty: a dark-amber face, magnificent and somewhat ominous hair in its thick blackness, softly shining like black sable fur, eyebrows, eyes as black as velvet coal; The mouth, captivating with velvety crimson lips, was shaded with dark fluff.” This short story is a story-philosophy, a story-teaching. Here the first day of Lent is shown, she is having fun at the “cabbage garden”. Bunin's cabbage plant was given by her eyes. She drank and smoked a lot while there. Everything was disgusting there. According to custom, on such a day, Monday, one could not have fun. The cabbage garden should not have happened on a day like this. The heroine watches these people, who are all vulgarized “with drooping eyelids.” The desire to go to the monastery, apparently, had already matured in her earlier, but the heroine seemed to want to see it to the end, just as she wanted to finish reading the chapter, but that evening everything was finally decided. Through the eyes of the heroine, Bunin shows us that much in this life is vulgarized. The heroine has love, only her love for God. She feels an inner melancholy when she sees the life and people around her. Love for God conquers everything else.
In the work “Sunstroke” Bunin introduces readers to an unusual, but quite life event, when a lasting feeling grew and strengthened from a random, unforced meeting. In the story we see a moment of love, which seems to have no beginning or continuation, no end: although the characters part, the feeling remains for life. Love is depicted as a miracle that cannot be explained. It was this that made the main character, the lieutenant, feel “ten years older.” The names of the heroes are not given in the story, only certain details are mentioned: the hero is a lieutenant, the heroine is married woman with a husband and child. The portrait of the heroine is more important. She is an object of love, an object of all-consuming passion. It is important to note that the carnal side of love is very important and significant for Bunin. The writer emphasizes that the heroine had a tanned body, because she had just been on vacation in Anapa. This woman looks like a child: she is small in stature, her “hand, small and strong, smelled of tan.” The heroine is easy to talk to, “fresh as if she were seventeen.” All these descriptions do not convey to us the inner content of this woman. It is not so important either for the hero or for the writer. What matters is what feeling this woman evokes in the hero. After a night spent, the heroes part. We see that the “beautiful stranger” has a very light attitude towards everything that happened. She “was still simple, cheerful and - already reasonable.” The heroine says that this will not happen again, because she is married. You cannot calmly read the description of the lieutenant’s emotions. At first, he was given an easy-going attitude towards this connection. But after returning to the empty, already soulless room, “the lieutenant’s heart sank.” The author describes the hero’s state in this way: “How wild, scary is everything everyday, ordinary, when the heart is struck... by this strange “sunstroke”, too much love, too much happiness!” . The love that happened between the heroes of the story is like sunstroke.
The palette of feelings is manifested in the story “Mitya’s Love” written in 1924. Here you can clearly see how love and life go hand in hand. Bunin shows the formation of a hero, leading him from love to destruction.In the story, Mitya is haunted by Rubinstein’s romance to the words of Heinrich Heine: “I am from the family of poor Azrov, / Having fallen in love, we die...”. V.N. Muromtseva-Bunin in the book “Bunin’s Life” writes that long years Bunin carried within himself the impression of this romance, which he heard in his youth and in “Mitya’s Love” he seemed to experience it again. main character In the story, Katya, has “a sweet, pretty face, a small figure, freshness, youth, where femininity was still mixed with childishness.” She studies in private theater school, goes to the studio Art Theater, lives with his mother, “an always smoking, always rouged lady with crimson hair,” who left her husband long ago. Unlike Mitya, Katya is not completely absorbed in love; it is no coincidence that Rilke noted that Mitya could not live with her anyway - she is too immersed in a theatrical, false environment. In the spring, important changes occur with Katya - she turns into “a young society lady, always in a hurry somewhere.” Dates with Mitya are becoming shorter and shorter, and Katya’s last outburst of feelings coincides with his departure to the village. Contrary to the agreement, Katya writes Mitya only two letters, and in the second she admits that she cheated on him with the director: “I’m bad, I’m disgusting, spoiled, but I madly love art! I’m leaving - you know with whom...” This letter becomes the last straw - Mitya decides to commit suicide. The connection with Alyonka only increases his despair. This female image is different from those discussed above; the heroine does not carry a sincere, bright feeling in her soul - love, she is next to a man due to her personal interests.
An impudent and vulgar woman is shown in another story by Bunin, “Young Lady Clara.” The heroine's life ends as absurdly as it was lived.
Female images in the works of I.A. A whole string of Bunins. The author draws many types and characters, each of which is alive and real, not leaving the reader indifferent.
It is impossible to remain indifferent to the fatal charm of the Little Russian beauty Valeria (“Zoyka and Valeria”): “...she was very beautiful: strong, well-made, with thick dark hair, with velvet eyebrows, almost fused, with menacing eyes the color of black blood, with a hot dark blush on a tanned face, with a bright shine of teeth and full cherry lips.” The heroine of the short story “Comargues,” despite the poverty of her clothes and the simplicity of her manners, simply torments men with her beauty. The young woman from the short story “One Hundred Rupees” is no less beautiful. Her eyelashes are especially beautiful: “...like those heavenly butterflies that twinkle so magically on the heavenly Indian flowers.” When the beauty reclines in her reed chair, “measurably flickering with the black velvet of her butterfly eyelashes,” waving her fan, she gives the impression of a mysteriously beautiful, unearthly creature: “Beauty, intelligence, stupidity - all these words did not suit her, just as it did not suit her.” everything human: truly she was as if from some other planet.” And what is the surprise and disappointment of the narrator, and with him the reader, when it turns out that anyone with a hundred rupees in their pocket can possess this unearthly charm!
Bunin always sought to comprehend the miracle of femininity, the secret of irresistible female happiness. “Women seem somewhat mysterious to me. The more I study them, the less I understand,” he writes out this phrase from Flaubert’s diary.
In the stories we see that the most important thing for the lyricist were two things: love and a woman. They are intertwined. Women's images are as bright as their love, and vice versa.
The works of P. A. Bunin cover various aspects love. For some characters this feeling evokes a feeling of flight, for others it is the opposite: a feeling close to sadness. None of the stories is similar to the other, each has its own zest, because love has many faces in its manifestation. And most often it is inexplicable, because when they truly love, they can never explain why exactly, for what quality they love a person, but they simply love him because he exists.
The miracle of Bunin's prose was achieved at the cost of the writer's great creative efforts. Without this, great art is unthinkable. This is how Ivan Alekseevich himself writes about this: “...that wondrous, unspeakably beautiful, something completely special in all earthly things, which is the body of a woman, has never been written by anyone. We need to find some other words.” And he found them. Like an artist and sculptor, Bunin recreated the harmony of colors, lines and forms of a beautiful female body, glorifying the beauty embodied in a woman.
Conclusion
A wise artist and man, Bunin saw too little happiness and joy in real life. The writer lived and worked in harsh times; he could not be surrounded by carefree and happy people. Living in exile, far from Russia, the writer could not imagine serene and complete happiness far from his homeland. Being an honest artist, he reflected in his work only what he saw in real life. This is probably why his heroines feel the bliss of love only for a moment and lose it.
The works of I. A. Bunin cover various aspects of love. For some characters this feeling evokes a feeling of flight, for others it is the opposite: a feeling close to sadness. In many stories, love becomes a source of spiritual strength; it often turns out to be the most significant and happiest event in a person’s life. None of the stories is similar to the other, each has its own zest, because love has many faces in its manifestation.
In the works of I.A. Bunin presents female characters that are unlike each other, showing all the shades and different moments in the relationship between lovers: these are sublime experiences (stories “Rusya”, “Natalie”), conflicting feelings (“Clean Monday”), animal manifestations of passion (“Young Lady Clara” ), a flash of feelings akin to sunstroke (“Sunstroke”), love walking next to death (“Mitya’s Love”), love carried through the years (“Cold Autumn”, “Dark Alleys”).
In none of his stories Bunin renounces love; he invariably glorifies true values, the greatness and beauty of a person, a person capable of selfless feelings. He describes love as a high, ideal and wonderful feeling, despite the fact that it gives only a flash of happiness and most often leads to suffering and grief. However, Bunin is primarily interested in true earthly love. Such love is great happiness, but happiness is like a spark: it flared up and went out.
There is a whole string of female images in the book. All female images in Bunin’s works make us think about the complexity of human life, about the contradictions in human character. Here are early-ripened girls, women of extraordinary spiritual beauty, capable of bestowing happiness and who have fallen in love for the rest of their lives, arrogant and vulgar girls, and many other types and characters, each of which is alive and real. The reader is presented with amazing female characters, in the light of which male images fade.
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