Sunstroke time and space. “Review of I. Bunin’s story “Sunstroke. The main characters and their characteristics

Varyanitsa Alena Gennadievna,

1st year master's student

Higher School of Literature, European and Oriental Languages

Space-time continuum

in Bunin's story "Sunstroke"

The category of continuum is directly related to the concepts of time and space. The term “continuum” itself means, according to I.R. Galperin, “the continuous formation of something, i.e. undifferentiated flow of movement in time and space"[Galperin:1971, 87] . However, movement can only be analyzed if you pause it and see in the decomposed parts the discrete characteristics that interact to create the idea of ​​movement. Thus, continuum as a category of text can be imagined in the most general terms as a certain sequence of facts and events unfolding in time and space.

It is known that the sense of time for a person at different periods of his life is subjective: it can stretch or shrink. This subjectivity of sensations is used in different ways by authors of literary texts: a moment can last a long time or stop altogether, and large periods of time can flash by overnight. Artistic time is a sequence in the description of events that are subjectively perceived. This perception of time becomes one of the forms of depicting reality when, at the will of the author, the time perspective changes, which can shift, the past is thought of as the present, and the future appears as the past, etc.

“In his work, the writer creates a certain space in which the action takes place. This space can be large, cover a number of countries in a travel novel, or even go beyond the terrestrial planet, but it can also narrow down to the tight confines of one room” [Likhachev: 1968, 76].

“The writer in his work also creates the time in which the action of the work takes place. The work may cover centuries or just hours. Time in a work can move quickly or slowly, intermittently or continuously, be intensely filled with events or flow lazily and remain “empty,” rarely “populated” with events” [Likhachev: 1968, 79].

The category of time in a literary text is also complicated by its two-dimensionality - this is the time of the narrative and the time of the event. Therefore, temporary shifts are quite natural. Events that are distant in time can be depicted as immediately occurring, for example, in a character's retelling. Temporary doubling is a common storytelling technique in which the stories of different people, including the author of the text, intersect.

But such a bifurcation is possible without the intervention of characters in the coverage of past and present events. Space, just like time, can shift at the will of the author. Artistic space is created through the use of image perspective; this occurs as a result of a mental change in the place from which the observation is being made: a general, small plan is replaced by a large one, and vice versa.

In a literary text, spatial concepts can generally be transformed into concepts of a different plane. According to M. Yu. Lotman, artistic space is a model of the world of a given author, expressed in the language of his spatial representations [Lotman: 1988, 212].

Spatial concepts in a creative, artistic context can only be an external, verbal image, but convey a different content, not spatial. Space and time are the basic forms of being, life, precisely as such realities they are recreated in non-fiction texts, in particular in scientific ones, and in artistic texts they can be transformed, transform into one another [Valgina: 2003, 115].

The leading role in the development of categories of artistic space and time belongs to M.M. Bakhtin, who proposed a “consistently chronotopic approach” to the study of a work of art. M.M. Bakhtin gave the following definition to the developed concept: “We will call the essential interconnection of temporal and spatial relations, artistically mastered in literature, a chronotope (which literally means “time-space”)” [Bakhtin: 1975, 245].

The chronotope plays an important role, since it “determines the artistic unity of a literary work in its relation to reality,” and also has “significant genre significance” in literature: “We can directly say that the genre and genre varieties are determined precisely by the chronotope” [Bakhtin: 1975 , 247]. Thus, having originated in the teachings of M.M. Bakhtin, in recent studies, chronotope is defined as the structural law of the genre.

Based on the postulates put forward, M.M. Bakhtin identified “chronotopic values ​​of different degrees and volumes” that permeate art and literature: “Chronotope of the meeting”, “Chronotope of the road”, Real chronotope - “square” (“agora”), “Castle”, “Living room-salon”, “ Provincial town”, “Threshold” [Bakhtin: 1975, 253].

The author referred to a list of only large, comprehensive chronotopes, pointing out that “each such chronotope can include an unlimited number of small chronotopes: after all, each motif can have its own special chronotope” [Bakhtin: 1975, 261], which becomes the subject of research scientists.

MM. Bakhtin defined the main meanings of the identified chronotopes: “plot-forming” meaning (“they are the organizational centers of the main plot events of the novel”), “pictorial” meaning (“the chronotope as the primary materialization of time in space is the center of pictorial concretization, embodiment for the entire novel”) [Bakhtin :1975, 263].

MM. Bakhtin, based on the results of his study of the novelistic nature of the work, concludes that “every artistic and literary image is chronotopic. Language as a treasury of images is essentially chronotopic. The internal form of a word is chronotopic, that is, that mediating feature with the help of which the original spatial meanings are transferred to temporal relations (in the broadest sense)” [Bakhtin: 1975, 289].

In literary criticism, the problem of artistic time and space remains relevant when turning to the analysis of works.

From this position, Bunin’s story “Sunstroke,” written by him in 1925, is interesting.

The plot of the story is based on a chance meeting between a lieutenant and a young woman. Something happened to them that few are destined to experience: a flash of passion, similar in strength to sunstroke. The heroes understand that both are powerless to resist this feeling and decide on a reckless act: they get off at the nearest pier. Entering the room, the heroes give vent to the passion that gripped them:“...both were so frantically suffocated in the kiss that they remembered this moment for many years later: neither one nor the other had ever experienced anything like this in their entire lives.” [Bunin: 1986, 387].

In the morning " little nameless woman "Leaves. At first, the lieutenant treated what happened very lightly and carefree, as if it were a funny adventure, of which there were many and would continue to be in his life. But, returning to the hotel, he realizes that he cannot be in a room where he still reminds him of her. With tenderness he remembers her words spoken before leaving:“I give you my word of honor that I am not at all what you might think of me. Nothing even similar to what happened has ever happened to me, and there never will be again. It was as if an eclipse had hit me... Or, rather, we both got something like sunstroke...” [Bunin: 1986, 388].

What once seemed like a fleeting vision grows into something more. The lieutenant realizes that his heart is struck by love. In a short time, something happened for him that for some people lasts a lifetime. He is ready to give his life to see his"beautiful stranger" and express “how painfully and enthusiastically he loves her” .

So the story begins meeting there are two people on the ship: a man and a woman (according to Bakhtin’s terminology, this is a “chronotope of a meeting”). A certain feeling of something instantaneous, suddenly striking, and here leading to devastation of the soul, suffering, and misfortune is created. This is especially clearly felt if we compare the beginning(“After dinner, we walked out of the brightly and hotly lit dining room onto the deck and stopped at the railing. She closed her eyes, put her hand to her cheek with her palm facing outward, and laughed a simple, charming laugh.” [Bunin: 1986, 386]) and the end of the story(“The lieutenant sat under a canopy on the deck, feeling ten years older.” [Bunin: 1986, 392] ).

Let's consider another technique used by I.A. Bunin, is the organization of space and time.

Please note that space in the work is limited. The heroes arrive by boat, leave again by boat; then the hotel, from where the lieutenant goes to see off the stranger, and he returns there. The hero constantly makes the opposite movement. It can be assumed that this is a kind of vicious circle. The lieutenant runs out of the room, and this is understandable: staying here without her is painful, but he returns, since this room still contains traces of the stranger. Thinking about what he has experienced, the hero experiences pain and joy.

Other categories of “space” can be considered:

1. Real spaces: river, steamship, boat, hotel room, town, market.

The love story of the heroes is uniquely framed by two landscapes.“There was darkness and lights ahead. A strong, soft wind hit my face from the darkness, and the lights rushed somewhere to the side...” [Bunin: 1986, 386]. It seems that nature here becomes something pushing the heroes towards each other, contributing to the emergence of love feelings in them, promising something beautiful. And, at the same time, perhaps its description carries a motive of hopelessness, because there is something here that foreshadows the ending, where“the dark summer dawn faded far ahead, gloomily, sleepily and multi-coloredly reflected in the river, which in some places still glowed like trembling ripples in the distance beneath it, under this dawn, and the lights floated and floated back, scattered in the darkness around” [Bunin: 1986, 389 ]. One gets the impression that the heroes, emerging from “darkness ", dissolve in it again. The writer highlights only a moment in their destinies.

The “spatial” movement of lights in these landscapes is also extremely important. They seem to frame the love story of the heroes: in the first landscape they were ahead, promising happiness, and in the second - behind. Now everything has come full circle, and repeat "sailed and sailed " seems to be a hint at the monotony of the lieutenant's life without "her" (“...how can I spend the whole day now, without her, in this outback...” ).

The spaces of nature and the human world are contrasted. In describing the morning, the author uses his characteristic technique of “stringing” epithets and details that convey the feelings of the characters and give tangibility to feelings:“At ten o’clock in the morning, sunny, hot, happy, with the ringing of churches, with market on the square... little nameless woman left"[Bunin: 1986, 38 7]. The bazaar, unnoticed by the hero when he saw off the stranger, now becomes the subject of his attention. Previously, the lieutenant would not have noticed any manure among the carts, no bowls, no pots, no women sitting on the ground, and the phrase“Here are the first grade cucumbers, your honor!” would not seem to him as petty and vulgar as it does now.

2. B internal spacesswarms: hero, heroine and love.

Bunin is more interested in the hero, since it is through his eyes that we look at the world, but, oddly enough, the heroine will be the “carrier of action.” Her appearance pulls the hero out of his usual “world”, and even if he returns to it, his life will still be different.

Attentive to sounds and smells, Bunin describes the stranger through the eyes of a lieutenant at the beginning of the work. And in her portrait details appear that, in Bunin’s understanding, are characteristic of the vision of a person gripped by desire:“...the hand, small and strong, smelled of tan” , “She is strong and dark all over under this light canvas dress after a whole month of lying under the southern sun” , “.. fresh as at seventeen, simple, cheerful and - already reasonable” [Bunin: 1986, 386].

The author first gives a portrait of the hero almost at the very end of the story.“An ordinary officer’s face, gray from a tan, with a whitish sun-bleached mustache and bluish white eyes.” turns into the face of a suffering man and now has"excited, crazy expression" . It is interesting that the author separates the description of the characters in time: she is described at the beginning, he is described at the end of the work. I.A. Bunin focuses on how the hero ceases to be faceless only at the end of the work. It can be assumed that this is due to the fact that the lieutenant learned what love is («… a completely new feeling - that strange, incomprehensible feeling that did not exist at all while they were together, which he could not even imagine in himself, starting yesterday what he thought was just a funny acquaintance, and which it was no longer possible to tell her about now ! ». ).

The work can also highlight the space of love, because love is the main character here. At the beginning of the story, it is not clear whether this is love: “He” and “she” obey the call of the flesh. What do we think is the abundance of verbs (“rushed », « passed », « came out », « got up », « left ") may indicate a rapid change of actions. With this endless repetition of verbs of movement, the author seeks to focus the reader’s attention on the appearance of some kind of “heat” in the actions of the heroes, depicting their feeling as a disease that cannot be resisted. But at some point we begin to understand that “he” and “she” still truly loved each other. The realization of this comes to us when Bunin first looks into the future of the heroes:“The lieutenant rushed to her so impulsively and both frantically suffocated in the kiss that they remembered this moment for many years later: neither one nor the other had ever experienced anything like this in their entire lives.” [Bunin: 1986, 387].

Let's consider how the category of “time” is traced in this story. We can highlight:

1. “Real” time of action: two days, yesterday and today;

2. “Psychological” time of action: past, present and future;

The system of antonyms proposed by Bunin is aimed at showing the gulf that lies between the past and the present. The room was still full of her, her presence was still felt, but the room was already empty, and she was no longer there, she had already left, she would never see her, and you would never say anything again. The ratio of contrasting sentences that connect the past and present through memory is constantly visible (“The feeling of the pleasures he had just experienced was still alive in him, but now the main thing was a new feeling”). The lieutenant needed to do something, distract himself, go somewhere, and he wanders around the city, trying to escape from the obsession, not understanding what is happening to him. His heart is struck by too much love, too much happiness. Fleeting love came as a shock to the lieutenant; it changed him psychologically.

3. “Metaphysical” time of action: moment and eternity.

It’s interesting that everything that was the same yesterday seemed different to the hero. A number of details of the story, as well as the scene of the meeting between the lieutenant and the cab driver, help us understand the author's intention. The most important thing that we discover for ourselves after reading the story “Sunstroke” is that the love that Bunin describes in his works has no future. His heroes will never be able to find happiness; they are doomed to suffer. In the end, the reader understands that love could not last, that the separation of the heroes is natural and inevitable. The author, in order to emphasize the scantiness of the time allotted to love, does not even name the names of the characters, but only describes the rapidly developing action.

It is no coincidence that the lieutenant feels deeply unhappy,"ten years older" . But he is unable to change anything - his love has no future.

On the one hand, the plot of the story is built simply, it follows a linear sequence of events, on the other hand, there is an inversion of memory episodes. The author uses this to show that psychologically the hero seems to have remained in the past and, realizing this, does not want to part with the illusion of the presence of his beloved woman. In terms of time, the story can be divided into two parts: the night spent with the woman, and the day without her. At first, an image of fleeting bliss is created - a funny incident, and in the finale an image of painful bliss - a feeling of great happiness. Gradually, the heat of the heated roofs gives way to the reddish yellowness of the evening sun, and yesterday and this morning were remembered as if they were ten years ago. Of course, the lieutenant already lives in the present, he is able to realistically assess events, but the spiritual devastation and the image of a certain tragic bliss remain.

A woman and a man, living a different life, constantly remember these moments of happiness (“...for many years later they remembered this moment: neither one nor the other had ever experienced anything like this in their entire lives...” ).

Thus, time and space outline the peculiar closed world in which the heroes find themselves. They are captive of their memories for life. Hence the successful metaphor in the title of the story: a sunstroke will be perceived not only as pain and madness, but also as a moment of happiness, a flash of lightning that can illuminate a person’s entire life with its light.

LIST OF REFERENCES USED

Galperin I.R. Text as an object of linguistic research. – M.: URSS, 2007. – 139 p.

Bakhtin M.M. Forms of time and chronotope in the novel: essays on historical poetics [Text] / MM. Bakhtin // Bakhtin M.M. Questions of literature and aesthetics. - M.: Fiction, 1975. – 455 p.

Bunin I.A. Poems. Stories. / Comp. V.F. Mulenkova; Preface to the poems of O.N. Mikhailova; Preface to the stories of A.A. Sahakyants; Comment. to the poems of A.K. Baboreko and V.S. Grechaninova; Comment. to the stories of A.A. Sahakyants. – M.: Pravda, 1986. – 544 p.

Valgina N.S. Theory of text [Text]: textbook / N.S. Valgina. – M.: Logos, 2003. – 210 p.

Likhachev D.S. The inner world of a work of art [Text] / D. Likhachev // Questions of literature. - 1968. - No. 8. – 74 – 87 p.

Lotman Yu.M. The plot space of the Russian novel of the 19th century [Text] / Yu.M. Lotman // Lotman Yu.M. At the school of poetic words: Pushkin. Lermontov. Gogol. - M.: Education, 1988. – 374 p.

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   Likhachev, D. The inner world of a work of art [Text]/ D. Likhachev // Questions of literature. - 1968. - No. 8. – P. 74 - 87.
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Many of I. Bunin’s works are hymns to true love, which has everything: tenderness, passion, and the feeling of that special connection between the souls of two lovers. This feeling is also described in the story “Sunstroke,” which the writer considered one of his best works. Students meet him in 11th grade. We suggest making your preparation for the lesson easier by using the analysis of the work presented below. Analysis will also help you quickly and efficiently prepare for the lesson and the Unified State Exam.

Brief Analysis

Year of writing- 1925

History of creation- I. Bunin was inspired to write the work by the nature of the Maritime Alps. The story was created during the period when the writer was working on a series of works related to love themes.

Subject- The main theme of the work is true love, which a person feels with both soul and body. In the final part of the work, the motive of separation from a loved one appears.

Composition- The formal organization of the story is simple, but there are certain features. The plot elements are placed in a logical sequence, but the work begins with a plot. Another feature is the framing: the story begins and ends with a picture of the sea.

Genre- Story.

Direction- Realism.

History of creation

“Sunstroke” was written by I. Bunin in 1925. It is worth noting that the year of writing coincided with the period when the writer was working on stories on the theme of love. This is one of the factors that explains the psychological depth of the work.

I. Bunin told G. Kuznetsova about the history of its creation. After the conversation, the woman wrote the following in her diary: “We talked yesterday about writing and how stories are born. At I.A. (Ivan Alekseevich) it starts with nature, some picture that flashed in the brain, often a fragment. So the sunstroke came from the idea of ​​going out on deck after dinner, from the light into the darkness of a summer night on the Volga. And the end came later"

Subject

In “Sunstroke,” the analysis of the work should begin with a description of the main problems. The story showed motive, very common in both world and domestic literature. However, the author managed to reveal it in an original way, delving into the psychology of the characters.

At the center of the work subject sincere, ardent love, in the context of which they develop Problems relationships between people, separation of lovers, internal contradiction caused by the incompatibility of feelings and circumstances. Issues The work is based on psychologism. The system of images is unbranched, so the reader’s attention is constantly focused on two heroes - the lieutenant and the beautiful stranger.

The story begins with a description of lunch on the deck of a ship. It was under such conditions that the young people met. A spark immediately ran between them. The man suggested that the girl escape from strangers. After getting off the ship, they headed to the hotel. When the young people were left alone, the flames of passion immediately engulfed their bodies and minds.

The time at the hotel flew by. In the morning, the lieutenant and the beautiful stranger were forced to part, but this turned out to be very difficult. Young people wonder what happened to them. They assume it was sunstroke. In these considerations lies the meaning of the title of the work. Sunstroke in this context is a symbol of sudden mental shock, love overshadowing the mind.

The beloved persuades the lieutenant to take her to the deck. Here the man seems to be struck by sunstroke again, because he allows himself to kiss the stranger in front of everyone. The hero cannot recover from separation for a long time. He is tormented by the thought that his beloved most likely has a family, so they are not destined to be together. A man tries to write to his beloved, but then realizes that he does not know her address. In such a rebellious state, the hero spends another night, recent events gradually move away from him. However, they do not pass without a trace: it seems to the lieutenant that he has aged ten years.

Composition

The composition of the work is simple, but some features are worth paying attention to. Plot elements are placed in a logical sequence. However, the story begins not with exposition, but with a plot. This technique enhances the sound of the idea. The characters get to know each other, and then we learn more about them. Development of events - night at the hotel and morning conversation. The climax is the scene of the separation of the lieutenant and the stranger. The denouement - the outbreak of love is gradually forgotten, but leaves a deep mark in the soul of the hero. This conclusion provides the reader with the opportunity to draw certain conclusions.

The framing can also be considered a feature of the composition of the work: the story begins and ends with a scene on the deck.

Genre

The genre of I. Bunin’s work “Sunstroke” is a story, as evidenced by the following signs: small volume, the main role is played by the plot line of lovers, there are only two main characters. The direction of the story is realism.

Work test

Rating Analysis

Average rating: 4.6. Total ratings received: 101.

We have prepared for you a series of lessons under the general title “Navigator”. They will help you better understand works of Russian literature and navigate materials dedicated to this work and posted in the public domain on the Internet.

I propose to talk about the story of I.A. Bunin "Sunstroke".

Story by I.A. Bunin's “Sunstroke” (you can read it in full here: text) was written at the beginning of the 20th century. Many phenomena and objects of that time have already disappeared from our lives, but the events themselves could have happened anywhere and anytime.

If you want to think about the issues that the author touches on in the story and that have concerned humanity for centuries, take a look at.

The story about an accidental, suddenly flared up love and a revolution in human perception does not leave indifferent either the writer’s contemporaries or us living a hundred years later. In this section we invite you to find out what critics and philologists think about “Sunstroke”. These materials will help you answer in class, when writing an essay, will be useful in preparing for exams and, of course, will give you the keys to understanding the text. We also recommend Igor Volgin’s program “The Glass Bead Game” (about the collection “Dark Alleys”), where the host’s interlocutors discuss a series of stories and Bunin’s concept of love. You can see how the idea of ​​a story is conveyed through cinematography by going to the tab.

If you are interested in which of the writers thought about such questions, with whom Bunin, voluntarily or unwittingly, entered into a creative dialogue, go to the section. And for those of you who liked “Sunstroke” and who would gladly read something similar in style and atmosphere, we advise you to look at the tab.

Nichiporov I. B.

Short story "Sunstroke" (1925)

The story was written in 1925 and, published in Sovremennye Zapiski in 1926, became one of the most remarkable phenomena of Bunin's prose of the 1920s.

The semantic core of the story, which outwardly resembles a sketch of a short love “adventure,” becomes Bunin’s deep comprehension of the essence of Eros, its place in the world of spiritual experiences of the individual. By reducing the exposition and depicting from the very first lines a sudden meeting of the heroes (who are never mentioned by name), the author replaces the logic of the event series with a scattering of psychologically rich details of the surrounding natural and objective existence - from “the warmth and smells of a night-time summer county town” to the characteristic “ Volga panache" of a steamship approaching the pier. The mutual attraction of the heroes here appears outside the sphere of traditional psychological motivation and is likened to “madness”, “sunstroke”, embodying the transpersonal, irrational element of existence.

In place of progressive plot dynamics, a “moment” is put forward here, a decisive moment in the lives of the heroes, the image of which predetermines the discreteness of the narrative fabric. In the “moment” of love between the lieutenant and his companion, a bridge is thrown between three time dimensions at once: the moment of the present, the memory of the past and the intuition of the future: “Both were so ecstatically suffocated in the kiss that for many years later they remembered this moment: they had never experienced anything like it in my entire life, neither one nor the other..." (5.239). What is important here is the emphasis on the subjective and lyrical experience of time. In Bunin's prose, the compaction of chronotopic forms allows, taking into account the psychological discoveries of the newest era, to convey the synchronicity of internal experiences (in contrast to Tolstoy's "dialectics"), to highlight the unidentified, unconscious layers of mental life. This “moment” of physical rapprochement, inspired by spiritual feeling, becomes the culmination of the story, from it a thread stretches to the hero’s inner self-knowledge, his insights about the essence of love.

Rethinking the realistic principles of psychologism, Bunin refuses the detailed internal monologues of the characters and actively uses indirect methods of revealing spiritual impulses through the “dotted line” of “external depiction.” The very image of the “stranger” is given through abrupt metonymic details: these are, first of all, portrait strokes based on synesthesia (“the hand smelled of tan,” “the smell of her tan and canvas dress”). In general, in the culture of the Silver Age, the female image acquires special weight, becoming the embodiment of the secret plexuses of mental life, special sensitivity to the universal forces of Eros (V. Solovyov’s philosophical ideas about Sophia, the context of Symbolist poetry, the mysterious aura surrounding many heroines of Bunin, Kuprin, etc.) . However, in Bunin this image, as well as the depiction of love in general, is far from the symbolist mystical “mists” and grows from the specifics of sensory existence, alluring with its incomprehensibility.

From bodily intoxication, the hero of the story gradually comes to a “belated” awareness of “that strange, incomprehensible feeling that did not exist at all while they were together, which he could not even imagine in himself...” (5.241). The experience of love reveals to the lieutenant the true “price” of everything he has lived and experienced and is refracted in the hero’s new vision of the outside world. This is that “happy”, infinitely dear, that he begins to recognize in the sounds and smells of the district Volga city, that “immeasurable happiness” that his transformed soul feels “even in this heat and in all the market smells” (5.242). However, the “immensity” of love’s delight, that which is “more necessary than life,” is antinomically combined in Bunin’s prose with the inescapable feeling of the incompatibility of this ontological completeness with the “everyday” manifestations of reality—that’s why the impression from the service in the cathedral, “where they sang loudly and cheerfully and decisively, with the consciousness of a fulfilled duty,” looking at ordinary images of people on a photographic showcase fills the hero’s soul with pain: “How wild, scary is everything everyday, ordinary, when the heart is struck ... by this terrible “sunstroke”, too much love, too much happiness..." (5.243). This character's insight contains the core of Bunin's tragic concept of love - a feeling that introduces a person to eternity and catastrophically takes him beyond the boundaries of the earthly worldview and spatio-temporal guidelines. The artistic time in the story - from the moment of love between the characters to the description of the lieutenant’s feelings in the finale - is deeply non-chronological and is subject to the general tendency towards the subjectification of object-based forms: “Both yesterday and this morning were remembered as if they were ten years ago...” (5.244).

The renewal of the narrative structure is manifested in the story not only in the reduction of the expositional part, but in the significance of the leitmotiv compositional principles (throughout images of the city given through the eyes of the hero), associative moves that stand above cause-and-effect determinism. In the book “About Chekhov,” Bunin recalled one of Chekhov’s most valuable pieces of advice for himself: “In my opinion, having written a story, you should cross out its beginning and end...”.

The final Volga landscape in “Sunstroke” combines realistic authenticity with the symbolic generality of the imagery and, associated with the “fires” of the culminating moments of the character’s personal existence, gives the story an ontological perspective: “The dark summer dawn was extinguished far ahead, gloomily, sleepily and colorfully reflected in the river , still glowing here and there like trembling ripples in the distance below her, under this dawn, and the lights floated and floated back, scattered in the darkness around ... "(5.245). The expression of landscape images of the mysterious “Volga world” in the story is enhanced by the author’s hidden nostalgic feeling about a Russia lost forever, preserved by the power of memory and creative imagination. In general, the image of Russia in Bunin's emigrant short prose ("God's Tree", "Mowers"), as well as in the novel "The Life of Arsenyev", without losing living objectivity, is saturated with a sad, piercing lyrical feeling.

Thus, in the story “Sunstroke” the artistic perfection of the writer is revealed in understanding the irrational depths of the soul and the secrets of love, which was manifested in a characteristic of Russian and foreign prose of the 20th century. updating forms of psychologism, principles of plot and compositional organization. Coming into contact with many modernist experiments in this area, Bunin, with his interest in the “earthly” roots of human character, the concreteness of everyday life, inherited the peak achievements of the realistic class

More than a quarter of a century earlier, in 1899, a story by another famous Russian writer, A.P. Chekhov, “The Lady with the Dog,” was created and published. The plot of this story and the story described in “Sunstroke” have undeniable similarities. The hero of Chekhov's work, Dmitry Dmitrich Gurov, meets a married lady, Anna Sergeevna, at a resort in Yalta, and like a determined...

ena” - this phrase of the writer can be used as an epigraph to all his stories about love. He talked a lot about her, beautiful, incomprehensible, mysterious. But if in his early stories Bunin wrote about tragic unrequited love, then in “Sunstroke” it is mutual. And still tragic! Incredible? How can this be? It turns out it can. Let's turn to the story. The plot is simple. He and she meet on the ship. ...

Bazaar, about the greed of traders. Having paid the cab driver generously, he went to the pier and a minute later found himself on a crowded ship following the stranger. The action has come to a denouement, but at the very end of the story I. A. Bunin puts the finishing touch: in a few days the lieutenant has aged ten years. Feeling captive of love, we do not think about the inevitable moment of separation. The stronger we...

And types of love. It can be sublime and romantic, calm and gentle, stormy and frantic. And also sudden, bright, like a flash of lightning. I. A. Bunin talks about such love in the short story “Sunstroke”. The plot of this story is simple: on a ship sailing along the Volga, a lieutenant and a young woman who are returning home after a vacation in the Crimea meet. And then something happened to them...