Ivan Alekseevich Bunin - greatest writer turn of the XIX-XX centuries He entered literature as a poet and created wonderful poetic works. 1895 ...The first story “To the End of the World” is published. Encouraged by the praise of critics, Bunin begins to study literary creativity. Ivan Alekseevich Bunin is a laureate of various awards, including laureate Nobel Prize on literature 1933

In 1944, the writer created one of the most wonderful stories about love, about the most beautiful, significant and lofty thing that exists on Earth - the story “ Clean Monday" Bunin said about this story of his: “I thank God that He gave me to write, Clean Monday.”

In the story “Clean Monday,” the psychologism of Bunin’s prose and the peculiarities of “external depiction” were especially clearly manifested.

“The Moscow gray winter day was darkening, the gas in the lanterns was coldly lit, the store windows were warmly illuminated - and the evening Moscow life, freed from daytime affairs, flared up, the cabbies' sleighs rushed thicker and more vigorously, the crowded, diving trams rattled more heavily - in the darkness it was already visible how the green stars hissed from the wires - the dimly blackened passers-by hurried more animatedly along the snowy sidewalks...” - these are the words with which the author begins his narrative, taking the reader to old Moscow at the beginning of the 20th century. The writer with the greatest detail, without losing sight of the slightest detail, reproduces all the signs of this era. And from the very first lines, the story is given a special sound by the constant mention of details of deep antiquity: about ancient Moscow churches, monasteries, icons (the Cathedral of Christ the Savior, the Iveron Church, the Martha and Mary Convent, the icon of the Mother of God of the Three Hands), about the names of outstanding personalities. But next to this antiquity, eternity, we notice signs of a later way of life: the restaurants “Prague”, “Hermitage”, “Metropol”, “Yar”, known and accessible to the wealthiest layers of citizens; books by contemporary authors; “Motla” by Ertel and Chekhov... Judging by how the action unfolds in the story, we can judge that the past for the heroes is extremely clear, the present is vague, and the future is absolutely unclear.

There are two heroes in the story: he and she, a man and a woman. The man, according to the writer, was healthy, rich, young and handsome for some reason with a southern, hot beauty, he was even “indecently handsome.” But the most important thing is that the hero is in love, so in love that he is ready to fulfill any whim of the heroine, just not to lose her. But, unfortunately, he cannot and does not try to understand what is going on in the soul of his beloved: he “tried not to think, not to think about it.” The woman is portrayed as mysterious, enigmatic. She is mysterious, just as the soul of a Russian woman with her spirituality, devotion, dedication, self-denial is mysterious in general... The hero himself admits: “She was mysterious, strange to me.” Her whole life is woven from inexplicable contradictions and tossing. “It looked like she didn’t need anything: no flowers, no books, no lunches, no theaters, no dinners out of town,” the narrator says, but immediately adds: “Although flowers were still her favorite and unloved, all the books... she always read, she ate a whole box of chocolate a day, at lunches and dinners she ate as much as me...” When going somewhere, she most often did not know where she would go next, what she would do, in a word, she did not know, with by whom, how and where he will spend his time.

The writer tells us quite fully about her origins and her current activities. But in describing the heroine’s life, Bunin very often uses indefinite adverbs (for some reason there was a portrait of a barefoot Tolstoy hanging above her sofa).

All a woman’s actions are spontaneous, irrational and at the same time as if planned. On the night of Clean Monday, she gives herself to the hero, knowing that in the morning she will go to the monastery, but whether this departure is final is also unclear. Throughout the entire story, the author shows that the heroine does not feel comfortable anywhere, she does not believe in the existence of simple earthly happiness. “Our happiness, my friend, is like water in delirium: if you pull it, it’s inflated, but if you pull it out, there’s nothing,” she quotes Platon Karataev.

The emotional impulses of the heroes of “Clean Monday” often defy logical explanation. It seems as if both the man and the woman have no control over themselves, are not able to control their feelings.
The narrative centers on the events of Forgiveness Sunday and Clean Monday. Forgiveness Sunday is a religious holiday revered by all believers. They ask each other for forgiveness and forgive their loved ones. For the heroine, this is a very special day, not only a day of forgiveness, but also a day of farewell to worldly life. Clean Monday is the first day of Lent, on which a person is cleansed of all filth, when the joy of Maslenitsa gives way to self-contemplation. This day becomes a turning point in the hero's life. Having gone through the suffering associated with the loss of his beloved, the hero experiences the influence of surrounding forces and realizes everything that he had not noticed before, being blinded by his love for the heroine. Two years later, the man, remembering the events of days long gone, will repeat the route of their long-standing joint trip, and “for some reason” he will really want to go to the church of the Marfo-Mariinsky monastery. What unknown forces draw him towards his beloved? Does he strive for the spiritual world into which she goes? We don’t know this, the author does not lift the veil of secrecy for us. He only shows us humility in the soul of the hero, their last meeting ends with his humble departure, and not the awakening of his former passions.

The future of the heroes is unclear. Besides everything, the writer does not even directly indicate anywhere that the nun the man met is his former lover. Only one detail - dark eyes - resembles the appearance of the heroine. It is noteworthy that the heroine goes to the Marfo-Mariinsky Convent. This monastery is not a monastery, but the Church of the Intercession of Our Lady on Ordynka, which had a community of secular ladies who took care of the orphans who lived at the church and those wounded in the first world war. And this service in the Church of the Intercession of the Mother of God, perhaps, is a spiritual insight for the heroine of “Clean Monday”, because it was the Immaculate Heart of the Mother of God who warned the world against war, death, blood, orphanhood...

• Throughout its entire creative activity Bunin created poetic works. Bunin's original, unique artistic style cannot be confused with the poems of other authors. In individual artistic style the writer reflects his worldview. Bunin responded to complex questions of existence in his poems. His lyrics are multifaceted and deep in philosophical questions of understanding the meaning of life. The poet expressed the mood of confusion, disappointment and at the same time knew how to fill his […]
• Poetry occupies a significant place in the work of I. A. Bunin, although he gained fame as a prose writer. He claimed to be first and foremost a poet. It was with poetry that his path in literature began. When Bunin was 17 years old, his first poem, “The Village Beggar,” was published in the Rodina magazine, in which the young poet described the state of the Russian village: It’s sad to see how much suffering, and melancholy, and need there is in Rus'! From the very beginning of his creative activity, the poet found his own style, his own themes, [...]
• After the revolution of 1905, Bunin was one of the first to feel the changes that had come in the life of Russia, namely the mood of the post-revolutionary village, and reflected them in his stories and stories, especially in the story “The Village,” which was published in 1910. On the pages of the story “The Village,” the author paints a terrifying picture of the poverty of the Russian people. Bunin wrote that this story marked “the beginning of a whole series of works that sharply depicted the Russian soul, its peculiar textures, its light and dark, but almost always […]
• Bunin's short story cycle Dark alleys"includes 38 stories. They differ in genre, in creating the characters of the heroes, and reflect different layers of time. The author wrote this cycle, the last in his life, for eight years, during the First World War. Bunin wrote about eternal love and the strength of feelings at a time when the world was collapsing from the bloodiest war in known history. Bunin considered the book “Dark Alleys” to be “the most perfect in craftsmanship” and ranked it among his highest achievements. This is a memoir book. In the stories [...]
• The story “Clean Monday” is part of Bunin’s series of stories “Dark Alleys”. This cycle was the last in the author’s life and took eight years of creativity. The cycle was created during the Second World War. The world was collapsing, and the great Russian writer Bunin wrote about love, about the eternal, about the only force capable of preserving life in its highest purpose. The cross-cutting theme of the cycle is love in all its many faces, the merging of the souls of two unique, inimitable worlds, the souls of lovers. The story “Clean Monday” […]
• The theme of the village and the life of nobles on their family estates was one of the main ones in the work of Bunin the prose writer. Bunin made his mark as a creator of prose works in 1886. At the age of 16, he wrote lyrical and romantic stories, in which, in addition to describing the youthful impulses of the soul, social issues were already outlined. The story “ Antonov apples" and the story "Sukhodol". Bunin knew the life of the Russian village well. He spent his childhood and youth on a farm [...]
• The theme of criticism of bourgeois reality is reflected in Bunin's work. One of best works This topic can rightly be called the story “Mr. from San Francisco,” which was highly appreciated by V. Korolenko. The idea to write this story came to Bunin while working on the story “Brothers,” when he learned about the death of a millionaire who had come to rest on the island of Capri. At first the writer called the story “Death on Capri,” but later renamed it. It was the gentleman from San Francisco with his […]
• The story “Easy Breathing” was written by I. Bunin in 1916. It reflected the philosophical motives of life and death, the beautiful and the ugly, which were the focus of the writer’s attention. In this story, Bunin develops one of the leading problems for his work: love and death. In terms of artistic mastery, “Easy Breathing” is considered the pearl of Bunin’s prose. The narrative moves in the opposite direction, from the present to the past, the beginning of the story is its ending. From the first lines, the author immerses the reader in [...]
• The story “Clean Monday,” written in 1944, is one of the author’s favorite stories. I.A. Bunin recounts the events of the distant past from the perspective of the narrator - a young wealthy man with no special occupation. The hero is in love, and the heroine, as he sees her, makes a strange impression on the reader. She is pretty, loves luxury, comfort, expensive restaurants, and at the same time she is a “modest student” and has breakfast in a vegetarian canteen on Arbat. She has a very critical attitude towards many fashionable works [...]
• The story, composed by I. Bunin in April 1924, is simple. But it does not apply to those that we all know by heart and are accustomed to reasoning about them, polemicizing and expressing our own opinions (sometimes read from textbooks). Therefore, it is worth giving a 2-line paraphrase. So, winter, night, isolated, far from the village, farm. It's been stormy for almost a week now, everything is snowy, you can't send for a doctor. In the house there is a lady with a young son, and several servants. There are no men (for some reason, the reasons are not clear from the text). I'm talking about […]
• The writing personality of V. Bunin is marked to a great extent by such a worldview in which an acute, hourly “sense of death”, a constant memory of it, is combined with a strong thirst for life. The writer might not have admitted what he said in his autobiographical note: “The Book of My Life” (1921), because his work itself speaks about it: “The constant consciousness or feeling of this horror / death / haunts me a little not from infancy, I have lived under this fatal sign all my life. I know well that [...]
• The story “Mr. from San Francisco” is the result of the writer’s thoughts on the meaning of human existence, the existence of civilization, and the fate of Russia during the First World War. The story appeared in print in 1915, when a worldwide catastrophe was already taking place. The plot and poetics of the story Bunin describes the last month of the life of a wealthy American businessman, who arranged a long and “pleasure” trip to Europe for his family. Europe was to be followed by the Middle East and […]
• Many stories by I.A. are devoted to the theme of love. Bunina. In his portrayal, love is a formidable force that can turn a person’s whole life upside down and bring him great happiness or great sorrow. Such a love story is shown by him in the story “Caucasus”. The hero and heroine have a secret affair. They must hide from everyone because the heroine is married. She is afraid of her husband, who, it seems to her, suspects something. But, despite this, the heroes are happy together and dream of a daring escape together to the sea, to the Caucasian coast. AND […]
• “All love is great happiness, even if it is not shared” - this phrase contains the pathos of Bunin’s depiction of love. In almost all works on this topic, the outcome is tragic. It was precisely because love was “stolen” that it was not complete and led to tragedy. Bunin reflects that the happiness of one can lead to the tragedy of another. Bunin's approach to describing this feeling is somewhat different: the love in his stories is more frank, naked, and sometimes even rude, filled with unquenchable passion. Problem […]
• Ivan Alekseevich Bunin is a famous Russian writer and poet of the late 19th and early 20th centuries. A special place in his work is occupied by the description of his native nature, the beauty of the Russian region, its catchiness, brightness, on the one hand, and modesty, sadness, on the other. Bunin conveyed this wonderful storm of emotions in his story “Antonov Apples.” This work is one of Bunin’s most lyrical and poetic works, which has an indefinite genre. If you evaluate the work by volume, then it is a story, but with [...]
• The mystery of love is eternal. Many writers and poets have tried unsuccessfully to unravel it. Russian word artists dedicated the best pages of their works to the great feeling of love. Love awakens and incredibly strengthens best qualities in a person’s soul, makes him capable of creativity. The happiness of love cannot be compared with anything: the human soul flies, it is free and full of delight. The lover is ready to embrace the whole world, move mountains, powers are revealed in him that he did not even suspect about. Kuprin owns wonderful […]
• Alexander Blok lived and worked at the turn of the century. His work reflected the tragedy of the time, the time of preparation and implementation of the revolution. The main theme of his pre-revolutionary poems was sublime, unearthly love for the Beautiful Lady. But a turning point in the history of the country was approaching. The old, familiar world was collapsing. And the poet’s soul could not help but respond to this collapse. First of all, reality demanded this. It seemed to many then that pure lyricism would never again be in demand in art. Many poets and [...]
• The theme of revolution and civil war for a long time became one of the main themes of Russian literature of the 20th century. These events not only radically changed the life of Russia, redrew the entire map of Europe, but also changed the life of every person, every family. Civil wars are usually called fratricidal. This is essentially the nature of any war, but in a civil war this essence is revealed especially acutely. Hatred often brings together people who are related by blood, and the tragedy here is extremely naked. Awareness of the civil war as a national [...]
• The beginning of the 20th century in Russian literature was marked by the emergence of a whole galaxy of various movements, trends, and poetic schools. The most outstanding movements that left a significant mark in the history of literature were symbolism (V. Bryusov, K. Balmont, A. Bely), acmeism (A. Akhmatova, N. Gumilyov, O. Mandelstam), futurism (I. Severyanin, V. Mayakovsky , D. Burliuk), imagism (Kusikov, Shershenevich, Mariengof). The work of these poets is rightly called lyrics silver age, that is, the second most important period […]
• The best part of Yesenin’s creativity is connected with the village. The homeland of Sergei Yesenin was the village of Konstantinovo, Ryazan province. The middle, the heart of Russia gave the world a wonderful poet. Ever-changing nature, the colorful local dialect of peasants, long-standing traditions, songs and fairy tales entered the consciousness of the future poet from the cradle. Yesenin argued: “My lyrics are alive alone great love, love for the homeland. The feeling of homeland is central to my work.” It was Yesenin who managed to create the image of a village in Russian lyrics late XIX– beginning of XX […]

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 associated, first of all, with the activation of human self-awareness new era. Understand your inner world According to Bunin, it helps a person the world, a 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 those years. It is felt, first of all, in the peculiarities of psychological analysis, in the economical way 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 very literary technique, means of representation, mastered by I. A. Bunin and moved much further by him. 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 everything is his early stories 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, the author’s view was aimed not so much at specific human relationships, but at internal state personality. 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 human soul The artist acquired 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 one 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, its best early works: “Antonov apples”, “Pines”, “Birds of heaven”, “ 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, nevertheless, 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 makeup of the Russian person, regardless of his social status I. A. Bunin was more interested. 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 of the classical 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, Antonovsky Apples not only open new stage in the works of I. A. Bunin, but also “mark 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 in this conviction he will remain all his creative path. 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 your long, almost seventy-year creative life he was and remained an ascetic artist, it will become clear that the components of his talent were combined extremely harmoniously and happily.

The work of I. A. Bunin, a poet and prose writer, a recognized master of words, an honorary academician of the Imperial Academy of Sciences, an honorary member of the Society of Lovers of Russian Literature, a Nobel Prize winner, is a living sociocultural phenomenon in Russian reality at the turn of the 20th-21st centuries. It is in tune with the complex and intense social, philosophical, moral and aesthetic quests of the era and is a vivid reflection of the patterns of development of the literary process in Russia.

A monographic study of the legacy of the great Russian writer gives a complete and detailed picture of his life and work, allows insight into his art world, to his creative laboratory. In the process of monographic analysis, the wordsmith, together with his students, strives to comprehend the mystery of origin and creation. work of art, organizes a dialogue with the author, with his values, ideas, with his vision of the world.

The creative heritage of I. A. Bunin, like no other prose writer of the early-mid 20th century, purely and clearly reflected all the beauty and strength of the Russian soul. The penetration of the writer in his works into the depths of Russian national character, his knowledge of the peculiarities of the psychology of Russian people today, more than ever, is updated in the minds of modern young readers.

The study of a writer’s creativity in various concepts of literary education cannot be carried out according to the principle of simple linearity and on the basis of elementary repetition. So, for example, “at the center of the conversation about I. A. Bunin in the sixth grade is the writer’s understanding of the world of childhood, his ability to create a special artistic time and space, to reveal the secrets of the human soul.” In grades VII-VIII, work takes into account the characteristics historical development literature, which prepares students for mastering the historical and literary course in high school. By carefully reading the writer’s works, students feel their piercing lyricism, deep psychologism and philosophy, maturity of feelings and thoughts, brightness of colors and richness of vocabulary. Analyzing the often deeply psychological prose of I. A. Bunin, the teacher draws the attention of schoolchildren to the interaction of epic and lyrical principles in it, to the features of its poetics. In grade IX, students will feel I. A. Bunin’s attitude towards native land, to the memory of ancestors, to the relationship between history and modernity, modernity and the future. In the 11th grade we will talk about “the essence of human existence, love and human memory...”.

Lessons in high school also focus students on a holistic understanding of the life and work of I. A. Bunin, on a serious reading of his works, that is, on more in-depth work with the text, on understanding the features of the writer’s creative method and style, the features of his psychologism, poetics, the influence of A. S. Pushkin, L. N. Tolstoy, A. P. Chekhov on his work, on the awareness of the role of I. A. Bunin in Russian and world literature and, at the same time, on the development of schoolchildren’s abilities of full-fledged aesthetic perception, analysis and evaluation of the artistic creations of masters of words, the formation of tastes and needs, expanding the range of reading, enriching the spiritual world, increasing the level of creative independence.

The methodology and technology of literature lessons in high school are varied: lectures, conversations, reports, debates, seminar lessons, reading competitions, creative workshops, discussions on issues, reviews, essays, individual and group work.

In one of the educational textbooks for grade VI (author A.G. Kutuzov) the topic is proposed: “The work of Ivan Alekseevich Bunin.” These are excerpts from the novel “The Life of Arsenyev”, a poem about a summer night, childhood, native nature, the work of a plowman, a short article about poetic world I. A. Bunina.

Working on a passage opens up great opportunities for students to understand the poetics of a work of art. The text is read expressively.

“I was born half a century ago, in Central Russia, in the village, on my father’s estate... Deserted fields, a lonely estate among them... In winter, a boundless sea of ​​snow, in summer - a sea of ​​bread, herbs and flowers. And the eternal silence of these fields, and the mysterious silence... The summer day is getting evening. The sun is already behind the house, behind the garden, an empty wide yard in the shade, and I (completely, completely alone in the world) lie on its green, cold grass, looking into the bottomless blue sky, as if into someone’s wondrous and dear eyes, into my father’s womb yours. Floating and, rounding, slowly changing shape, a tall, tall white cloud melts in this concave blue abyss... Ah, what languishing beauty! I wish I could sit on this cloud and float, float on it in this eerie height, in the celestial expanse, in proximity to God and the white-winged angels living somewhere out there, in this mountain world! Here I am in the field behind the estate. The evening seems to be the same - only here the low sun still shines - and I am still alone in the world. Around me, wherever you look, there are eared rye and oats, and in them, in the dense thicket of bent stems, is the hidden life of quails. Now they are still silent, and everything is silent, only from time to time a red grain bug entangled in the ears of grain hums, humming gloomily. I free him and look with greed and amazement: what is this, who is he, this red beetle, where does he live, where and why did he fly, what does he think and feel? He is angry, serious: he fiddles with his fingers, rustles his hard elytra, from under which something thin, fawn, is released - and suddenly the pinches of these elytra separate, open, and the fawn also blossoms - and how gracefully! - the beetle rises into the air, humming with pleasure, with relief, leaves me forever, gets lost in the sky, enriching me with a new feeling: leaving me with the sadness of separation.”

Reading in itself, the sonorous words of the great master, leaves an indelible impression on the student’s soul. It is necessary to help students begin a dialogue with the writer. First of all, the wordsmith asks what made a special impression on them, how they saw the author and his little hero. What pleases and surprises him in the world around him, in nature, in the life of his father’s house: what theme, what motive runs through the entire narrative, and, finally, how does the writer manage to make what he writes about so visible and tangible?

Students understand that the text combines the thoughts and feelings of an adult and a child. And in this combination, in this work of memory, a special artistic time and space are created, which help to see both the deserted fields of central Russia and to understand the state of the little hero. You can invite students to draw word pictures using vivid poetic images of the text. Actions develop behind the estate, in the field, in the house. Evening. It would seem that everything should calm down, fall asleep. But one feels constant movement, change in nature. First, “a summer day is evening,” then “the evening seems to be the same - only the low sun is still shining here,” etc. Schoolchildren like to work with the text: they talk about the “bread red bug”, about the “tall, tall white cloud ", on which to float and float "in this terrible height" The author feels all the colors and sounds of nature. He manages to tell everything with such amazing vividness that we, together with the hero, begin to feel unity with nature, and the “green cooling grass” and the “sadness of separation” after the flight of the beetle. For the young reader, extraordinary art spaces, the depths of the Universe and the human soul. They feel that main topic- the theme of childhood - is coupled with the writer’s anxious motive of expectation of the future.

In grades VIII-IX, during lessons on the works of I. A. Bunin, the teacher helps schoolchildren visually imagine the appearance of the writer in his youth, recreated by O. N. Mikhailov from the memoirs of his contemporaries: “Lean, blue-eyed, graceful, with a side parting of his chestnut-brown head and his with his famous goatee, he seemed to his contemporaries the height of restraint, cold mockery, severity and self-loving stiffness. It was not easy for him to get along with people, remaining at some boundary that denoted confidential intimacy, did not cross it (as was the case in relations with A. Kuprin and F. Chaliapin) or even shared friendship with some kind of hidden internal hostility (such contradictory relationships developed among him with M. Gorky)".

I. A. Bunin’s restraint and coldness were, however, an external protective cover. In frankness, especially in front of his family, he was moderately hot-tempered and venomously harsh, for which his family nicknamed him “convulsive.”

Witty, inexhaustible in invention, he was so artistically gifted that Stanislavsky himself persuaded him to join the Moscow Art Theater troupe and play the role of Hamlet. There were legends about his phenomenal powers of observation in literary circles: it took him only three minutes, according to M. Gorky, to not only remember and describe a stranger’s appearance, costume, signs down to the wrong nail, but also to determine his position in life and profession.

His talent, enormous and indisputable, was not immediately appreciated by his contemporaries, but then, over the years, it became more and more consolidated and established in the consciousness of the reading public. It was likened to “matte silver”, the tongue was called “brocade”, and the merciless psychological analysis- “ice razor”. A.P. Chekhov, shortly before his death, asked N.D. Teleshov to tell I.A. Bunin that he would “make a great writer.” L. N. Tolstoy said about his artistic skill: “It’s written so that Turgenev would not have written like that, and there’s nothing to say about me...”.

In the 11th grade, before studying I. A. Bunin’s story “Clean Monday” opening remarks, taking into account knowledge of basic biographical information about the writer, the teacher will talk about creative history this collection, how it was created, and what place it occupies in the writer’s work.

"Dark Alleys" was written mainly in Grasse during the occupation of France. I. A. Bunin wrote selflessly, with concentration, he devoted himself entirely to writing the book, as evidenced by his diaries. In his letters, Bunin recalled that, while rereading N.P. Ogarev, he stopped at a line from his poem: “The scarlet rose hips were blooming all around, there was an alley of dark linden trees.” He further writes that all the stories in this book are only about love, about its “dark” and most often very gloomy and cruel alleys. Love in “Dark Alleys” is most often not just short-lived, it illuminates a person’s life and remains in his memory forever. This is precisely what most of the plots of Bunin’s stories are based on.

The prose of I. A. Bunin forms in students their own aesthetic taste, their own aesthetic positions. That's why school studies the heritage of the great Russian writer gives students a complete picture of his life and work, allows them to penetrate into his artistic world, into his creative laboratory.

Thus, when analyzing the novel “The Life of Arsenyev”, high school students learn the psychological, philosophical and aesthetic concepts of I. A. Bunin. By reading stories from the collection “Dark Alleys,” eleventh grade students reveal the beauty, sincerity and naturalness of love feelings, and deepen their understanding of the distinctive features of Bunin’s prose. Analysis and analysis of the stories “Village” and “Sukhodol” make it possible to reveal the author’s position on the development of relations between the nobility and the peasantry.

Forced emigration tragically broke I. A. Bunin, and it is surprising that, unlike many other fellow writers, he quickly returned to writing. He lived thirty for long years away from his reader and people. Unselfishly, reverently loving his homeland, glorifying it with all his creativity, he stubbornly refused to recognize the changes taking place on its land. But even in distant France, the writer never tired of repeating: “Can we forget our Motherland? She is in the soul. I am a very Russian person. This does not disappear over the years...”

For all of us, the enormous culture of our people is dear, in which the beauty and strength of the Russian nation is purely and clearly reflected. And therefore, the work of I. A. Bunin is an integral, inalienable part of Russia, part of our national heritage.

SUBJECT: I.A. Bunin "Clean Monday". Psychologism and features of the “external figurativeness” of Bunin’s prose

GOALS: Identification of the writer’s artistic style; intensification of students' research activities, development of creative reading skills, deepening understanding and experience of the events of the story..

TASKS: formulating conclusions; identifying cause-and-effect relationships Reveal Bunin’s attitude towards Russia through mentioning the monuments of ancient Moscow, using the realities of modern Moscow, everyday sketches, and the heroes’ conclusions about Rus'.

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Lesson No. 6 L-11

SUBJECT: I.A. Bunin "Clean Monday". Psychologism and features of the “external figurativeness” of Bunin’s prose

GOALS : Identification of the writer’s artistic style; intensification of students' research activities, development of creative reading skills, deepening understanding and experience of the events of the story..

TASKS : formulating conclusions; identifying cause-and-effect relationships Reveal Bunin’s attitude towards Russia through mentioning the monuments of ancient Moscow, using the realities of modern Moscow, everyday sketches, and the heroes’ conclusions about Rus'. DURING THE CLASSES:

1. Org moment.

1. Ready for the lesson.
2. Communicate lesson objectives.

1. Checking homework.

1. Let's follow the heroes to Moscow.

• Excursion on behalf of the hero

“Every evening I took her to dinner in Prague, the Hermitage, the Metropol, after dinner to theaters, concerts, and then to Yar, Strelna...”

• Which Moscow, ancient or modern, did we travel through?
• Excursion on behalf of the heroine
• Conception Monastery, Chudov Monastery, Archangel Cathedral, Marfo-Mariinsky Convent, Iverskaya Chapel, Cathedral of Christ the Savior, Kremlin, Novodevichy Convent, Rogozhskoye Cemetery.
• How can you call the excursion on behalf of the heroine? "Ancient Holy Moscow"

1. Identification of psychologism and features of the “external figurativeness” of Bunin’s prose

1. Why was the view from the window of the Kremlin and the Cathedral of Christ the Savior so important for the heroine?

There are signs in the story modern era correlate with the inner world of the narrator, yet, as for antiquity, the inner world of the heroine testifies to Bunin’s deep nostalgia. “Orthodoxy, now that it was so persecuted at home, was recognized by Bunin as an inseparable part of Russia, its culture, its history and its national essence” (Maltsev “I. Bunin”).

1. Is it possible to imagine the heroine in a situation of “earthly happiness”?
2. What religious holidays are discussed in the story?

Clean Monday- the first day of Lent, which comes after Maslenitsa.

Maslenitsa – Shrovetide week, the week preceding Lent.

Lent – 7 weeks before Easter, during which Christian believers abstain from immodest food, do not participate in entertainment, and do not marry. The fast was established in remembrance of the 40-day fast of Christ in the desert. Great Pentecost begins on Monday, colloquially called “clean”.

1. Is the title of the story symbolic?

Clean Monday - on Orthodox tradition- a kind of border, the line between life - vanity, full of temptations, and the period of Great Lent, when a person is called to cleanse himself of filth worldly life. Clean Monday is both a transition and a beginning: from secular, sinful life to eternal, spiritual life

1. Interpretation of the theme of love in the novel.

1. Many feelings and emotions experienced by a person are very difficult to grasp and describe in detail. And, perhaps, the most elusive feeling that permeates Bunin’s book “Dark Alleys” is LOVE.
2. For what reason? How are the stories combined in the book?(Everyone shows the many faces of love from different sides).
3. Now let’s think about what faces of love appear before us in the story “Clean Monday”. At the beginning of the story we see the urban landscape of Moscow.“The Moscow gray winter day was darkening, the dull blackening passers-by”. What is special about this landscape?The landscape is followed by a description of the state of a man in love:“How everything should end with an hour spent near her”. This is also an impressionistic description.
4. What would you call this condition?(Confusion. Students write down the word love, draw arrows from it, and write a condition under each of them).
5. Why is the description of confusion preceded by a landscape?(This is not a new technique in literature; with the help of landscape, state hero).
6. This is not the only example of the juxtaposition of landscape and state of mind hero in the story.“Outside one window I was cooling off from the hot intoxication.”What would you call this face of love?(Passion, intoxication).
7. Why the Cathedral of Christ the Savior is mentioned before the scene of passion, we will answer later.
8. “And again we talked the whole evening and didn’t talk about marriage anymore.”(Love is family happiness).
9. “He kept saying that I don’t think much about him, her wet eyelash blinks.”(Love is tenderness).
10. “And then one of those walking in the middle quietly came out of the gate"(Love is longing, nostalgia).
11. It is no coincidence that we turned to the story “Clean Monday”, because, as you can see, love here appears to be very multifaceted. But pay attention to the title of the story.
12. Before what Orthodox event does Clean Monday come?(Before Great Lent).
13. Why do the heroes break up on this day?(This speaks to the sanctity of their relationship).

1. Final words from the teacher.

The story mentions the Cathedral of Christ the Savior, excerpts from prayers and lives, and a picture of a procession of the cross. It is HOLINESS that takes passion, tenderness, confusion into a common denominator and helps to give human relationships the face of love.

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 Orthodox holiday 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. The peculiarity of this poetry is an attempt to understand the meaning 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. She finds artistic embodiment in the story “Mr. from San Francisco”, in the series “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 in memory lyrical hero does it stay gold?

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 - it’s a long time 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 leading principle

there was poetry. Bunin strives 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..."