Psychologism and features of Bunin's prose: dark alleys. Psychologism and features of external figurativeness of Bunin’s prose. Thesis assignment

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FSBEI HPE "MORDOVIAN STATE PEDAGOGICAL INSTITUTE NAMED AFTER M. E. EVSEVIEV"

Faculty of Philology

Department of Literature and Methods of Teaching Literature

ASSIGNMENT FOR THE DEGREE THESIS

Student O.V. Rozhkov group FDR-210

1 Topic: The originality of psychological mastery in the prose works of I. A. Bunin: theory and practice

Approved by MordGPI No. 2402 dated November 15, 2014.

2 Deadline for submission to defense: 05/20/2015

3 Source data for the thesis: prose works of I. A. Bunin from different years, an artistic picture of the writer’s world, literary critical articles, historical and literary studies, memoirs of contemporaries, materials from the author’s personal and creative biography.

4.1 Introduction

4.2 Psychologism and features of external figurativeness of I. A. Bunin’s prose of the pre-October period

4.2.1 Features of Bunin’s psychologism in the works of the late 1890s - early 1900s

4.2.2 Psychologism as a dominant technique in the stories “Village” and “Sukhodol”

4.2.3 The originality of psychologism in the works of I. A. Bunin of 1914-17

4.2.4 The role of psychologism in the mystical-religious context of the story

"Mr. from San Francisco"

4.3 Psychologism in the prose of I. A. Bunin during the period of emigration as a form of recreating the spiritual world of man

4.3.1 The novel “The Life of Arsenyev” as a family psychological chronicle

4.3.2 Synthesis of lyrical and psychological principles in the book “Dark Alleys”

4.3.3 Psychological problems of the story “Easy Breathing”

4.4 Conclusion

4.5 List of sources used

4.6 Application

Head of work

Ph.D. Philol. Sciences, Associate Professor __________________________ S. N. Stepin

The task was accepted for execution by _____________________ O. V. Rozhkova

Essay

The thesis contains 72 pages, 65 sources used, 1 appendix.

PSYCHOLOGISM, PROSE WORKS OF I. A. BUNIN, LITERATURE OF THE PRE-OCTOBER PERIOD, CREATIVITY OF I. A. BUNIN IN THE PERIOD OF EMIGRATION, REALISM, ARTISTIC TRADITIONS, INNOVATION, LITERARY HERO, MOTIVE, AESTHETIC IDEAL , ARTISTIC METHOD, CREATIVE MANNER.

The object of the study is the principles and techniques of psychologism in the prose works of I. A. Bunin.

The thesis used comparative-typological, structural-analytical research methods, a method of holistic analysis of a work of art in combination with a descriptive one, and also used an axiological approach.

Having summarized the material presented in the thesis, the author concludes that the psychologism of I. A. Bunin, his originality, based on the rich traditions of Russian classical literature, became the basis for the subsequent psychological portrayal of man in Russian literature. And the author himself is undoubtedly worthy of the high title of master of psychologism.

The degree of implementation is partial.

Area of application - use in school and university practice of teaching literature when studying the works of I. A. Bunin.

Efficiency - improving the quality of knowledge of high school students.

Introduction

1. Psychologism and features of external figurativeness of I. A. Bunin’s prose of the pre-October period

1.1 Features of Bunin’s psychologism in the works of the late 1890s - early 1900s

1.2 Psychologism as a dominant technique in the stories “Village” and “Sukhodol”

1.3 The originality of psychologism in the works of I. A. Bunin of 1914 -1917

1.4 The role of psychologism in the mystical-religious context of the story

"Mr. from San Francisco"

2. Psychologism in the prose of I. A. Bunin during the period of emigration as a form of recreating the spiritual world of man

2.1 The novel “The Life of Arsenyev” as a family psychological chronicle

2.2 Synthesis of lyrical and psychological principles in the book “Dark Alleys”

2.3 Psychological problems of I. A. Bunin’s story “Easy Breathing”

Conclusion

List of sources used

Application

Introduction

Take Bunin out of Russian literature,

and it will fade, lose its rainbow

the brilliance and starry radiance of his soul...

M. Gorky

“My life is a reverent and joyful communion of the eternal and the temporary, the near and the distant, all centuries and countries, the life of everything that was and is on this earth, so beloved by me...”. These words belong to the great Russian writer Ivan Alekseevich Bunin (1870-1953), who with his entire destiny, biography, and, finally, life belonged to Russia, to great Russian literature.

The beginning of I. A. Bunin’s work coincided with the beginning of the Silver Age in Russian literature. The peculiarity of I. A. Bunin, a master of psychological prose, is that he is not associated with any movements, directions, or groupings and has always remained a realist. Bunin's realism was always based on an excellent knowledge of human nature, the inner world of his hero, an unusually developed sensory perception of life, and the ability to correlate the momentary with the eternal. I. A. Bunin sharply negatively assessed decadence. His views on life combined deep tragedy and bright faith in the goodness and beauty of God's world. It is difficult to overestimate the wisdom of a true artist, who allowed the reader to “embrace” life as an instant: from blooming youth to the tragic losses of old age, from reckless aspirations for happiness and love to comprehension of their essence, in the unity of unique, private and common human destinies. He helps us understand the innermost states of our soul. Ours - according to various parameters: born of the way of life, the history of Russia and global processes of the 21st century, bearing the memory of the past and connection with the current modernity. The courage of insight in the writer’s work was combined with the amazing chastity of their expression: after all, they penetrated into the most hidden area - the human soul.

The relevance of research due to the fact that in his artistic thinking, visualization, and psychological discoveries, Bunin is surprisingly modern. And this is precisely what allows us to empathize with Bunin’s heroes who are most distant at first glance. We are often amazed by the integrity and consistency, courage and restraint of Bunin’s talent. This is an attempt to psychologically comprehend life, this is an exploration of the depths of the Russian national character, this is a song about the beauty of Russian nature.

Thus, purpose The research is: using the example of I. A. Bunin’s prose works of different years, it will reveal the specific features and characteristics of the writer’s artistic psychologism.

The goal determines the solution of the following tasks:

Study and systematize scientific and scientific-methodological literature on this issue;

Identify the psychological traits of Bunin’s heroes from works of different years;

Identify the reasons for the writer’s use of psychologism in his prose works;

To reveal the facets characteristic of I. A. Bunin’s prose in the psychological portrait of his contemporary and, more broadly, the features of universal human psychology;

Determine the place and role of I. A. Bunin’s creative heritage within the framework of Russian literature.

Object of study the principles and techniques of psychologism appear in the prose works of I. A. Bunin.

Subject of research is the originality of I. A. Bunin’s psychological mastery.

Research material were inspired by the prose works of I. A. Bunin of the pre-October period (“Antonov Apples”, “Village”, “Sukhodol”, “The Gentleman from San Francisco”, etc.) and works written by the author during the years of emigration (“The Life of Arsenyev”, “ Dark Alleys”, etc.).

Scientific novelty The work consists of systematizing various points of view on the work of I. A. Bunin, a master of psychological prose. We presented and analyzed the works of L. A. Smirnova, O. N. Mikhailov, I. K. Nichiporov, V. N. Afanasyev, I. P. Karpov, L. A. Kolobaeva, N. A. Nikolina and others, which determine the need for a comprehensive study on a new methodological basis of the problem of psychologism in Russian literature of the 20th century. Each of the books and articles contains many interesting and important observations on the psychological mastery of I. A. Bunin, manifested in individual works or periods of his work. However, there is still no special research devoted to understanding the principles of psychologism of the most talented of the artists of the 20th century, a sophisticated connoisseur of the human soul. Our work attempts to fill this gap.

The research methodology is based on the principles of a holistic analysis of the ideological and artistic structure of the text in combination with descriptive, comparative and typological methods.

Practical significance diploma work. Observations and conclusions obtained during the study can be used in developing a course on Russian literature of the 20th century, as well as elective courses and electives on the works of I. A. Bunin; connecting with some issues of psychology, they can contribute to the moral education of secondary school students and students of pedagogical universities.

Structure and volumethesis determined by the specifics of the tasks put forward in the study. The thesis is presented on 72 pages and consists of an introduction, two chapters, a conclusion, a list of sources used, which consists of 65 items, and an appendix.

In the introduction the relevance of the topic and the significance of the main problems considered in the work are substantiated, the degree of their knowledge is indicated, the object and subject of the research are established, the purpose and objectives of the thesis are formulated, its methodology is revealed, the scientific novelty, theoretical and practical significance of the results obtained are characterized.

In the first chapter“Psychologism and features of the external depiction of I. A. Bunin’s prose of the pre-October period”, based on the analysis of literary texts and literary works concerning the features of I. A. Bunin’s psychologism, techniques and methods of psychological depiction of a person in the writer’s pre-revolutionary literature are identified and described.

In the second chapter“Psychologism in the prose of I. A. Bunin during the period of emigration as a form of recreating the spiritual world of man” provides an analysis of the works of the writer of the emigrant era, reveals the foundations of Bunin’s psychologism, and shows the originality of the manifestation of psychological elements in epic works of large and small forms.

In custody the results of the study are summed up, conclusions are drawn that the researcher came to while working on his thesis essay. Having summarized the material presented in the thesis, the author concludes that the psychologism of I. A. Bunin, his originality, based on the rich traditions of Russian classical literature, became the basis for the subsequent psychological portrayal of man in Russian literature. And the author himself is undoubtedly worthy of the high title of master of psychologism.

In the application educational and methodological material is presented for a literature lesson in grade 11 on the topic “The cycle of stories by I. A. Bunin “Dark Alleys”.”

1 . Psychologismand features of external figurativeness of proseAND.A.Bunin of the pre-October period

1.1 OSfeaturesBunin's psychologismin the works of the end1890s-started190 0 - x years

At the turn of the 19th and 20th centuries, the whole world was experiencing a period that Nietzsche described as the “twilight of the gods.” The man doubted that somewhere there was He, the absolute principle, strict and fair, punishing and merciful, and most importantly, filling this life full of suffering with meaning and dictating the ethical standards of society. Refusal from God was fraught with tragedy, and it soon broke out. In the work of I. A. Bunin, who captured the dramatic events of Russian public and private life at the beginning of the 20th century, the entire tragedy of the European man of this time was refracted. This idea is fully shared by S. A. Antonov: “The depth of Bunin’s problematics is greater than it seems at first glance: the social and psychological issues that worried the writer in his works on the topic of Russia are inseparable from questions of a religious and philosophical nature...”.

The intensive formation and widespread strengthening of psychologism in Russian literature at the turn of the century also has deep cultural and historical prerequisites. It is connected, first of all, with the activation of self-awareness of a person of a new era. According to Bunin, a person’s understanding of his inner world is helped by the world around him, his past life, to which he intuitively strives in his memories.

The psychologism of I. A. Bunin's prose of the 1890s-1900s is an artistic expression of the writer's keen interest in the fluidity of consciousness, in all kinds of shifts in the inner life of a person, in the deep layers of his personality. The writer's works at the end of the century largely contributed to the development and establishment of psychoanalysis as the dominant component of I. A. Bunin's work in general, and his works written in the twentieth century, in particular. According to G.M. Blagasova, “...it was in the works of the turn of the 19th-20th centuries that the author outlined ways to reveal the content of a person’s inner world in all the diversity of his individual expression.”

To a large extent, this became possible due to the influence of L.N. Tolstoy on his fiction of those years. It is felt, first of all, in the peculiarities of psychological analysis, in the economical method of constructing the character of the hero, strictly subordinated to a moral goal, and in the biblically stern and solemn tone of denunciation, and in the literary technique itself, the means of representation, mastered by I. A. Bunin and advanced they are much further away. I. A. Bunin continued L. N. Tolstoy’s discoveries in literature, extending them to the “small” genre - the genre of psychological story - “Castryuk”, “Epitaph”, “Pass”, etc. “During these years,” says the writer himself , - I felt how my hand was getting stronger every day, how ardently and confidently the forces that had accumulated in me demanded an outcome...”

Therefore, it is no coincidence that in thematic terms, the works of I. A. Bunin at the end of the century are also quite different. They are dedicated to the writer’s experiences, born of childhood memories or very recent impressions, visits to Russian villages, trips to the South Sea or travels abroad, meetings with simple peasants, or a refined feeling for a woman. Internally, all his early stories are united by the author’s desire to penetrate into the tragic discrepancy between beautiful nature and human existence, the dream of happiness and the violation of “the commandment of joy for which we must live on earth.”

I. A. Bunin’s vague positive ideas strengthened the critical current in the author’s generalizations and at the same time contributed to the search for imperishable values of being, “sometimes difficult to grasp, unstable or even unlike reality.” From this point of view, some of the writer’s stories about the village are read completely differently.

“In Bunin’s work of the 1900s,” notes L. A. Smirnova, “the features of realism were sufficiently defined. The writer was keenly interested in the worldview of different social strata, the relationship between their experience, its origins and prospects...” Therefore, it seems to us that the author’s view was aimed not so much at specific human relationships, but at the internal state of the individual. In most stories, the characters strive in one form or another to understand some eternal questions of existence. But these searches do not remove them from real reality, since it is this that gives rise to the views and feelings of the characters. The views and feelings born of current reality were revealed at the moment of aspiration towards some eternal questions of existence. In the depths of the human soul, the artist found values close to himself. Therefore, the writer’s own exaggerations were organically woven into the narrative or became leading, strengthening ideas about the connections between the present and the past, the concrete-temporal and the eternal, the national and the universal.

During these years, I. A. Bunin wrote mainly in the first person; at times these were not stories, but essays written with a masterful pen, keen observations of everything that the writer saw. Here, for example, is the story “New Road” with poetic landscapes of the wilderness, where the “forgotten life of the homeland” sleepily flows and glimmers. This wilderness must be awakened by a new railway; The peasants, accustomed to the old way of life, greet the change with fear. Admiration for the “pristinely rich side”, sympathy for its “young, tortured people”, a feeling of the abyss separating the author from the country and people: “Which country do I belong to, wandering alone? She is infinitely great, and should I understand her sorrows...” These sad thoughts permeate the writer’s entire story. As a remarkable master of psychologism, he “intensely explores Russian reality at the end of the 19th century, looking for worthy undertakings in it.” In the process of such a psychological search, his best early works were created: “Antonov Apples”, “Pines”, “Birds of the Sky”, “Late at Night” and many others.

In a letter to V. Pashchenko dated August 14, 1891, I. A. Bunin wrote: “You know how much I love autumn...! Not only does all hatred for serfdom disappear in me, but I even begin to involuntarily wax poetic about it.” It is precisely the poeticization of Russia’s serf past that is sometimes seen in the story “Antonov Apples.” And I. A. Bunin himself immediately remarked: “And I remember that sometimes it seemed to me extremely tempting to be a man...”. However, for the sake of truth, it must be noted that we are talking here about a rich man, about his similarity to the average nobleman. I. A. Bunin sees a reasonable working life, an expedient principle of sticking together in a rural rich or beggarly existence. The idealization here is undeniable, not so much, however, of social orders, but of the special state of mind of those who are firmly connected with blackening or greening fields, forest roads and ravines. Therefore, on the same note, the story is told about peasant work in gardens, during harvesting, and about lordly hunting. Moreover, I. A. Bunin “does not avoid light irony in relation to the rudely tough nobles and the peasants in their “savage costumes,” but honors any manifestations of thriftiness and “ancient,” albeit mannered, life.” The story was received ambiguously by both readers and critics, and it caused a lot of reproach among writers. And yet, both his supporters and his opponents unanimously declared their admiration for the artistic skill and psychological depth of his author’s writing style.

The psychological make-up of the Russian person, regardless of his social status, was of more interest to I. A. Bunin. He found a stamp of internal contradictions common to the landowner and the peasant. The author wrote: “It seems to me that the life and soul of the nobles are the same as that of the peasant; all the difference is determined only by the material superiority of the noble class...”

The story “Antonov Apples” eclipsed much, if not all, of what the writer had done in previous years. It contains so much of what is truly Bunin that it can serve as a kind of calling card for the classic artist of the early 20th century. He gives a completely new sound to themes that have long been known in Russian literature.

For a long time, I. A. Bunin was considered among the social writers who, together with him, were members of the literary association “Sreda”, who published the collections “Knowledge”, but his vision of life conflicts is decisively different from the vision of the masters of words of this circle - M. Gorky, A. Kuprin, A. Serafimovich and others. As a rule, these writers depict social problems and outline ways to solve them in the context of their time, passing biased verdicts on everything that they consider evil. I. A. Bunin can touch on the same problems of existence, but at the same time he more often illuminates them in the context of Russian or even world history, from Christian, or rather from universal, positions. He shows the ugly sides of current life, but extremely rarely takes upon himself the courage to judge or blame someone. Like his beloved Chekhov, he refuses to be an artist-judge. According to I. A. Bunin, good and evil are rather metaphysical, mystical forces, they have been eternally given to the world from above, and people are often unconscious conductors of these forces - destroying great empires, suddenly throwing a person under a train, exhausting titanic natures in an insatiable search for power, gold, pleasures that force angelic creatures to give themselves over to primitive debauchees, etc.

Therefore, “Antonov Apples” not only opens a new stage in the work of I. A. Bunin, but also “marks the emergence of a new genre, which later conquered a large layer of Russian literature - lyrical prose.”

In the work, as nowhere else before, the lyrical nature of the plot is fully realized. It is almost devoid of an eventful beginning, except for an event, the slight movement that is created by the fact that “I”, or “we”, or “he” is going somewhere. But this conventional hero - the lyrical hero of I. A. Bunin - in all the fullness and purity of this concept, that is, without the slightest objectifying distance. Therefore, the epic content here is completely translated into lyrical content. Everything that the lyrical hero sees is both phenomena of the external world and facts of his internal existence. These, in our opinion, are the general properties of I. A. Bunin’s prose of those years.

In this same story, as later and in many others, I. A. Bunin abandons the classical type of plot, which, as a rule, is tied to specific circumstances of a specific time. The function of the plot - the core around which the living ligature of the paintings unfolds - is performed by the author's mood - a nostalgic feeling about what is irretrievably gone. The writer turns back and in the past rediscovers the world of people who, in his deep opinion, lived differently, more worthy. And he will remain in this conviction throughout his entire creative career. Most of the artists - his contemporaries - peering into the future, believing that there is a victory for justice and beauty. Some of them (B. Zaitsev, I. Shmelev, A. Kuprin) after the catastrophic events of 1905 and 1917. look back with sympathy.

IA Bunin contrasts the doubtful future with an ideal that, in his opinion, stems from the spiritual and everyday experience of the past. At the same time, he is far from a reckless idealization of the past. The artist only contrasts two main trends of the past and present in the story. The dominant of past years, in his opinion, was creation, the dominant of present years was destruction. How did it happen, why did the person contemporary to I. A. Bunin lose the “right path”? This question worried the writer, his author-narrator and his heroes all his life more than the questions of where to go and what to do. The nostalgic motive associated with this loss will sound more and more strongly in his work, starting with “Antonov Apples.”

Thus, by the beginning of the 1900s, I. A. Bunin’s path to himself, to the specifics of his talent, which amazes with external depiction, phenomenal observation, extremely deep psychologism and tenacity of the writer’s memory, was basically completed. Persistently, consciously, and constantly, he trained himself to be able to guess at a single glance the character of a person, his position, his profession. “I, like a detective, pursued first one, then another passer-by, trying to understand something in him, to enter into him,” I. A. Bunin will say about himself. And if you pluck up courage and add to this that throughout his long, almost seventy-year creative life he was and remained an ascetic artist, it becomes clear that the components of his talent were combined extremely harmoniously and happily.

1.2 Psychologism as dominantreception in stories"Village" and "Sukhodol"

In the 1910s, the first significant works about the peasantry appeared in Russian literature. This was greatly facilitated by the general increase in the attention of writers to the Russian village at the turn of the 19th and 20th centuries.

During these same years, I. A. Bunin’s story “The Village” was published, which marked the line on the writer’s literary path beyond which “the period of the writer’s full creative maturity began.” And although in subsequent years he does not create a single work equal to “The Village” in terms of the breadth of coverage of life phenomena, an extensive cycle of stories about a peasant, developing and in many ways deepening the themes of his story, will open a new significant stage in the writer’s work.

“Village” is one of those works by I. A. Bunin, in which both the strengths and weaknesses of his work were most clearly reflected. The strength of the story lies in its deep masterful psychologism, the reflection of the most hidden features of the Russian national character, in the truthful, irresistible in its artistic persuasiveness depiction of the poverty and lawlessness of the Russian village, robbed by the authorities; weakness, as it seems to us, lies in the inability to show ways of reorganizing reality. The story was the result of I. A. Bunin’s comprehension of the results of the memorable year 1905. These popular performances struck and shocked I. A. Bunin to the depths of his soul. The writer, who in all his previous works portrayed the peasant as a humble worker submissive to his fate, saw for the first time a peasant rebel. N. M. Kucherovsky notes: “I. A. Bunin saw in the awakening peasant a danger that threatened the collapse of the centuries-old way of Russian life, and he captured his fear of the coming popular uprising with a high degree of psychologism in the story “The Village”.

I. A. Bunin’s new approach to the traditional peasant theme also determined his search for new means of artistic expression. The soulful lyricism characteristic of the writer’s previous stories about the peasantry was replaced in “The Village” by a stern, sober narrative, generously saturated with images of the everyday trifles of village life.

“The Krasovs’ great-grandfather,” so the story begins, “nicknamed the Gypsy in the courtyard, was hunted down by greyhounds by Captain Durnovo...”. Already this beginning, telling about the ancestors of the heroes of “The Village,” determines the general psychological sound of the story. Simple, stern and harsh words, a businesslike, everyday tone, the outward dispassion with which difficult and tragic events are spoken about. This is how the entire “Village” was written, so different in style from all previous works of I. A. Bunin.

At the center of the story is the life of the Krasov brothers: the kulak Tikhon and the self-taught poet Kuzma. Through the eyes of these people, the fate of each of whom was unsuccessful in its own way, the main events of the depicted era are given in the story: the Russian-Japanese War, the revolution of 1905, the reaction that followed it, etc. There is no single continuously developing plot in the story; is a series of pictures of village, and partly county life, which the Krasovs have been observing for many years.

Tikhon and Kuzma are tragic figures, realizing this themselves. The search for the origins of this state leads them to a frenzied analysis of village reality. The same passion takes possession of the author. The observation is carried out by the Krasov brothers, and the writer interprets their experience as part of a general, mass one. Much in the assessments of the characters, especially Kuzma, and their creator coincides. The plot development of the story is based on the contrast between the truth-seeker Kuzma and the shopkeeper Tikhon. Tikhon wanted and became a “chain dog” for his own growing farm. Kuzma tirelessly seeks spiritual connections with people, and increasingly refuses to accept his brother’s morality. Tikhon's bitterness and embitterment disgust Kuzma. The same reaction determines the author’s remarks: “knitted eyebrows”, “clenched fists” - in Tikhon. In contrast to Kuzma’s “exhausted, thin face, mournful eyes.”

One of the main characters of the story is Kuzma Krasov. He stands at the center of the events described, and the events themselves are presented through the prism of his perception.

Kuzma is a loser. He “dreamed of studying and writing all his life,” but his fate was such that he always had to do something alien and unpleasant. In his youth, together with his brother Tikhon, he traded, traveling around the surrounding villages and exchanging small city goods for eggs, canvas, rags, even dead cats, then he worked for a cattle driver, brokered, wrote articles on the grain business for newspapers, “and thought more and more persistently, that he was missing, that his life was gone." Later, Kuzma worked in a candle shop, was a clerk, and eventually moved to live with his brother, with whom he had once fiercely quarreled.

The realization of a aimlessly lived life and the bleak pictures of the reality around him weigh heavily on Kuzma’s shoulders. Based on real observations of the lives of people like Kuzma Krasov, the writer masterfully revealed in his hero the positive traits that testify to his desire for a better life. Kuzma’s rapid spiritual growth is also noteworthy, the main result of which should rightfully be considered his overcoming the barbaric attitude towards man in general, towards women in particular, and the formation in his mind of the principles of humanism, deep in its sincere humanity. One cannot, of course, ignore his views on Russia and the Russian people. Editing the story, I. A. Bunin strengthened the revealing nature of Kuzma’s monologues, supplementing them with new critical statements about Russia and the Russian people.

The image of his brother, Tikhon Krasov, is no less important in the story. To a large extent, it is through him that the writer draws a thread from the depiction of the inhabitants of the poor, dark Durnovka, among whom his life passes, to the depiction of yesterday's rulers and noble owners.

In this regard, the remark of V. N. Afanasyev is fair, who in one of his works dedicated to the work of I. A. Bunin writes: “It is from “The Village” that the writer’s mercilessly truthful approach to representatives of the class from which he himself came began. True to the truth of life, sometimes despite his personal sympathies, in a number of works he gives a deep and convincing picture of the complete fall of yesterday’s “masters of life,” speaking about them either harshly and derogatory, or mournfully and sadly...”

Kuzma’s brother, Tikhon, lived his whole life, in his own judgment, as a “chain dog” with accumulated wealth, but he also understands: “You think, they wouldn’t have killed me to a cruel death, if only they, the peasants, had fallen into this, tailing me.” , as it should be - if only they were lucky in this revolution - then? Wait, wait, it will happen, it will happen!” - he says in a fit of revelation to his brother.

Never, either before or after “The Village,” have Bunin’s heroes judged so passionately and excitedly the historical past of Russia, the contemporary world, and never have the views of the author himself so decisively invaded the judgments of the heroes.

The liberal press greeted “The Village” with some confusion. The critics were stunned: I. A. Bunin - the poet of abandoned estates, noble nests - wrote a story about terrible lawlessness, darkness, poverty, and the difficult lot of peasants. But even here, criticism praised the writer as a gifted artist of words, a master of psychological portrait, a short story writer with a keen sense of Russian nature, wonderfully conveying the landscape. Critics reproached the writer for exaggerating the dark sides of the life of the village, for describing the village as a “newcomer intellectual,” as a nobleman and a bankrupt landowner (by the way, I. A. Bunin was never a landowner).

In 1911, I. A. Bunin’s next story, “Sukhodol,” was published, named after the title of the story that opens it, which for the next few years became the writer’s second most important work, after “The Village.” But if in “Village” criticism saw a sharp break with traditional populist views on the peasantry, then in “Sukhodol” it (criticism) noted an equally decisive understanding of the view of the nobility that had developed in Russian literature back in the 19th century. “A writer comes - a nobleman and an undoubted artist,” wrote critic R. V. Grigoriev shortly after the publication of I. A. Bunin’s book, “and says that the Larins’ estate is a myth, that instead of fragrant linden trees and fresh roses there was a heavy, gloomy Sukhodol... Bunin I wanted to look at Sukhodol with sober eyes. He didn’t spare anyone, didn’t keep silent about anything... He captured the era powerfully and vividly, showing life as it was, without any bias or embellishment.”

The strengthening of a critical view of the nobility in general was a characteristic phenomenon for Russian literature at the turn of the century. Suffice it to recall the young A.N. Tolstoy, about whom M. Gorky wrote back in 1910: “Pay attention to the new Tolstoy, Alexei the writer, undoubtedly a large, strong writer who depicts with cruel truthfulness the psychological, moral and economic decay of the modern nobility.”

When “Sukhodol” appeared, one of the critics compared it with “The Golovlev Gentlemen” by M. E. Saltykov-Shchedrin, and this comparison, unexpected at first glance, has serious grounds, if we ignore the manner of depiction - sharply revealing in Saltykov- Shchedrin and contemplatively - elegiacly by I. A. Bunin - delve into the very essence of the depicted phenomena. It is interesting, however, how the writer himself interpreted the intent of his work. In this regard, the interview given by the writer himself in the fall of 1911, when the story was already finished but had not yet appeared in print, is especially interesting: “My new work,” says Bunin, “paints a picture of the life of the next (after the peasants and bourgeois) representative of the Russian people - nobility. The book about the Russian nobility, oddly enough, is far from being completed; the work on the study of this environment is not completely finished. We know the nobles of Turgenev and Tolstoy, who depicted the upper strata, rare oases of culture... It seems to me that the life of most of the nobles of Russia was much simpler, and their soul was more typical of the Russian than Turgenev and Tolstoy describe... ".

I. A. Bunin sought to consistently embody all the ideas expressed in this interview in his story, but it is very characteristic (and this is the remarkable reliable realistic side of the work) that contrary to the author’s intentions, but in full accordance with the historical truth, the lives of landowners and peasants were revealed in pages of "Sukhodol" not in idealistic unity, but in constant, sometimes hidden, sometimes open enmity, and the Sukhodolsky nobles themselves appeared before the reader as people not worthy, in essence, of either love, respect, or that soulful

lyricism, which the author sought to endow with their images.

But Bunin’s story is not only the story of one noble family over two generations, but also “a peculiar attempt to philosophically comprehend history...”. But this attempt, in our opinion, reveals its inconsistency at every step, because it proceeds from false, ahistorical premises. In his desire to bring landowners and peasants closer together, I. A. Bunin points to the facts of the physical connection between the masters and the peasants, and to the way of life of the nobility, supposedly close to the peasantry, and to the traits of hysteria, moral imbalance, which are supposedly equally characteristic of both the owners and the peasants. servants And also the supposedly inherent property of “either rule or be afraid.”

Often, pictures of Sukhodolskaya’s life are presented in the story through the perception of the former serf Natalya, in whom her affection for Sukhodol was always striking. And although, poisoned by the psychology of obedience and humility, Natalya does not rise not only to protest against the master’s arbitrariness, but even to simply condemn the actions of her masters. Her whole fate is an angry indictment against the owners of Sukhodol. Left orphaned by the fact that “the Lord’s father was given away as a soldier for misdeeds, and mother did not live to live because of turkey poults (she died of a broken heart, fearing punishment for the fact that the birds entrusted to her were killed by hail),” Natalya becomes a toy in hands of gentlemen As a girl, she fell in love with the young owner Pyotr Petrovich, and he not only whipped her with an arapnik when she “fell under his feet,” but also exiled her in disgrace to a remote village, accusing her of stealing a mirror, although she hid this very mirror in memory of a loved one. But if Pyotr Petrovich was by nature harsh and tough, then his brother, the kindest and most carefree Arkady Petrovich, wanted to flog the hundred-year-old Nazarushka, who was caught in the garden and crying among the servants who surrounded him, barely alive from fear; and the sister of both young gentlemen, Tonechka, had barely grown up, was already beating Daria Ustinovna, who had once been her father’s wet nurse. After all this, it does not seem surprising that Pyotr Petrovich avoids traveling with the coachman Vaska Cossack, fearing that Vaska will kill him, who has greatly embittered the servants against him by beating him. Beatings and fights also flourish between the gentlemen themselves. Sometimes it got to the point that they grabbed knives and guns, and sat at the table in Sukhodol with arapniks in case of a quarrel.

This real truth about a person is palpable in all the inhabitants of the master's house. Every now and then it breaks through “the crust of their noble-landowner, individualistic limitations,” putting them in an insoluble contradiction with the surrounding society. Their tragedy, according to Bunin, is aggravated by the escalation of an external conflict into an internal conflict, which dooms them to exhausting coexistence not only with the environment, but also with themselves. This reflected the maturity of the psychologism of I. A. Bunin’s prose, which is reflected in the phrase uttered by Pyotr Petrovich: “a stranger to himself and to the whole world.” The dialectic of internal and external acquires not only a socio-psychological, but also a philosophical meaning, which consists in raising the question of the relationship between the universal and specific historical, social-tribal and social-species principles in a person. The predominant one in the story is the second, direct form of psychologism, and the leading one here is the introspection of the characters, which finds various expressions in the form of confession to the interlocutor; “momentary” inner speech of the hero, synchronous with the action; retrospective understanding of one’s psychological state, motive of behavior; psychological experiment on others and oneself.

I. A. Bunin himself speaks bluntly about the spiritual instability and psychological inferiority of the owners of Sukhodol: “Yes, neither to reasonable love, nor to reasonable hatred, nor to reasonable affection, nor to healthy family life, nor to work, nor to communication were not capable in Sukhodol... The Sukhodol Chronicle is full of absurd and terrible stories.”

Thus, it is no coincidence that the theme of tyranny and humility appears in Sukhodol. It will receive its further development in a number of later prose works by I. A. Bunin, as well as the theme of the Russian national character. In many of his works, the plot will be built on the opposition of these two disparate principles, and a clash of characters will arise. In its artistic and psychological characteristics, Sukhodol, more than any other work by I. A. Bunin, is close to Bunin’s poetry. The harsh and frisky style of narration characteristic of “The Village” in “Sukhodol” is replaced by the soft lyrics of memories. To a large extent, the lyrical sound of the work is facilitated by the fact that the author’s voice is included in the narrative, commenting and supplementing Natalya’s stories with her observations. It is in the author’s digressions, or, more correctly, “introductions” to the narrative, that the language of Bunin’s prose is closest to the language of his poetry.

If in the description of Sukhodol the author’s voice is sad and calm, then at the end of the story, where we talk about the abandoned graves of our ancestors, the narrator’s intonation sounds along with quiet sadness and poorly restrained bitterness. To myself, asking questions: “But whose are they?” (grave), the author replies: “God knows.” We will hear many similar internal questions addressed to ourselves in the novel “The Life of Arsenyev”, with which “Sukhodol” has in common the longing for the noble past that has sunk into eternity, although the novel, written many years later, already in exile, does not contain those critical and harsh words about the owners of “noble nests” that sound in “Sukhodol”. In it, the writer places more emphasis on his autobiographical nature, weaving branches of deep psychological principles into his plot outline.

In conclusion, it should be noted that the work of I. A. Bunin of the late XIX - early XX centuries. contributed to the development of a special form of psychologism - this is the disclosure of psychological processes only in their internal manifestation. The stories “Village” and “Sukhodol” are undoubtedly the most revealing in this regard. In these works, I. A. Bunin makes an attempt to reveal and analyze psychological processes in their external manifestations (albeit somewhat fragmentarily), and directly analyze the psyche and soul of the hero. In general, the stories became another step towards the creation of psychological prose, an example of which, in our opinion, was the writer’s wonderful novel “The Life of Arsenyev.”

We will dwell in more detail on the analysis of this work in the paragraph more devoted to this novel.

1.3 OriginalityPpsychologistszmAin worksAND.A.Bunina1914 -17 - x years

Undoubtedly, the problem of depicting Russian reality was most relevant for I. A. Bunin in the 1910s compared to other periods of his work. The surge of national self-awareness caused by the revolutionary events of 1917 is fully reflected in Bunin’s psychological prose and is associated precisely with an active understanding of the nature of the Russian person, his abilities, capabilities and future fate. Later, I. A. Bunin continues to write stories about Russian people, continuing to reflect on the “mystery of the Russian soul.” This thinking has reached a new level, if only for the reason that significant changes have occurred in Russia, which could not but affect the writer’s national self-awareness.

The main direction in which Bunin's creativity developed in the years 1914-17 was the combination of lyricism of style and psychological self-development of character, analysis and synthesis. I. A. Bunin became the end of an entire period of Russian classical literature, “associated with the strengthening of psychologism in it, which obliged him to further develop and enrich poetics and stylistics, to develop new forms of artistic representation...”

The specifics of the genre of lyrical prose could not be more fully embodied by the features of the poetics of Bunin’s lyrical miniatures. Lyrical prose is characterized by the emotional and intellectual self-expression of the hero, the artistic transformation of his individual life experience, which is no less important than an objective depiction of the realities of material reality. Bunin’s miniatures include the characteristic presented by A.I. Pavlovsky: “The content of a lyrical work is no longer the development of an objective incident, but the subject itself and everything that passes through it. This determines the fragmentation of the lyrics: a separate work cannot embrace the wholeness of life, because the subject cannot be everything at one and the same moment. An individual person is full of different contents at different moments. Although the entire fullness of the spirit is available to him, it is not suddenly, but separately, in countless different moments.”

Capturing reality in its most important object-sensory manifestations from the point of view of Bunin’s hero, the narrator of lyrical miniatures thereby, as it were, splits them into separate realities, each of which is comprehended by him with greater intensity and depth, the greater the emotional impact it has on him.

No matter what complex and deep phenomena of the spiritual sphere are discussed in Bunin’s works of these years, the understanding of these phenomena invariably turns under the artist’s pen into a poetically soulful, spiritual self-expression of his lyrical hero. This is achieved by various means. Here there is an open lyrical aspiration of the narrative, a balanced musical and rhythmic organization of phrases, and an intensive use of poetic tropes that direct the reader’s thoughts in the right direction. As a result, internal monologues, permeated with sad-elegiac reflections on the mysteries of life and death, cannot but evoke a certain reciprocal empathy in the reader’s soul.

However, this does not mean that the writer departs from the principles of artistic depiction of life and man. The basis of his stories and tales is the same realistic method as in the works of the turn of the century, written in an objective manner, with the only difference that now the revelation of the comprehended life is refracted through the subjective perception of the individual, whose thoughts and feelings affect the mind and heart of the reader with no less power than visual realities.

In order to enhance the emotional and aesthetic impact, the writer resorts to his favorite technique of associative comparison of life facts and phenomena. Unlike the modernists, I. A. Bunin saw in the artistic association not a self-sufficient symbol and not a simple set of spectacular poetic tricks, incapable of a critical attitude towards what is depicted, but the most important means of realizing the author’s thoughts and ideas. Even with the help of the most distant associations, I. A. Bunin sought to direct the reader in the right direction. Through the complex associative plane, the naked reality of the material and social environment always appears, among which he lives, acts and thinks. For example, in the story “Antonov Apples,” the expressive details of a small-scale, centuries-old way of life emerge clearly, the depiction of which is one of the leading motives of the writer’s early work. We see with our own eyes the apple picking and the fair, and the whole way of life of the average nobleman, heading towards its decline.

And yet, what is significant for the hero-storyteller is not the realities of socio-historical reality, but the beauty and grandeur of nature, which are the subject of his own thoughts.

In full accordance with the genre of lyrical prose, most of Bunin's works are written in the first person. They resemble the pages of the diary of a lyrical hero, who, as a rule, is the only character uniting the action. Of course, talking about a specific action can be a stretch. There is no clearly defined traditional plot containing intrigue or clash of human characters. Instead, in the foreground we see “the flow of thoughts and feelings of the hero, sensitive and reflective, passionately in love with life and at the same time tormented by its mysteries.” Most pre-revolutionary critics viewed Bunin's miniatures as a phenomenon that had nothing in common with the early stories of I. A. Bunin.

The artistic system of I. A. Bunin, his psychologism is bipolar. One of their poles is descriptive (landscape, interior, portrait, and so on). It occupies different volumes in works - from relatively modest, functionally related to the plot, to self-sufficient, filling the entire space of the text. But what is constant, firstly, is that it is always created according to the same aesthetic laws, and, secondly, it goes beyond strict subordination to the logic of the narrative and exceeds what is necessary.

Its second pole is the plot. Its range is wide from zero to acutely psychological and intense. Its presentation can be sequential or discrete, that is, interrupted in time. The plot can be built according to the logic of linear time or on the displacement of time layers. If in descriptive elements I. A. Bunin is monotonous, then in everything that concerns the plot he is masterfully inventive.

The functions of psychological descriptiveness and plot can be understood by comparing them. The system of their interaction is the most important component of the artistic world of I. A. Bunin, which originates from the depths of his philosophy of existence. In some fragments, descriptiveness is traditionally subordinated to the plot; its function is to overcome the schematism of the plot, giving it concreteness and verisimilitude. In other cases, not completely subordinate descriptiveness performs other tasks. Thirdly, descriptiveness is independent of the plot and relates to it on other artistic grounds.

The problem of the interaction of two aesthetic poles - plot and psychological descriptiveness - has a special perspective in works where “reality appears through the prism of subjective states that are intermediate in nature from slightly distorted to surreal...” The function of descriptiveness as a beginning that overcomes the centrality of the plot is always with I A. Bunin is predominant, often acting as the only function.

Many of Bunin's works before the emigration period were plotless. The writer translates their epic content into lyrical content. Everything that the lyrical hero sees is both phenomena of the external world and facts of his internal existence (general properties of lyrics).

Life is incommensurably broader than any event, and the aesthetic reality of a story is broader than the plot line. A story is just a fragment of a boundless existence; the frame of the beginning and end can be arbitrarily imposed anywhere. The name plays the same role. Neutral names are often preferable so as not to distort the meaning. The names of Bunin’s works are also simple: “New Road”, “Pines”, “Meliton”, etc. The most characteristic among the plotless works of I. A. Bunin is considered to be “Epitaph”, filled with memories of the past. Bunin’s memories are already transformed and poeticized in the depths of consciousness, because they exist in the emotional field of longing for something gone forever. This is manifested primarily in the fact that every detail becomes prominent, bright, and valuable in itself.

One of the most important functions of plot and descriptiveness in their totality is the expression of the spatio-temporal dimension of life. The literary art of the 20th century seems to be straining beyond its capabilities. The spatial form allows you to more fully feel the value of any moment and any frozen particle of life. It opens the world beyond the boundaries of human existence and correlates its scale with the infinity of human existence.

In descriptiveness, I. A. Bunin realizes the feeling of limitless existence. Although the plot sometimes dwindles to zero, the descriptiveness never does. It has priority importance and is always focused on what is outside the work.

...

Transcript

1 N.V. P rashcheruk PSYCHOLOGISM OF I.A. BUNINA’S PROSE GG. The question of the psychologism of I.A. Bunin has been little studied, although back in 1914, analyzing the works of the artist of the 1910s, K.I. Chukovsky noted: “...Bunin unexpectedly became a painter of the most complex human feelings and, after unsuccessful attempts, found himself such a sophisticated psychologist, a knower of the depths and heights of the human soul, which the readers of his previous works could not have foreseen.”1 Meanwhile, in understanding the problem of “Bunin the Psychologist”, modern science still largely remains at the level of stating individual observations. There are no special works devoted to the principles of depicting a person in the artist’s work. Scientists mainly consider the writer’s initial anthropological views and determine the area of his moral and philosophical quest2. The heyday of Bunin’s psychological mastery, due to the interaction of a number of literary and extra-literary factors3, dates back to the period of the 1910s. one of the most important in the creative evolution of the artist. Interesting material for research is provided by Bunin’s works, which realize the writer’s conscious desire to depict “the soul of the Russian man in a deep sense” and are associated with the actualization of the era in the social and artistic consciousness. The very first observations of the text show that Bunin considers human psychology in a “dense” objective environment, in the flow of current everyday life. It is not just a person’s consciousness that is analyzed, but a certain type of worldview, consisting of a complex set of impressions, emotional states, and experiences. It is important for the artist to demonstrate the unity of the everyday and the essential, the indivisibility of various kinds of immediate reactions of the hero and the movements of his spiritual and mental life. According to this principle, which organizes the entire narrative system of the writer’s works, the world of Bunin’s character is built: “The tedious groan of the boars was heard more and more audibly, and suddenly this groan turned into a friendly and powerful roar: it’s true that the boars heard the voices of the cook and Oska, dragging a heavy tub with mash. And without finishing thinking about death, Tikhon Ilyich threw a cigarette into the gargle, pulled on his undershirt and hurried to the brewhouse. Walking widely and deeply through the flapping manure, he himself opened the closet... The thought of death was interrupted by another: the deceased is deceased, and this deceased, perhaps, will be held up as an example. Who was he? An orphan, a beggar, who in childhood did not eat a piece of bread for two days... And now? This fragment from “The Village” perfectly illustrates how the specific mental state of the hero, which gives an idea of his inner life as a whole, is comprehended through that reality that “connects” to mental activity. Details and signs relating to different sections of a person’s life are intertwined in a “continuous flow” (L. Ginzburg) with his spiritual movements.

2 A similar technique, as is known, was already mastered by Chekhov. Compare how the state of Anisim (“In the ravine”), leaving the village after the wedding, is conveyed: “When we left the ravine to the top, Anisim kept looking back at the village. It was a warm, clear day... Larks were singing everywhere, both above and below. Anisim looked back at the church, slender and white, it had recently been whitewashed, and remembered how he prayed in it five days ago; I looked back at the school with a green roof, at the river in which I once swam and fished, and joy swelled in my chest...”5. Chekhov's attitude to express the hero's feelings through concrete objective reality was close to Bunin. His characters are distinguished by their heightened sensitivity to reality and increased impressionability. This is their personal trait and a trait of an entire cultural era that has deepened interest specifically in the sphere of human impressions. The integrity of the hero’s internal state is conveyed by Bunin through his perception, which combines the initial psychological “infection” of objects of reality and momentary reactions to them. Thus, the torment of being “thrown out” from her native, close life, experienced by Natalya (“Sukhodol”), colors the entire reality she perceives and at the same time is, as it were, corrected by this reality: “And the cart, having got out onto the highway, again shook, began to clog, and rattled violently over the stones.. There were no more stars behind the houses. Ahead there was a white bare street, a white pavement, white houses, and all this was enclosed by a huge white cathedral under a new white and tin dome, and the sky above it became pale blue, dry... And the cart rattled. The city was all around, hot and smelly, the same one that had previously seemed somehow magical. And Natasha looked with painful surprise at the dressed-up people walking back and forth on the stones near houses, gates and shops with open doors...” (3,). However, recreating, following Chekhov, the polysemantic integrity of the hero’s internal states, Bunin interpreted their essence completely differently. “The concentration of experiences in any one internal event, mental movement is uncharacteristic of Chekhov’s prose and dramaturgy... The flow of the inner world of Chekhov’s heroes spreads widely, sluggishly and calmly, washing in its flow all the things that stand in the way,” correctly writes A.P. .Chudakov6. Bunin’s hero, on the contrary, is distinguished by “obsession”; he is focused on one thing: his inner world is built not just according to a single emotional characteristic, but according to the principle of increasing psychological tension. Chekhov only denotes the hero’s experience, emphasizing his autonomy; Bunin always reveals a leading psychological dominant in the heterogeneity of his character’s impressions and develops the idea of unidirectional personality. Such an artistic task required special poetic means. It is very significant that Bunin remained immune to such a Chekhovian technique as “reification, or objectification of feeling,” in which “a mental phenomenon is compared with a phenomenon of the physical world or directly likened to it”7. We will not find in him characteristics similar to Chekhov’s, for example, this kind: “It seemed to him that his head was huge and empty, like a barn, and that new, some special thoughts were wandering in it in the form of long shadows” (“Teacher literature"). The technique of direct or indirect anthropomorphization also turned out to be alien to Bunin: “They spoke quietly, in an undertone and did not notice that the lamp was squinting and would soon go out” (“Three Years” 9, 13); “And the echo laughed too” (“In the Ravine” 10.161).

3 And this is all the more symptomatic because such techniques, strengthened by the influence of modernism, were widely used in prose of the 1910s. Many of Bunin’s contemporaries vividly “reify” their heroes: I. Kasatkin (“Home”): “Like this evening dregs, covering the steppe on all sides, quietly creeps into the chest and melancholy spreads there. It reached the heart like hot lead, gently pressed it, and the heart began to boil, the heart began to murmur...”8; ASerafimovich (“City in the Steppe”): “The same deathly swaying, impenetrable dry turbidity looks out into the huge windows of the engineer’s house. Elena Ivanovna says: “My God, this is melancholy itself”9; E. Zamyatin (“Uyezdnoe”): “It was as if it wasn’t a person walking, but an old resurrected kurgan woman...” 10. In the works of the same authors we find frequent examples of the “humanization” of physical objects and phenomena. For E. Zamyatin, “the lamp is slowly dying in melancholy,” for A. Serafimovich, “sand was creeping in invisibly, but tirelessly and inevitably.” Bunin stands apart in this regard. He follows the path of intensifying indirect techniques, avoiding direct, deliberate expression. And, I think, the point here is not only the artist’s loyalty to the classical tradition. In order to convey the concentration of the hero’s internal state and at the same time show the psychological authenticity of such a state, the writer needed other artistic techniques. 3. Gippius, comparing “The Village” with “Men” at one time, wittily remarked: “Bunin is not Chekhov: the book does not have the lightness and sharpness of Chekhov’s “Men”... Bunin does not draw, does not draw; but he talks and shows for a long time, tediously, slowly”11. The technique of direct “reification” was supplanted by indirect “objectification”. This was expressed in the systematic use of repeating details both at the level of the work as a whole and at the level of its individual fragments. Bunin was not afraid of such repetitions, which passed from work to work, becoming a symbolic sign of his style (for example, the image of “dust”). Three times in the magnificent paintings of Sukhodolsk nature such a sign as “the small, sleepy babble of poplars” appears; By deliberately repeating the words white, on the stones, thundered, the artist creates the impression of the intensity of the heroine’s experience in the fragment that we quoted earlier (S.Z.). In “The Last Date,” the motif of failed love and unfulfilled life is carried through the “lunar” theme. Using this theme, the general psychological atmosphere of the story is modeled: “On a moonlit autumn evening, damp and cold, Streshnev ordered the horse to be saddled. The moonlight fell in a streak of deep smoke through the oblong window. .. (4, 70). In the damp lunar fields, wormwood dimly whitened... The forest, dead, cold from the moon and dew... The moon, bright and as if wet, flashed across the bare tops... The moon stood over the deserted meadows (4, 71). How sad it all was under the moonlight! (4, 72). The moon was setting" (4, 75). It is obvious that the traditional motive of a date under the moon is played out in the natural reality definitely defined by the author. And the emphasized repetition of the “lunar” theme (on two pages of text the image of the moon appears eight times!) is not only an expression of the author’s bitter irony and a method of conveying the hero’s internal state, it is also a factor in creating the concentration of this state. The same meaning can be discerned in the fundamental orientation of Bunin’s detail to influence a number of others, in its “contiguity”, “involvement” in a circle of other details. A terrible feeling from the headless Mercury is born among the young Khrushchevs who visited

4 Sukhodol, in the consistently expanding sphere of other sensations and impressions. This is the impression from the “Guide” icon, which survived several fires and split in the fire, from the “heavy, iron latches” that hung “on the heavy halves of the doors,” from the excessively wide, dark and slippery floor boards in the hall and small windows, from “ gaping open doors... to where grandfather’s chambers were once.” And when the image of Mercury appears again in the narrative, it necessarily leads with it this whole string of impressions, saturated with horror and sweet memories of the past, of the people who previously lived here. The detail “turns on” the associative mechanism, which performs the function of “incrementing” the load of his previous experiences to the momentary state of the hero. To achieve the necessary concentration of the character’s inner world and bring the conflict in his soul to the extreme, Bunin is helped by the widespread use of such a form of speech organization of the text as a fragment of the hero’s inner speech, directly included in the flow of external impressions: “But still, I’m drunk!” he thought, feeling his heart freeze and beat in his head... He stopped, drank and closed his eyes. Oh, good! It’s good to live, but you definitely have to do something amazing! And again he looked widely at the horizons. He looked at the sky and his whole soul, both mocking and naive, was full of thirst for achievement. He is a special person, he knew this for sure, but what good did he do in his lifetime, how did he show his strength? Yes, in nothing, in nothing!” (4, 43 44). This form of narration, very dynamic, focused on the sharp switching of “voices” and imitating the character’s intermittent internal monologue, perfectly objectifies this or that state, showing its feverish, extreme nature. In general, as researcher B. Bundzhulova correctly noted, “Bunin is the most “stylistic” artist of the Russian classics. In his work, all the main problems are brought to the level of style and are expressed in the form of style”12. The involvement of all elements of the literary text in the whole is manifested in the original construction of Bunin's phrase. The semantic segment characterizing the immediate hero usually begins with the conjunction “and”: “They are driving along a dusty country road, nearby. Tikhon Ilyich also drove along the dusty country road. A tattered cab-cab rushed towards him... and in the cab there was a city hunter... And Tikhon Ilyich angrily clenched his teeth: he would be an employee of this slacker! The midday sun was scorching, the wind was blowing hot, the cloudless sky was turning slate. And Tikhon Ilyich turned away from the dust more and more angrily...” (3, 23). The repetition of phrases organized in this way models the continuity of the flow of life and gives a feeling of a person’s inclusion in this flow. And the tendency to concentrate the narrative is expressed in the artist’s particular predilection for the use of certain semantically basic words, such as, for example, again and suddenly. “The garden seemed especially sparse in the silver of the snow, dotted with purple shadows, the alley was cheerful and wide. And again, frowning, angry, Ignat followed it to the village, to the woman’s tavern. And again in the evening I woke up on a slope into a meadow, completely frozen, amazed” (4, 13 14). The automatism of Bunin's hero's actions embodies the idea of his inert existence and at the same time testifies to some intense internal experience that prevents him from thinking or evaluating this or that action. Repetitions of words suddenly give the impression that the conflict is extreme or exhausted.

5 We read about Zakhar Vorobyov: “And suddenly I felt such a heavy, such a deadly melancholy, mixed with anger, that I even closed my eyes... And suddenly, swinging my whole body, I kicked the head far away with my foot along with the clanking bottle... And walked firmly to the middle of the big road. And having reached the middle, he bent his knees and fell heavily on his back, like a bull, with his arms outstretched” (4, 46, 47). The motif of a tragically meaningless end sounds, unexpected for the hero, but logical from the point of view of the logic of the character itself in its unbridled strength, passion and limitations. As we see, one of the principles of Bunin’s psychologism is an active repulsion from Chekhov’s sketchiness and discreteness in the depiction of mental life and a return in new conditions to the “ultimate” psychology of Dostoevsky. Interest in extreme manifestations of the human psyche and behavior was characteristic of the prose of the 1910s. in general, it was caused by the need to comprehend recent socio-historical upheavals. The criticism of that time, having grasped the originality of the literary situation and the new quality of the emerging psychologism, in their assessments sharply contrasted the names of the classics with each other. “Chekhov wanted to kill Dostoevsky in us,” believed I. Annensky, expressing the point of view of many13. In the prose of those years, a world is created, behind which one can discern “the atmosphere of a thickened life tragedy” (O.V. Slivitskaya). In the works, the characters are exaggeratedly contradictory (Afonka Kren in Chapygin), often they are endowed with pathological passions (Zakhar Koroedov in Serafimovich, Shalaev in Remizov, etc.). Bunin's characters are no exception: they live in the grip of painful passions, sometimes commit murders and crimes. An attempt to depict everyday life turns into “a chain of terrible events that destroy the very concept: everyday life”14. Bunin often depicts death. The artists were also brought together by a dramatic rethinking of the theme of the “accidental family.” The alienation of close people, their enmity, acts of parricide and fratricide constituted essential material for the psychological “studies” of writers. The stories “Merry Yard”, “I’m Still Silent”, the stories “Village” and “Sukhodol” are an original contribution to the development of this topic. The psychology of the disintegration of the most organic human connections found expression in a new light on the theme of inheritance, “one of the most acute and tragic in the literature of the 1910s”15. The motive of the degeneration of the family (“Sukhodol” and “City in the Steppe” by A. Serafimovich) or the vain expectation of an heir (“Village” and “Sadness of the Fields” by S. Sergeev-Tsensky) became a structure-former in the creation of characters. Consequently, revealing a connection with the laws of literary development, Bunin’s prose inherits the “sublated” tradition of “ultimate” psychology. The tendency to “split” human character, to show the hero’s inner world in irreconcilable contrasts, which brings Bunin closer to Dostoevsky, is considered by researcher V. Heydeko, for example, to be the main principle of depicting a person in the writer’s artistic system16. This point of view can only be partially accepted. Many of Bunin’s contemporaries realized the idea of the hero’s ambivalence mainly at the level of exceptional, not without pathology, situations and actions; their psychologism suffered from modernist “overlaps.” Bunin strove for complete determinism of all

6 character actions. Tolstoy’s idea was close to him: everything between birth and death is, in principle, explainable17. Bunin's world of works of the 1910s. for all his tendency towards objectivity, he remains authoritarian. The story is really led by a narrator who is extremely impersonal and devoid of individuality. However, he does not take a neutral position in relation to the heroes and is not equal to them. Behind him one can always discern an author, potentially endowed with an understanding of the processes of the inner life of the characters. Bunin's hero turns out to be, in principle, consistently explainable. While drawing closer to Tolstoy in terms of his attitude towards the character, the artist could not accept Tolstoy’s method of “explaining” psychology, which decomposes mental activity into its elementary components. Bunin, as already noted, conveys the dialectic of inner life through a successively changing series of three-dimensional psychological states. And although each stage of the movement of inner life correlates with an impulse coming from the outside, is “surrounded” by a specific situation and arises, as it were, “from within” unpreparedly, it nevertheless always tends to be explained by some deeper, not immediate, not external reasons. And the author knows about them in advance. The function of explanation can be performed by Bunin’s elements of the static characterization of the character, often quite lengthy. These author’s explanations contain a psychological assessment and at the same time are devoid of any hypotheticalness: “The blacksmith was a bitter drunkard and also believed that there was no one smarter than him in the whole village, and that he drinks because of his intelligence” (3, 303) ; “There was nothing simpler, more secretive than him in all Izvals” (4, 7 8). An understanding of the hero’s psychology can also be provided by his past, which is introduced into the narrative in different ways: in the form of the author’s backstory (“Village”, “Ermil”, “Merry Yard”), the heroes’ memories (“Sukhodol”) or his “presence” in lines characters (“Last Date”). Returning to the hero’s past is important for the artist as an opportunity to provide a specific, socio-historical motivation for his psychological appearance. But this is also the moment of realization of the author’s thought about the inexhaustibility of the human personality with its actual content, the desire to trace the “connection of times” in the character. Therefore, in the artistic study of man, a specific historical plan and a deeply universal one are organically merged, allowing one to see in the mind the “remains” of centuries-old history. The centuries-old past can, according to the artist, impart to the hero the traits of “primitiveness”, “primacy”, and his existence immobility, inertia. This is often stated directly, pointedly: “Opposite the guardhouse... stood a full, clear, but not bright moon... And she looked straight into the window, near which lay either a dead or a living primitive man” (3, 292 ). “All these people, moving their eyebrows over their dark eyes, by intuition, instinct, sharp, precise, like some primary individuals, instantly sense, guess the approach of the giving hand...” (4, 230). In other cases, as, for example, in the story “Dust,” such an attitude to the past is realized indirectly, usually through comparison with the East18. However, the past in Bunin’s “explanation” of man also had a completely different quality. It was the center of former greatness and high national traditions. This approach to the artistic understanding of national history and its influence on the individual

7 we find in the stories “Zakhar Vorobyov”, “Lyrnik Rodion”, “Good Bloods”, partly in “The Thin Grass” and “New Shoots”. The writer expressed his ambivalent, complex attitude towards the past in his diaries. In we read the following entries: “How devilishly thick some men’s beards are, something zoological, from ancient times”19; “Near one of the huts stood a huge man, with very sagging shoulders, a long neck, wearing some kind of high cap. Exactly fifteenth century. Wilderness, silence, earth”20 (Compare in “Sukhodol”: “And the deep silence of the evening, of the steppe, of remote Rus' reigned over everything...”). At the same time, he writes that “on Prilepy, one peasant seemed to him to be a great appanage prince, smart, with a wonderful, kind smile. This is how Rus' was built”21. Therefore, one can hardly agree with researchers who interpret the theme of “ancient Rus'” in the artist’s concept in a purely negative way, viewing it as a manifestation of Bunin’s fatal pessimism22. The explanatory orientation of Bunin's psychologism included a tendency towards generalization, the desire to build a bridge from the concrete personal to the typological. The writer’s artistic vision is aimed at the individual, but always with an orientation toward that ideal model that absorbed the most expressive, typical and threw out the superfluous and random23. Hence the structural “arrangement” of Bunin’s characters. The desire to bring the hero to a certain type of psychology and behavior is realized already at the level of the initial discovery of the image in the portrait. Immersing the portrait in the details of the character’s current life, Bunin attaches special importance to the portrait detail. Traditionally, this element of psychological analysis acted as a means of individualizing the hero. Bunin consciously strives to make the portrait detail recognizable and creates a general sign from it. “Thick hair, wrinkled, short legs” Ermil; husband's father Evgeniy (“On the Road”) “a short-legged man with a black beard”; Nikanor is called a “short-legged thief” in the same story; We see “short-legged, cheerful Sashka” in “The Last Day”; Deniska in “The Village” “was not tall enough, his legs, compared to his body, were very short”; “a nice, short-legged, somewhat pleased soldier” is met by Khrushchev from the story “Dust”. Through the disharmony of the external, the author highlights the inferiority of the internal, and also “marks” related characters with a common stamp, showing their widespread conflict. Among these will be the gloominess of many of Bunin’s characters. “Curly and gray-haired, large and gloomy” old man Avdey Zabota (“Care”); Nikanor (“The Fairy Tale”) “is still a young man, but gloomy.” In the same row is Peter (“The Last Day”), “who has adopted the manner of making gloomy jokes”; Ivan (“Night Conversation”), “very stupid, but considered himself amazingly smart,” who “kept narrowing his gloomy ironic eyes”; Evgenia (“On the Road”), whose eyes “played with gloomy joy.” Gloominess is a sign of limitation, spiritual underdevelopment of the hero. Stable elements of portrait characteristics, perceived in the context of a number of works, become carriers of a fixed author’s assessment. This technique, along with the use of the “principle of complementarity” (N. Gay) in the creation of images, with the symbolization and complication of the function of the landscape, speaks of the typifying property of Bunin’s psychologism. At the same time, Bunin is an artist characterized by syntheism and universalism

8 philosophical and artistic worldview. He is close to Tolstoy’s thoughts about the human “I” as the bearer and embodiment of common existence, the universal laws of life. For him, a person is not equal, as, for example, for Chekhov, to individual fate; he is interesting “as a particle of the world, carrying within itself the heritage of centuries, subject to universal laws”24. These ideas also influenced the principles of depicting a person in prose of the period of interest to us. Thus, the story about the Russian outback and its representatives under the artist’s pen acquires a greater scope due to the fact that the existence of each of the heroes and the world of the province as a whole are correlated with the deep motive of the meaning and value of human life, which in the work acquired a surprisingly capacious image of the “cup of life.” The desire to concentrate meaning, to symbolize the image of the Russian outback is palpable during this period in M. Gorky (“Okurov”) and E. Zamyatin (“Uyezdnoye”). However, the very nature of symbolization in each of the works is unique and special. For Zamyatin, the generalizing adequacy of artistic content was the accent-dominant image of the “district”, which combined, first of all, a historical and cultural reading of the theme of provincial life; for Gorky, a similar function was performed by the image of “hopeless boredom”, “boring impenetrable desert”, which gives a psychological “increment” to the interpretation of the topic. At the same time, the artistic world of both authors was built on the motif of the hero’s separation from general life, his isolation from the big world, “districtness.” In Bunin, on the contrary, we find an approach that connects the “backwater” person with the general law of life. This essential, “all-human” dimension of characters feeds all of the writer’s works, creating multi-layered characters and being realized in different psychological motives. The motif of illusory, inauthentic existence unites a number of works about figures of the material order. In “The Village” it is expressed directly, visibly, in the reflections and experiences of the character and receives a symbolic generalization in the hero’s assessment of his own life (“a handkerchief worn inside out”). More often than not, the character of such heroes, the spontaneous structure of their thoughts and feelings, excluded the possibility of directly addressing such serious problems. Therefore, such a motive is usually dissolved in the general artistic fabric, expressed indirectly through a complexly organized system of author’s assessments (“Good Life”, “Care”) or through a generalizing image successfully found by the narrator (“Prince among Princes”). In works telling about Russian self-destructors (“Vesely Dvor”, “Ioann Rydalets”, “Sukhodol”, “I am still silent”), the main motive is the lack of value of human life, the question that was contained in the original text of “Vesely Dvor” “does a person have the right dispose of himself as he pleases? " The fact of Yegor’s spontaneous suicide is explored by the artist as a manifestation of the contradictions of national existence and as a revelation of the tragedy of the distortion of human nature. From the angle of distortion of the laws of life, the painfully broken Shasha is interpreted, stubbornly destroying the natural balance with the world for a person. Yermil and Ignat act as individual embodiments of the dark forces that have triumphed in a person, making him capable of crime. Perceiving a person as a “particle of the world”, the very fact of personal evaluation of this hero, manifested in the ability or inability to feel his unity with the world, the artist uses his humanity as a criterion. For Bunin, the ability is extremely valuable

9 personality dissolve in the world, perceive themselves as a part of the whole. One of the most “existential” stories explores the most important, in the artist’s opinion, human quality of feeling like “thin grass” in the world, and therefore calmly accepting the thought of one’s imminent end. This feature of conjugation, the ability to include oneself in a certain holistic world order, goes back, according to Bunin, to the good traditions of national culture. It should be noted that interest in “existential” issues was typical for many during this period. However, Bunin’s desire for psychological and artistic authenticity helped him avoid the overtly modernist sound that distinguishes the interpretation of the mysterious forces of existence in the destinies of the heroes, for example, in S. Sergeev-Tsensky (“The Sorrow of the Fields,” “Movements”) or in A. Serafimovich (“Sands”) ", "City in the steppe"). Bunin's psychologism is of a synthetic nature. The principles of depicting a person, discovered by previous Russian prose, were organically perceived and transformed by the artist into a new quality. Bunin's syntheism responded to a more complex idea of personality and its relationship with the world. NOTES Chukovsky K. Early Bunin//Issue. lit. S.92. See: Keldysh V. A. Russian realism of the early 20th century. M., pp. 114, 122, 129; Dolgopoloe A. At the turn of the century. L., p.295; K Rutikova AM. “The Cup of Life” by I. Bunin and debates about the meaning of human existence at the beginning of the 20th century // from Griboedov to Gorky: From the history of Russian literature. L., S; Soloukhina O.V. On the moral and philosophical views of I. A. Bunin//Russian literature P.47 59; Ainkov V.Ya. The world and man in the works of L. Tolstoy and I. Bunin. M., S. Exceptions are represented by recently republished studies containing important observations about Bunin’s psychologism: Ilyin I. About darkness and enlightenment. M.: Skifs, 1991; Maltsev Yu. I. Bunin. M., 1983; and also: Slivitskaya O.V. On the nature of Bunin’s “external figurativeness”//Russian literature C. See about atom: Usmanov A.D. Artistic quests in Russian literature of the late XIX - early XX centuries: Author's abstract. dis.... Dr. Philol. Sci. L., 1977; Ginzburg A. About a literary hero. L, 1979; K Rutikova AM. Realistic prose of the 1910s (Story and Tale) // the fate of Russian realism at the beginning of the century. L., S; Grandfather NM. Artistic concept of the national in the prose of IA.Bunin: Diss.... cand. Philol. Sci. Sverdlovsk, S. Bunin and A. Collection. cit.: In 9 vols. M., T.Z. P.49. Further references to this publication are given in the text indicating the volume and page. Chekhov A.P. Poly. collection op. and letters: In 30 volumes. T.10. P.159. M., Further references to this publication are given in the text indicating the volume and page. 6 Chudakov A. Chekhov’s World: Emergence and Approval. M., p.255. Chudakov A. Decree. op. P.251. Killer whales N. Forest true story. M., p.132. Serafimovich A.S. Collection Op.: In 4 vols. M., T.1. P.244. "" Testaments S.99. Extreme A. Literary diary//Russian thought Ogd.Z. P.15.

10 Bumdzhulova B.E. Stylistic features of I.A. Bunin’s prose: Author’s abstract. dis.... cand. Philol. Sci. M., S.5. Annensky I. Books of reflections. M., S.ZO. Polotskaya E. L. Chekhov’s realism and Russian literature of the late 19th and early 20th centuries. (Kuprin, Bunin, Andreev) // Development of realism in Russian literature. T.Z. M., S M uratova K.D. Novel from the 1910s. Family chronicles//the fate of Russian realism of the early 20th century. P.127. "Geydeko V. Chekhov and Bunin. M., p. 121. See: Dneprov V 1 The Art of Human Studies. From the artistic experience of Leo Tolstoy. L., See more about Bunin’s depiction of the “sensory-instinctive, spiritual depths of the human being” in the book .: Ilyin I. About darkness and enlightenment. M., Bunin I. L. Collected works in 6 volumes. M., T.6. P.334. Ibid. P.341. Ibid. With f See. : Kucherovsky N.M. Aesthetic concept of life in the Cimmerian stories of I.A. Bunin//Russian literature of the 10th century. Kaluga, Sb.Z.S. and others. Ginzburg A. About psychological prose. L., P. 298. To the root Kova A.B. In the world of Bunin’s artistic quest // Literary heritage. T. 84. Book 2. M., P. 116. SUM MARY PSYCHOLOGICAL REALISM OF L.A. BUNIN S PROSE OF The article offers an original approach to the subject of “Bunin as a psychologist" and reveals a synthetic nature of Bunin's psychological realism. N. V. Prastcheruk

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The philosophical and psychological richness of I.A.’s lyrics. Bunina .

Literature lesson in 11th grade

Prepared by Andryunina E.G.

Poem “Epiphany Night” (1886-1901)

Refers to the early period of the poet’s work. The name is associated with the Orthodox holiday of Epiphany. But Bunin begins the description of Epiphany night without connecting it with a religious holiday. It seems like just a night in a winter forest, full of poetry and charm...

Analytical conversation

1. Find comparisons in the first 2 stanzas. What do they have in common? What image of a winter forest do they create?
2. What role do personifications play in the first 4 stanzas? Find a metaphor in the last stanza?
3.Which stanzas begin the same? Why does the author need this?

4. What colors are present in Bunin’s landscape?
5. Who does the lyrical hero feel like? An adult or a child? What feelings does he have? How do you imagine it?
6.What is unusual about the image of a star at the end of the poem? What image appears with the star?

Generalization

This poem combines the Christian vision of the world and the peasant, folk perception of nature. Bunin shows us the beauty and grandeur of nature, inspired by man and God's plan.

"Loneliness"

1. How did the poem make you feel? What picture did you present?
2. What is the theme of this poem?
3. What is the main idea?
4. What figurative and expressive means are there in this poem?

"The Last Bumblebee" (1916)

A brilliant example of natural-philosophical lyricism. A feature of this poetry is an attempt to understand the meaning of human life through comprehension of the philosophy of nature, of which man is a part. At the beginning of the poem, the epithet sets the philosophical theme of death, which is one of the defining themes in the writer’s work. It finds artistic embodiment in the story “Mr. from San Francisco”, in the cycle “Dark Alleys”. In the poem “The Last Bumblebee” this theme is revealed through an appeal to nature.

Analytical conversation

1. What mood does the poem evoke?
2.Find epithets related to bumblebee.
3.Why did the bumblebee turn golden at the end of the poem?
4.Why does it remain golden in the memory of the lyrical hero?

Generalization

In the first stanza, a parallel is visible between man and nature (“And it’s like you’re yearning for me?”). Then man disconnects himself from nature. She is not given an understanding of the finitude of life, because she is immortal. Every living being has the same saving ignorance. And only man, the most intelligent son of nature, acquired a sense of the end, which colored his life in tragic shades.

Task Group the poems of I.A. Bunin on a thematic basis.

“The Word”, “Evening”, “The day will come, I will disappear...”, “And flowers, and bumblebees, and grass, and ears of corn...”, “Childhood”, “Motherland”, “Twilight”, “The gray sky above me ..”, “I remember a long winter evening...”, “In a country chair, at night, on the balcony...”.

Summing up the lesson

Poetry I.A. Bunina received contradictory

assessment in contemporary criticism.

In his early work the leading principle

there was poetry. Bunin seeks to bring closer

poetry with prose, the latter acquires

he has a peculiar lyrical character,

marked by a sense of rhythm. About the character of Bunin

Maxim Gorky said well about poetry: “When I

I will write about your book of poems, by the way, I

I will compare you with Levitan..."

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