We are known not only as a prose writer, but also as a poet, with beautiful and memorable poems. Bunin begins his literary work by writing poems, presenting readers with a personality with a special view of the world. Bunin's poetic activity developed under the influence of Nikitin and Koltsov, who sang of the peasantry and Russian nature. All these topics were close to Bunin.

Themes and motifs of Bunin's lyrics

In general, the poet's lyrical world was not rich in a variety of topics. Basically, the writer writes about his native nature, where he draws its beauty, and also reminds us that nature and man are inseparable. In the work of Bunin, as a poet, among the motives and images of his lyrics, the theme of childhood is visible. The author writes about the beginning of life, about children, about the discovery of the world. Often revealing the theme of childhood, Bunin depicts pictures of the evening period, when children are preparing to go to bed. Maybe that's why many of his works are somewhat similar to lullabies.

Through the lines of his poems, through the main motives of his lyrics, Bunin reveals to the reader the theme of the present and the past, philosophically reflecting on the brevity of human existence. Bunin's poetry is a special, harmonious world. As Gorky said, if Bunin and his poetry are thrown out of literature, then it will immediately fade, losing its iridescent brilliance.

In general, the theme of the Motherland has always remained the main theme and motives of Bunin's lyrics, but the writer also touched on other topics, although they are not so diverse.

Bunin's love lyrics

A person who writes about the beauty of nature and man cannot pass by the theme of love, so Bunin is also concerned about the mystery of this feeling. Love lyrics were not the main ones in his work and poetry, therefore Bunin has few poems on the love theme. If you get to know love lyrics in the work of Bunin, then we will understand that, although they are saturated with a thirst for love, they are always filled with tragedy, unfulfilled hopes, and memories.

Eternal and transient in Bunin's lyrics

Unique and unique in art style Bunin's lyrics with their themes and motives are multifaceted and rich. It is filled with philosophical questions about the meaning of life, about the eternal and the transient. In the lines of Bunin's poems one can read confusion, disappointment, but at the same time one feels faith in life. And the poet's lyrics are filled with light and majesty. In his poems, the poet reflects the theme of memory, touches on the past, reflects on the relationship between nature and man, raises the theme of death and life. Bunin does not believe that he will ever pass away, because he felt the eternity of matter and believed in the continuity of being.

Loneliness and nature in Bunin's lyrics

As we have already said, Bunin wrote very often about nature. But, as the poet wrote, it was not the landscape that attracted him and he did not seek to notice the colors, but the fact that love and the joy of being shine in these colors. Describing nature, the poet made it possible to understand the state of mind lyrical hero and his experiences. Meanwhile, the hero of Bunin's works is constantly sad about his youth and experienced moments. He tries to look into the future and accept the past.
Speaking about the state of the heroes of Bunin's poems, this is eternal loneliness, and the theme of loneliness is played up by the writer in different ways. So we can see that loneliness is like grace for the soul, and it can also turn out to be a dark prison, imprisonment for the soul.

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Federal Agency for Education of the Russian Federation

State educational institution

higher professional education

"Ryazan State Universitynamed after S. A. Yesenin»

Faculty of Russian Philology and National Culture

Department of Literature

Course work

"Love lyrics of Bunin"

Korneeva Olesya Vadimovna

scientific director

Gracheva I. V.

Ryazan 2006

INTRODUCTION

LIFE AND WORK OF I. A. BUNIN

ARTISTIC FEATURES OF BUNIN'S LOVE LYRICS

TRADITIONS AND INNOVATIONS OF LOVE LYRICS OF BUNIN

CONCLUSION

LIST OF USED LITERATURE

INTRODUCTION

Classic of Russian literature, honorary academician in the category of fine literature, the first of Russian writers Nobel Laureate, poet, prose writer, translator, publicist, literary critic Ivan Alekseevich Bunin has long won worldwide fame. T. Mann, R. Rolland, F. Mauriac, R. - M. Rilke, M. Gorky, K. Paustovsky, A. Tvardovsky and others admired his work. I. Bunin went his own way all his life, he did not belong to any literary group, especially a political party. He stands apart, a unique creative personality in the history of Russian literature of the late nineteenth and twentieth centuries.

"No, it's not the landscape that draws me,

Not the colors I seek to notice,

And what shines in these colors -

Love and joy of being."

I. Bunin

In my own way artistic direction B. can not be attributed entirely to any of the literary trends that dominated before the revolution. He is separated from the Symbolists by a pronounced focus on realistic detail, on the life and psychology of the depicted environment, and from social realists - extreme individualism in the approach to the phenomena described and emphasized aestheticism in the interpretation of realistic images. The combination of these features makes Bunin belong to the direction of the so-called "neorealism", a literary school that arose in the 1910s. and striving not only to continue the traditions of classical Russian realism, but also to rebuild them under a new, approaching symbolism, angle of view.

The poetry of Ivan Alekseevich Bunin, one of the most outstanding masters of literature of the 20th century, is an example of the movement of Russian lyrics towards the development of new artistic styles. It is characteristic of Ivan Bunin's work that he never broke his internal ties with Russia, he lived and worked with love for her. Bunin's childhood and youth were spent in nature, which affected the formation of creative qualities in the future poet and prose writer.

Bunin's place in the history of Russian literature is very significant. The sharply expressed reactionary ideology of Bunin takes on the significance of the characteristic features of the noble class, which found a complete expression under the pen of B..

Many works of I.A. Bunin are devoted to the theme of love. In Russian classical literature of that time, the theme of love always occupied an important place, and preference was given to spiritual, “platonic” love over sensuality, carnal, physical passion, which was often debunked. The purity of Turgenev's women has become a household word. Russian literature is predominantly the literature of "first love".

Bunin sang not platonic, but sensual love, surrounded by a romantic halo. Love, in the understanding of Bunin, everyday life is contraindicated, any duration, even in a desired marriage, it is an insight, often leading to death. He describes love in all its states, where it barely dawns and will never come true ("Old Port"), and where the unrecognized languishes ("Ida"), and where it turns into passion ("The Killer"). Love captures all thoughts, all the spiritual and physical potentialities of a person - but this state cannot last long. So that love does not run out of steam, does not exhaust itself, it is necessary to part - and forever. If the heroes themselves do not do this, then fate, fate interferes in their life: one of the lovers dies.

LIFE AND CREATIONI. A. Bunina.

The life of I. A. Bunin is rich and tragic, interesting and multifaceted. Bunin was born on October 10 (O.S.) 1870 in Voronezh, where his parents moved to study his older brothers.

Ivan Alekseevich came from an ancient noble family, which dates back to the 15th century. The Bunin clan is very extensive and branched, and its history is extremely interesting. From the Bunin family came such representatives of Russian culture and science as the famous poet, translator Vasily Andreevich Zhukovsky, the poetess Anna Petrovna Bunina, the outstanding geographer - traveler Pyotr Petrovich Semenov - Tyan-Shansky. The Bunins were related to the Kireevskys, Shenshins, Grots, and Voeikovs.

The very origin of Ivan Alekseevich is also interesting. Both the writer's mother and father come from the Bunin family. Father - Alexei Nikolaevich Bunin married Lyudmila Alexandrovna Chubarova, who was his niece. I. Bunin was very proud of his ancient family and always wrote about his origin in every autobiography.

Vanya Bunin's childhood passed in the wilderness, in one of the small family estates (the Butyrki farm of the Yelets district of the Oryol province). Bunin received his initial knowledge from a home teacher, "a student of Moscow University, a certain N. O. Romashkov, a person ... very talented - both in painting, and in music, and in literature," the writer recalled, "probably his fascinating stories in winter evenings ... and the fact that my first books to read were "English Poets" (ed. Herbel) and "Odyssey" by Homer, aroused in me a passion for poetry, the fruit of which was a few infantile verses ... Early appeared and Bunin's artistic abilities. With one or two gestures, he could imitate or introduce someone from his acquaintances, which delighted those around him. Thanks to these abilities, Bunin later became an excellent reader of his works.

For ten years, Vanya Bunin was sent to the Yelets gymnasium. During his studies, he lives in Yelets with relatives and in private apartments. “The gymnasium and life in Yelets,” Bunin recalled, left me far from joyful impressions, “it is known what a Russian, and even a county gymnasium is, and what a county Russian city is! There was a sharp transition from a completely free life from mother’s worries to life in the city, to the absurd strictness in the gymnasium and to the hard life of those philistine and merchant houses where I had to live as a freeloader. But Bunin studied at Yelets for only four years. In March 1886, he was expelled from the gymnasium for failure to appear from the holidays and non-payment of tuition.

Ivan Bunin settles in Ozerki (the estate of the deceased grandmother Chubarova), where, under the guidance of his older brother Yulia, he takes a gymnasium course, and in some subjects a university course. Julius Alekseevich was a highly educated person, one of the people closest to Bunin. Throughout his life, Yuli Alekseevich has always been the first reader and critic of Bunin's works.

The future writer spent all his childhood and adolescence in the countryside, among fields and forests. In his Autobiographical Notes, Bunin writes: “Mother and the servants loved to tell, I heard a lot of songs and stories from them ... I also owe them the first knowledge in the language, our richest language, in which, thanks to geographical and historical conditions, merged and transformed so many dialects and dialects from almost all parts of Russia. Bunin himself went in the evenings to the peasant huts for gatherings, sang "suffering" along with the village children on the streets, guarded the horses at night ... All this had a beneficial effect on the developing talent of the future writer.

About seven or eight Bunin began to write poetry, imitating Pushkin and Lermontov. He liked to read Zhukovsky, Maykov, Fet, Y. Polonsky, A. K. Tolstoy.

Bunin first appeared in print in 1887. The St. Petersburg newspaper "Rodina" published the poems "Over the Grave of S. Ya. Nadson" and "The Village Beggar". Ten more poems and stories "Two Wanderers" and "Nefyodka" were published there during this year. Thus began the literary activity of I.A. Bunin.

In the autumn of 1889, Bunin settled in Orel and began to collaborate in the editorial office of the Orlovsky Vestnik newspaper, where "he was everything he had to do - both a proofreader, and a leader, and a theater critic ...". At this time, the young writer lived only by literary work, he was in great need. His parents could not help him, since the family was completely ruined, the estate and land in Ozerki were sold, and mother and father began to live apart, with children and relatives.

Since the late 1880s, Bunin has been trying his hand at literary criticism. He published articles about the self-taught poet E. I. Nazarov, about T. G. Shevchenko, whose talent he admired from his youth, about N. V. Uspensky, cousin of G. I. Uspensky. Later, articles about the poets E. A. Baratynsky and A. M. Zhemchuzhnikov appeared.

In Orel, Bunin, according to him, "slain ..., to the great ... unfortunately, a long love" for Varvara Vladimirovna Pashchenko, the daughter of the Yelets doctor. Her parents were categorically against marriage to a poor poet. Bunin's love for Vara was passionate and painful, sometimes they quarreled and traveled to different cities. These experiences lasted for about five years. In 1894, V. Pashchenko left Ivan Alekseevich and married his friend A. N. Bibikov. Bunin was terribly upset by this departure, his relatives even feared for his life.

Bunin's first book - "Poems 1887 - 1891." published in 1891 in Orel, as an appendix to the Oryol Bulletin. As the poet himself recalls, it was a book of "purely youthful, excessively intimate" poems. Reviews of provincial and metropolitan critics were generally sympathetic, bribed the accuracy and picturesque nature of the paintings. A little later, the poems and stories of the young writer appear in the "thick" metropolitan magazines - "Russian wealth", "Northern messenger", "Bulletin of Europe". The writers A. M. Zhemchuzhnikov and N. K. Mikhailovsky, who wrote that Ivan Alekseevich would become a "great writer," responded favorably to Bunin's new works.

In 1893 - 1894, Bunin was greatly influenced by the ideas and personality of Leo Tolstoy. Ivan Alekseevich visited the Tolstoy colonies in Ukraine, decided to take up cooperage and even learned how to stuff hoops on barrels. But in 1894, in Moscow, Bunin met with Tolstoy, who himself dissuaded the writer from saying goodbye to the end.

Leo Tolstoy for Bunin is the highest embodiment of artistic skill and moral dignity. Ivan Alekseevich literally knew by heart whole pages of his works and all his life he admired the greatness of Tolstoy's talent. The result of this attitude was later Bunin's deep, multifaceted book "The Liberation of Tolstoy" (Paris, 1937).

At the beginning of 1895, Bunin went to St. Petersburg, and then to Moscow. From that time on, he entered the metropolitan literary environment: he met N. K. Mikhailovsky, S. N. Krivenko, D. V. Grigorovich, N. N. Zlatovratsky, A. P. Chekhov, A. I. Ertel, K. Balmont, V. Ya. Bryusov, F. Sologub, V. G. Korolenko, A. I. Kuprin.

Especially important for Bunin was the acquaintance and further friendship with Anton Pavlovich Chekhov, with whom he stayed for a long time in Yalta and soon became his own in his family. Bunin recalled: "I did not have such relations with any of the writers as with Chekhov. For all the time, not once, not the slightest hostility. He was invariably restrained gentle, friendly, cared for me like an elder." Chekhov predicted that Bunin would become a "great writer". Bunin bowed before Chekhov, whom he considered one "of the greatest and most delicate Russian poets", a man of "rare spiritual nobility, good breeding and grace in the best sense of these words, gentleness and delicacy with extraordinary sincerity and simplicity, sensitivity and tenderness with rare truthfulness" . Bunin learned about the death of A. Chekhov in the village. In his memoirs, he writes: “On July 4, 1904, I went on horseback to the village to the post office, took newspapers and letters there and turned to the blacksmith to reforge the horse’s leg. It was a hot and sleepy steppe day, with a dull shine of the sky, with a hot south wind. unfolded the newspaper, sitting on the threshold of the Kuznetsova hut, - and suddenly, as if an ice razor slashed through the heart.

Bunin's first book of short stories, "To the End of the World," was published in 1897 "among almost unanimous praise." In 1898, the poetry collection "Under the open sky" was published. These books, along with the translation of the poem by G. Longfellow, brought Bunin fame in literary Russia.

Frequently visiting Odessa, Bunin became close to members of the "Association of South Russian Artists": V.P. Kurovsky, E.I. Bukovetsky, P.A. Nilus. Bunin was always attracted to artists, among whom he found subtle connoisseurs of his work. Bunin has a lot to do with Odessa. This city is the setting for some of the writer's stories. Ivan Alekseevich collaborated with the editors of the Odessa News newspaper.

In 1898, in Odessa, Bunin married Anna Nikolaevna Tsakni. But the marriage turned out to be unhappy, and already in March 1899 the couple separated. Their son Kolya, whom Bunin adored, dies in 1905 at the age of five. Ivan Alekseevich was very worried about the loss of his only child. All his life Bunin carried a photographic portrait of Kolenka with him.

In the spring of 1900, in Yalta, where the Moscow Art Theater was located in his time, Bunin met the founders of the theater and its actors: Stanislavsky, O. Knipper, A. Vishnevsky, V. Nemirovich - Danchenko, I. Moskvin. And also during this visit, Bunin met the composer S.V. Rachmaninoff. Later, Ivan Alekseevich recalled this “meeting, when, after talking almost all night on the seashore, he hugged me and said:“ We will be friends forever! ”And indeed, their friendship lasted all their lives.

In early 1901, the publishing house "Scorpion" in Moscow published a collection of poems by Bunin "Leaf Fall" - the result of a short collaboration between the writer and the Symbolists. Critical response was mixed. But in 1903 the collection "Leaf Fall" and the translation of "The Song of Hiawatha" were awarded the Pushkin Prize. Russian Academy Sciences.

The poetry of I. Bunin has won a special place in the history of Russian literature due to its many inherent virtues. A singer of Russian nature, a master of philosophical and love lyrics, Bunin continued the classical traditions, discovering the unknown possibilities of "traditional" verse. Bunin actively developed the achievements of the golden age "of Russian poetry, never breaking away from the national soil, remaining a Russian, original poet.

At the beginning of creativity for Bunin's poetry, landscape lyrics are most characteristic, with amazing concreteness and accuracy of designations. Since the 900s, the poet has turned to philosophical lyrics. Bunin is interested in how National history with its legends, fairy tales, traditions, and the origins of disappeared civilizations, the Ancient East, ancient Greece, early Christianity. The Bible and the Koran are the poet's favorite reading during this period. And all this finds its embodiment in poetry and writing in prose. Philosophical lyrics penetrate the landscape and transform it. In its emotional mood, Bunin's love lyrics are tragic.

From the beginning of the 1900s, Bunin began to cooperate with the Znanie publishing house, which led to a closer relationship between Ivan Alekseevich and A. M. Gorky, who led this publishing house. Bunin is often published in the collections of the "Knowledge" partnership, and in 1902 - 1909 the first Collected Works of the writer in five volumes was published by the "Knowledge" publishing house. Bunin's relationship with Gorky was uneven. At first, a friendship seemed to be struck up, they read their works to each other, Bunin visited Gorky in Capri more than once. But as the revolutionary events of 1917 in Russia approached, Bunin's relationship with Gorky became more and more cool. After 1917 there was a final break with the revolutionary-minded Gorky.

Since the second half of the 1890s, Bunin has been an active participant in the literary circle "Sreda", organized by N. D. Teleshov. M. Gorky, L. Andreev, A. Kuprin, Yu. Bunin and others were regular visitors to the "Wednesdays". Once, V. G. Korolenko and A. P. Chekhov attended Sreda. At meetings of Sreda, the authors read and discussed their new works. Such an order was instituted that everyone could say whatever they think about this literary creation without any offense from the author. Events discussed literary life Russia, sometimes heated debates flared up, sat up long after midnight. It is impossible not to mention the fact that F. I. Chaliapin often sang at meetings of Sreda, and S. V. Rachmaninov accompanied him. Those were unforgettable evenings!

Bunin's wandering nature was manifested in his passion for travel. Ivan Alekseevich did not stay anywhere for a long time. All his life, Bunin never had his own home, he lived in hotels, with relatives and friends. In his wanderings around the world, he established a certain routine for himself: "... in winter the capitals and the village, sometimes a trip abroad, in the spring the south of Russia, in the summer mainly the village."

In October 1900, Bunin traveled with V.P. Kurovsky in Germany, France, and Switzerland. From the end of 1903 and at the beginning of 1904, Ivan Alekseevich, together with the playwright S. A. Naydenov, was in France and Italy. In June 1904, Bunin traveled around the Caucasus. Travel impressions formed the basis of some of the writer's stories (for example, the cycle of stories of 1907 - 1911 "The Shadow of a Bird" and the story "Many Waters" of 1925 - 1926), which reveal to readers another facet of Bunin's work: travel essays.

In November 1906, in Moscow, in the house of the writer B.K. Zaitsev, Bunin met Vera Nikolaevna Muromtseva (1881 - 1961). An educated and intelligent woman, Vera Nikolaevna shared her life with Ivan Alekseevich, becoming a devoted and selfless friend of the writer. After his death, she prepared for publication the manuscript of Ivan Alekseevich, wrote the book "Life of Bunin" containing valuable biographical data and her memoirs "Conversations with Memory". Bunin told his wife: "Without you, I would not have written anything. I would have been lost!"

Ivan Alekseevich recalled: “Since 1907, V.N. Muromtseva has been sharing life with me. once visited Turkey, along the shores of Asia Minor, Greece, Egypt up to Nubia, wandered through Syria, Palestine, was in Oran, Algeria, Constantine, Tunisia and on the outskirts of the Sahara, sailed to Ceylon, traveled almost all of Europe, especially Sicily and Italy (where we spent the last three winters in Capri), was in some cities of Romania, Serbia ... ".

In the autumn of 1909, Bunin was awarded the second Pushkin Prize for the book "Poems 1903 - 1906", as well as for the translation of Byron's drama "Cain" and Longfellow's book "From the Golden Legend". In the same 1909, Bunin was elected an honorary academician of the Russian Academy of Sciences in the category of fine literature. At this time, Ivan Alekseevich was hard at work on his first big story - from the Village ", which brought the author even greater fame and was a whole event in the literary world of Russia. Fierce disputes flared up around the story, mainly the objectivity and truthfulness of this work was discussed. A. M Gorky commented on the story in this way: "So deep, so historically, no one took the village."

In December 1911, in Kipri, Bunin finished the story "Sukhodol", dedicated to the theme of the extinction of noble estates and based on autobiographical material. The story was a huge success with readers and literary criticism.

A great master of words, I. Bunin studied the folklore collections of P. V. Kireevsky, E. V. Barsov, P. N. Rybnikov and others, making numerous extracts from them. The writer himself made folklore records. "I am interested in the reproduction of genuine folk speech, the folk language," he said. The writer called over 11,000 ditties and folk jokes collected by him "an invaluable treasure." Bunin followed Pushkin, who wrote that "the study of old songs, fairy tales, etc. is necessary for a perfect knowledge of the properties of the Russian language."

On January 17, 1910, the Art Theater celebrated the fiftieth anniversary of the birth of A.P. Chekhov. VI Nemirovich - Danchenko asked Bunin to read his memoirs of Chekhov. Ivan Alekseevich tells about this significant day in this way: “The theater was crowded. Chekhov’s relatives were sitting in the literary box on the right side: mother, sister, Ivan Pavlovich and his family, probably other brothers, I don’t remember.

My speech caused real delight, because when I read our conversations with Anton Pavlovich, I conveyed his words in his voice, his intonations, which made a tremendous impression on the family: my mother and sister were crying.

A few days later, Stanislavsky and Nemirovich came to me and offered to join their troupe.

On October 27 - 29, 1912, the 25th anniversary of the literary activity of I. Bunin was solemnly celebrated. Then he was elected an honorary member of the Society of Lovers of Russian Literature at Moscow University and until 1920 was a deputy chairman, and later temporary chairman of the Society.

In 1913, on October 6, at the celebration of the half-century anniversary of the Russkiye Vedomosti newspaper, Bunin said v. Literary - artistic circle instantly became famous speech directed against the "ugly, negative phenomena" in Russian literature. When you now read the text of this speech, you are struck by the relevance of Bunin's words, and yet it was said 80 years ago!

In the summer of 1914, traveling along the Volga, Bunin learns about the beginning of the First World War. The writer has always remained her resolute opponent. The elder brother Julius Alekseevich saw in these events the beginning of the collapse of the state foundations of Russia. He predicted "- Well, the end of us! Russia's war for Serbia, and then the revolution in Russia. The end of all our former life!". Soon this prophecy will come true...

But, despite all the recent events in St. Petersburg in 1915, the Complete Works of Bunin was published by the publishing house of A.F. Marx in six volumes. As the author wrote, it “includes everything that I consider more or less worthy of publication”

January and February 1917 Bunin lived in Moscow. February Revolution and ongoing first world war the writer perceived as terrible omens of the all-Russian collapse. Bunin spent the summer and autumn of 1917 in the countryside, spending all his time reading newspapers, and watched the rising tide of revolutionary events. On October 23, Ivan Alekseevich and his wife left for Moscow.

Bunin did not accept the October Revolution decisively and categorically. He rejected any violent attempt to rebuild human society, assessing the events of October 1917 as "bloody madness" and "general madness."

On May 21, 1918, the Bunins left Moscow for Odessa. The last time in Moscow, Bunin lived in the apartment of the Muromtsevs at 26 Povarskaya Street. This is the only surviving house in Moscow where Bunin lived. From this apartment on the first floor, Ivan Alekseevich and his wife went to Odessa, leaving Moscow forever.

In Odessa, Bunin continues to work, collaborates in newspapers, meets with writers and artists. The city changed hands many times, power changed, orders changed.

On January 26, 1920, on the foreign steamer "Sparta", the Bunins sailed to Constantinople, leaving Russia forever - their beloved Motherland. Bunin painfully experienced the tragedy of separation from his homeland. The whole further life of the writer is connected with France, not counting short trips to England, Italy, Belgium, Germany, Sweden, Estonia. The Bunins spent most of the year in the south of the country in the town of Grasse, near Nice, where they rented a dacha. The Bunins usually spent the winter months in Paris, where they had an apartment on Rue Jacques Offenbach.

Bunin was not immediately able to return to creativity. In the early 1920s, books of the writer's pre-revolutionary stories were published in Paris, Prague, and Berlin. In emigration, Ivan Alekseevich wrote few poems, but among them there are lyrical masterpieces: "And flowers, and bumblebees, and grass, and ears of corn ...", "Mikhail", "The bird has a nest, the beast has a hole ..." , "Rooster on the church cross". In 1929, the final book of Bunin, the poet, Selected Poems, was published in Paris, which confirmed one of the first places in Russian poetry for the writer. In exile, Bunin also worked on prose.

Bunin had a rich store of observations and memories of Russia. He could not write about the West, which was alien to him, and he never found a second home in France. Bunin remains faithful to the classical traditions of Russian literature and continues them in his work, trying to solve eternal questions about the meaning of life, about love, about the future of the whole world.

On November 9, 1933, it came from Stockholm; the news of the award of the Nobel Prize to Bunin. Ivan Alekseevich was nominated for the Nobel Prize back in 1923, then again in 1926, and since 1930 his candidacy has been considered annually. Bunin was the first Russian writer to receive the Nobel Prize. This was a worldwide recognition of the talent of Ivan Bunin and Russian literature in general.

The Nobel Prize was awarded on December 10, 1933 in Stockholm. Bunin said in an interview that he received this award possibly for the totality of his works: "I think, however, that the Swedish Academy wanted to crown my last novel, The Life of Arseniev. In the Nobel diploma, made especially for Bunin in the Russian style, it was written that the prize was awarded "for artistic excellence, thanks to which he continued the traditions of Russian classics in lyrical prose" (translated from Swedish).

Bunin distributed about half of the prize he received to the needy. Only Kuprin he gave five thousand francs at once. Sometimes money was given to complete strangers. Bunin told Segodnya correspondent P. Pilsky, “As soon as I received the prize, I had to give away about 120,000 francs. Yes, I don’t know how to handle money at all. Now it’s especially difficult.” As a result, the prize dried up quickly, and Bunin himself had to be helped.

In 1934 - 1936 in Berlin, the publishing house "Petropolis" published the Collected Works of Bunin in 11 volumes. Preparing this building, Bunin carefully corrected everything previously written, mainly mercilessly shortening it. In general, Ivan Alekseevich always approached each new edition very demandingly and tried every time to improve his prose and poetry. This collection of works summed up Bunin's literary activity for almost fifty years.

In September 1939, the first salvos of the Second World War broke out. Bunin condemned the advancing fascism even before the outbreak of hostilities. The Bunins spent the war years in Grasse at the Villa Jeannette. M. Stepun and G. Kuznetsova, L. Zurov also lived with them, A. Bahrakh lived for some time. With particular pain and excitement, Ivan Alekseevich met the news of the beginning of the war between Germany and Russia. Under pain of death, Bunin listened to Russian radio, marked the situation at the front on the map. During the war, the Bunins lived in terrible beggarly conditions, starving, Bunin met with great joy the victory of Russia over fascism.

In the postwar years, Bunin followed with interest the literature in Soviet Russia, enthusiastically speaks about the work of K. G. Paustovsky and A. T. Tvardovsky. About A. Tvardovsky's poem "Vasily Terkin" Ivan Alekseevich wrote in a letter to N. Teleshov: a. I (the reader, as you know, picky, demanding) is completely delighted with his talent - this is truly a rare book: what freedom, what wonderful prowess, what accuracy, accuracy in everything and what an extraordinary folk, soldier's language - not a hitch, not a hitch, not a single false, ready-made, that is, literary - vulgar word! It is possible that he will remain the author of only one such book, he will begin to repeat himself, write worse, but even this can be forgiven for "Terkin". Bunin creativity lyrics love

After the war, Bunin met more than once in Paris with K. Simonov, who offered the writer to return to his homeland. At first there were hesitation, but in the end, Bunin abandoned this idea. He imagined the situation in Soviet Russia and knew perfectly well that he would not be able to work on orders from above and would not hide the truth either. This is probably why, or maybe for some other reason, Bunin never returned to Russia, all his life, suffering from separation from his homeland.

The circle of friends and acquaintances of I. Bunin was great. Ivan Alekseevich always tried to help young writers, gave them advice, corrected their poems and prose. He did not shy away from youth, but on the contrary, he carefully watched the new generation of poets and prose writers. Bunin was rooting for the future of Russian literature. The writer himself had young people living in his house. These are the already mentioned writer Leonid Zurov, whom Bunin signed out for a while until he gets a job, but Zurov remained to live with Bunin. For some time lived a young writer Galina Kuznetsova, journalist Alexander Bakhrakh, writer Nikolai Roshchin. Often, young writers who knew I. Bunin, and even those who did not meet him, considered it an honor to present Ivan Alekseevich with their books with dedicatory inscriptions, in which they expressed their deep respect for the writer and admiration for his talent.

Bunin was familiar with many famous writers of the Russian emigration. Bunin's closest associates were G. V. Adamovich, B. K. Zaitsev, M. A. Aldanov, N. A. Teffi, F. Stepun and many others.

In Paris in 1950, Bunin published the book "Memoirs", in which he openly wrote about his contemporaries, without embellishing anything, in poisonous - sharp assessments he expressed his thoughts about them. Therefore, some essays from this book have not been published for a long time. Bunin was reproached more than once for being too critical of some writers (Gorky, Mayakovsky, Yesenin, etc.). We will not justify or condemn the writer here, but only one thing should be said: Bunin was always honest, fair and principled and never made any compromises. And when Bunin saw lies, falsehood, hypocrisy, meanness, deceit, hypocrisy - no matter who it came from - he spoke openly about it, because he could not tolerate these human qualities.

At the end of his life, Bunin worked hard on a book about Chekhov. This work went on gradually for many years, the writer collected a lot of valuable biographical and critical material. But he didn't finish the book. The unfinished manuscript was prepared for publication by Vera Nikolaevna. The book "About Chekhov" was published in New York in 1955, it contains the most valuable information about the brilliant Russian writer, Bunin's friend - Anton Pavlovich Chekhov.

Ivan Alekseevich wanted to write a book about M. Yu. Lermontov, but did not manage to carry out this intention. M. A. Aldanov recalls his conversation with Bunin three days before the death of the writer: "I always thought that our greatest poet was Pushkin, - said Bunin, - no, this is Lermontov! It is simply impossible to imagine to what height this person would have risen if he had not died for twenty-seven years. " Ivan Alekseevich recalled Lermontov's poems, accompanying them with his assessment: "How unusual! It doesn't look like Pushkin or anyone else! Amazing, there is no other word for it."

The life of the great writer ended in a foreign land. I. A. Bunin died on November 8, 1953 in Paris, was buried in the Russian cemetery of Saint. - Genevieve - de - Bois near Paris.

ARTISTIC FEATURESLOVE LYRICS OF BUNIN

Bunin is a unique creative personality in the history of Russian literature late XIX- the first half of the XX century. His brilliant talent, the skill of a poet and prose writer, which has become a classic, amazed his contemporaries and conquers us, living today. True Russian is preserved in his works literary language which is now lost.

A large place in Bunin's work is occupied by works about love. The writer has always been concerned about the mystery of this strongest of human feelings.

I'm looking for combinations in this world

Beautiful and secret, like a dream.

I love her for the happiness of merging

In one love with the love of all time!

I. Bunin "Night"

Bunin is sure of the existence of true love. She is real for him, in all manifestations: both happy, mutual (which is extremely rare in Bunin), and undivided, and destructive. But whatever it is, it exists. Moreover, for Bunin, she is the only thing that is the meaning of life, her driving force. But how can you live without the most important thing in life?

What is in you, after all, exists.

Here you are dozing and in your eyes

So lovingly soft wind blows -

How is there no love?

I. Bunin. “In the country chair, at night, on the balcony…”

Love in the image of Bunin is striking not only by the power of artistic representation, but also by its subordination to some internal laws unknown to man. Infrequently they break through to the surface: most people will not experience their fatal effects until the end of their days. Such an image of love unexpectedly gives Bunin's sober, "merciless" talent a romantic glow.

Bunin's love lyrics are not large quantitatively. It reflects the poet's confused thoughts and feelings about the mystery of love... One of the main motives of love lyrics is loneliness, inaccessibility or impossibility of happiness. For example, in the poems “How bright, how elegant spring is! ..”, “Calm look, like the look of a doe ...”, “At a late hour we were with her in the field ...”, “Loneliness”, “Sorrow of eyelashes, shining and black …" and etc.

Bunin's love lyrics are passionate, sensual, saturated with a thirst for love and are always full of tragedy, unfulfilled hopes, memories of past youth and departed love.

Tomorrow he will dawn again

And again remind, lonely,

I spring, and first love,

And your image, sweet and distant ...

I. A. Bunin “The sunset has not faded away yet ...”

The catastrophic nature of life, the fragility of human relations and existence itself - all these favorite Bunin themes after the gigantic social cataclysms that shook Russia, were filled with a new formidable meaning. The closeness of love and death, their conjugation were obvious facts for Bunin, they were never in doubt.

I take your hand and look at it for a long time,

you raise your eyes timidly in sweet languor:

in this hand is your whole being,

I feel all of you - soul and body.

What more do you need? Is it possible to be happier?

But the rebellious Angel, all storm and flame,

Flying over the world to destroy with mortal passion,

Already rushing over us!

I. Bunin "I take your hand ..."

It has long been and very correctly noted that love in Bunin's work is tragic. The author is trying to unravel the mystery of love and the mystery of death, why they often come into contact in life, what is the meaning of this. The author does not answer these questions, but through his works he makes it clear that there is a certain meaning to human earthly life in this.

As a rule, in Bunin we see two ways of developing love relationships. Either the happiness of love is followed by parting or death. Proximity leads to separation, death, murder. Happiness cannot be eternal.

Hours, the last for them! -

The dunes are glowing brighter and brighter.

They are the bride and groom

Will they ever meet again?

I. A. Bunin "Separation"

Or initially the feeling of love is unrequited or impossible for some reason.

You are meek and humble

Followed him from the crown.

But you bowed your face

He didn't see the face.

. . . . . . . . . . . . . . . . . . . . .

You can't even hide

That you are a stranger to him ...

You won't forget me

Never ever!

I. A. Bunin "Alien"

Bunin's love does not go into a family channel, it is not resolved by a happy marriage. Bunin deprives his heroes of eternal happiness, deprives them because they get used to it, and the habit leads to the loss of love. Love out of habit cannot be better than lightning-fast love, but sincere. However, despite the short duration, love still remains eternal: it is eternal in memory precisely because it is fleeting in life.

"Love is beautiful" and "Love is doomed" - these concepts, finally

having combined, they coincided, carrying in the depths the grief of Bunin the emigrant.

Exceptions are extremely rare, but they do occur. And then the finale of the story becomes either the marriage crown:

Golden willow, stars

The weighted bends

With the betrothed Alisafia

Going to God's church.

I. Bunin "Alisafiya"

Or a feeling of complete all-encompassing happiness:

Only with you I am happy

And no one will replace you

You alone know and love me,

And one understand - for what!

I. A. Bunin "The stars at night are more tender in spring"

I. Bunin's love lyrics have a number of features. In it, the author avoids deliberately beautiful phrases:

I entered her at midnight.

She was sleeping, the moon was shining

Into her window -- and blankets

The deflated satin shone.

I. A. Bunin “I went to her at midnight…”

Bunin's nature is not a background, not a decoration, but one of the characters, in love lyrics, in most cases, she plays the role of an impassive observer. Whatever happens, whatever the situation described by Bunin, nature in most cases retains a serene expression, which nevertheless differs in nuances, because through them the author surprisingly correctly conveys feelings, moods and experiences.

The author's favorite season is spring. Bunin associates her with a feeling of love, she herself symbolizes love. Moreover, love is completely different: happy, mutual, “living” love (as, for example, in the poem “The stars are tenderer at night in spring ...”, and love that has passed, almost forgotten, but still stored in the depths of the heart:

How bright, how elegant spring!

Look into my eyes like you used to

And tell me: why are you sad?

Why are you so affectionate?

But you are silent, weak as a flower ...

Oh shut up! I don't need a confession

I recognized this caress of farewell, -

I'm alone again!

I. A. Bunin “How bright, how elegant spring ...”

And love, in which parting has just taken place:

And she kindly nodded to me,

Slightly tilted her face from the wind

And disappeared around the corner ... Was ...

She forgave me and forgot.

I. A. Bunin

Oddly enough, a certain sign of the authenticity of love for Bunin is, one might say, immorality in love, since ordinary morality turns out, like everything established by people, a conditional scheme that does not fit the elements of natural, living life.

The intimate lyrics of I. A. Bunin are tragic, they sound like a protest against the imperfection of the world.

When describing risky details related to the body, when the author must be impartial so as not to cross the fragile line that separates art from pornography, Bunin, on the contrary, worries too much - to a spasm in the throat, to a passionate tremor:

She lay on her back

Naked bifurcated breasts ...

And quietly, like water in a vessel,

Her life was in a dream.

I. Bunin “I entered her at midnight…”

For Bunin, everything connected with sex is pure and significant, everything is shrouded in mystery and even holiness.

Love is a mysterious element that transforms a person's life, giving his fate a uniqueness against the background of ordinary everyday stories, filling his earthly existence with a special meaning.

Yes, love has many faces and is often inexplicable. This is an eternal riddle, and each reader of Bunin's works is looking for his own answers, reflecting on the secrets of love. The perception of this feeling is very personal, and therefore someone will treat what is depicted in the book as a “vulgar story”, and someone will be shocked by the great gift of love, which, like the talent of a poet or musician, is not given to everyone. But one thing is certain: Bunin's poems, which tell about the most intimate, will not leave readers indifferent. Each person will find in Bunin's works something consonant with their own thoughts and experiences, will touch great secret love.

TRADITIONS AND INNOVATION OF LOVE LYRICS by I. A. Bunin

Belonging to the type of plastic poets, Bunin in the field of poetic form was more conservative. Based on the lyrics of A. S. Pushkin and Al. Tolstoy, Bunin almost did not try to introduce anything new into Russian verse and was averse to new achievements made by others. Bunin's characteristic stroke clarity, which is the originality of Bunin's short story, in poetry turned into a certain dryness that violates the depth of lyrical feeling. However, some of Bunin's poems must be recognized as outstanding examples of pictorial lyrics. This is about form. In terms of content, the poetry of I. A. Bunin is an excellent encyclopedia of Russian nature, intimate and philosophical life. In the new conditions of the 20th century, he not only continues the themes of the "golden age" of Russian poetry (Fet, Tyutchev), but also actively develops them.

I.A. Bunin has a very peculiar view of love relationships that distinguishes him from many other writers of that time.

The image of love in Bunin's work is a special synthesis of spirit and flesh. According to Bunin, the spirit cannot be comprehended without knowing the flesh. I. Bunin defended in his works a pure attitude towards the carnal and bodily. He did not have the concept of female sin, as in Anna Karenina, War and Peace, Kreutzer Sonata by L.N. Tolstoy, there was no wary, hostile attitude towards the feminine, characteristic of N.V. Gogol, but there was no vulgarization of love. His love is earthly joy, mysterious

attraction of one sex to the other.

A distinctive feature of love in the image of Bunin is a combination of seemingly incompatible things. It is no coincidence that Bunin once wrote in his diary: “And again, again, such indescribably sweet sadness from that eternal deception of another spring, hopes and love for the whole world, that I want to kiss the earth with tears of gratitude. Lord, Lord, why do you torment us like this.

To make sure of the sincerity of feelings, according to Bunin, a tragedy is certainly needed. But, despite all their tragedy, a bright feeling seizes the reader when the last line is read: every poem of the poet is saturated with extraordinary light power and sincerity of feelings. Bunin's love does not live long - in the family, in marriage, in everyday life. A short, dazzling flash, illuminating the souls of lovers to the bottom, leads them to a tragic end - death, suicide, non-existence.

But, nevertheless, in these happy moments, for the sake of which it is worth living and enduring any suffering, there is sweetness human life. Thus, according to Bunin, bitterness and sweetness are closely intertwined: in order to feel the sweetness of life, one must drink the cup of its bitterness to the bottom ...

The nature of love is also very changeable: joy and sadness, depending on the state at the moment:

I am happy when you are blue

You raise your eyes to me:

. . . . . . . . . . . . . . . . . . . . . .

It's bitter for me when you, dropping

Dark ridges, shut up:

I. A. Bunin "I am happy when you are blue ..."

Bunin constantly emphasizes the strange connection between love and death. Death from love is the main motive of Bunin's love lyrics.

I will wait in the weather, in bad weather ...

I can’t wait - I’ll read from the chestnut,

I will go out to the sea, I will throw a ring into the water

And I'll strangle myself with a black scythe.

I. A. Bunin "Song"

True love is a great happiness, even if it ends in separation, death, tragedy. To such a conclusion, albeit late, but many come who have lost, overlooked or destroyed their love themselves. In this late repentance, late spiritual resurrection, enlightenment lies that all-cleansing melody that speaks of the imperfection of people who have not yet learned to live, recognize and cherish real feelings, and of the imperfection of life itself, social conditions, environment, circumstances that often interfere with truly human relationships, and most importantly - about those high emotions that leave an unfading trace of spiritual beauty, generosity, devotion and purity.

CONCLUSION

It should be noted that at one time the majority of critics rightly pointed out the difference between Bunin's poetry and prose.

Indeed, various themes in poetry and prose are interpreted by Bunin in different ways. In Bunin's poetry, more often than in prose, peppy tones can also be found. Including the theme of love. The reason is that the area of nature, the description of which is present in almost all of Bunin's "love poems", for the author has always been a source of joyful perception of the world, life-affirmation, while the area of social life, which is the subject of Bunin's prose, is a constant source of disharmony for him, irresolvable contradictions and tragic reflections. Thus, the "divisibility" of Bunin's work finds its explanation in the peculiarities of his worldview, in his entire philosophy of life.

In the theme of love, Bunin reveals himself as a man of amazing talent, a subtle psychologist who knows how to convey the state of the soul, wounded by love. The writer does not avoid complex, frank topics, depicting the most intimate human experiences in his stories. Over the centuries, many artists of the word dedicated their works to the great feeling of love, and each of them found something unique, individual to this theme. The peculiarity of Bunin the artist is that he considers love to be a tragedy, a catastrophe, madness, a great feeling, capable of both infinitely elevating and destroying a person.

LIST OF USED LITERATURE

1. Bunin I. A. Poems. M., 2000.

2. Aykhenvald Yu. Silhouettes of Russian. writers. vol. III, M., 1910;

3. Baevsky V. S. History of Russian poetry 1730 - 1980. - Smolensk, 1994

4. Batyushkov F. Russ. literature of the XX century.// ed. S. Vengerov, no. VII, M., 1918.

5. Belchikov Yu. A. Russian literary language in the second half of the 19th century. - M., 1974.

6. Bryusov V. Far and near. M., 1912;

7. Vladislavlev I. V. Russian writers. L., 1924,

8. Vladislavlev IV Literature of the Great Decade. T. I, M., 1928.

9. Volkov A. A. Russian literature of the XX century. M., 1960.

10. Vorovsky V. Literary essays. M., 1923.

11. Gorbov D. Here and abroad. M., 1928 (Art. "Dead beauty and tenacious ugliness" and "Ten years of literature abroad").

12. Zaitsev B.K. Youth - Ivan Bunin.

13. Kogan P. Essays on the history of modern Russian literature. vol. III, c. II, M., 1910.

14. Mikhailov O.N. Russian literature of the XX century.

15. Native poets. M., 1966.

16. Spivak R. S. Russian philosophical lyrics, 1910: I. Bunin and others - M., 2003.

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Ivan Alekseevich Bunin: childhood

The future writer was born in 1870, in a family from an old noble family. Bunin's father owned a small estate in the Oryol region - little Vanya's childhood passed there. He would later reflect the impressions of those years in his work, and he would remember the quiet life in the estate until the end of his days. Ivan loved to read from an early age and began to compose small poems himself. In addition, he grew up as a very artistic child, which later helped him become a wonderful reader.

At the age of ten, he went to study at a gymnasium in the city, and he did not like city life. Nevertheless, he survived for four years, and then simply did not return from the holidays and was expelled. After that, fourteen-year-old Ivan began to live on his grandmother's estate with his older brother Julius, who was closely involved in Vanya's education. I must say that the brothers maintained a close, warm relationship throughout their lives. Thus, Ivan Alekseevich spent his teenage years in his beloved village among peasant children, from whom he heard many interesting stories, later expressed by him in his work.

The beginning of the creative path

Little Vanya wrote his first timid poems at the age of seven or eight. Then he read Pushkin, Zhukovsky, Maykov, Lermontov, Fet. He tried to imitate them in his "verses". The very first serious poems, which were even published, Ivan Alekseevich composed at the age of seventeen. They were published in one of the St. Petersburg newspapers - only twelve pieces during the year. There also appeared two debut stories of the young author - "Nefedka" and "Two Wanderers". Ivan Alekseevich embarked on the path of literature.

Writer or poet?

Most of the population Ivan Alekseevich is known primarily as a prose writer. "Dark Alleys", "Mitya's Love", "Antonov's Apples" and other iconic stories of his are studied in schools and universities. What can we say about the extensive autobiography "The Life of the Arsenievs"! Nevertheless, Bunin himself considered himself primarily a poet. This is no coincidence - after all, it was with a love for poetic forms that his passion for literature in principle began.

Influence of colleagues

In the mid-1890s, Bunin met Leo Nikolayevich Tolstoy - he had admired him before. His ideas, character and views had a huge impact on Bunin's life, which manifested itself both in his prose and in his lyrics. Also, the author was greatly impressed by his acquaintance with Anton Chekhov, Maxim Gorky, the actors of the Moscow Art Theater, as well as the composer Sergei Rachmaninoff. Bunin's work was reflected in his entry into Moscow literary circles, and rotation among such personalities as Alexander Kuprin, Konstantin Balmont, Fedor Sologub and others.

First collections

The first poetry collection of Ivan Alekseevich was published in 1891. It was called uncomplicatedly - "Poems of 1887-1891", contained the first, trial, youthful poems, which were received favorably by reviewers on the whole. Even then, it was noted how accurately and picturesquely the novice poet conveys the beauty of nature - Bunin's first poems belonged precisely to landscape lyrics. They also said that the future “great writer” appeared before the readers.

However, those poems did not bring real fame, large-scale, to Ivan Alekseevich. And they brought the following two collections: the first book of stories published in 1897 and the second - of poems, published a year later (the collection was called "Under the open sky"). Then Bunin, as they say, woke up famous.

"Leaf fall"

The third book of poems by Ivan Alekseevich was published in 1901 by a Moscow publishing house. It was called "Leaf Fall" and contained poems written under the impression of communicating with the Symbolists. Reviews of critics varied - who was restrained, who admired, who was perplexed. But two years later, the Pushkin Prize put everything in its place - Ivan Bunin was awarded it precisely for this collection.

Features of Bunin's poetry

Perhaps Bunin's lyrics are not studied as diligently as his stories and novels, but it occupies an honorable place in Russian literature, which all literary critics can easily confirm. It has many features that you will not find more in the work of any other author.

First of all, you need to remember what time Ivan Alekseevich lived - the turn of two centuries, the time of searching for oneself, which was also reflected in Russian literature. How many different circles and movements arose! Futurists, acmeists, symbolists... Poets strove to become innovators, experimented, searched for new forms of the word. Ivan Alekseevich Bunin, unlike most of his colleagues, was never attracted by this. He remained a conservative in literature, continuing to sing of classical Russian traditions, continuing the work of his predecessors - Tyutchev, Fet, Lermontov, Pushkin and others.

Lyricism in Bunin's work occupies an important place. He wrote in a "traditional" style, but nevertheless showed new facets and possibilities of the poem. The writer has always remained faithful to the once and for all found style - clear, restrained, harmonious. It sometimes seems that his language is dry, but how amazingly accurately he conveys the beauty of nature, and the pain of love, and feelings about life ... The state of the author's soul is what Bunin's lyrics absorbed. Its philosophy, laconism and refinement did not leave indifferent readers, and many of his fellow writers, and critics who admired Ivan Alekseevich's ability to feel and convey the word. His sense of language and great skill were spoken about everywhere.

Another one salient feature Bunin's lyrics are that even showing the negative facets of life, thinking about it, he does not give himself the right to judge anyone. It only gives the reader the right to decide for himself "what is good and what is bad." His poetry is real, it is not for nothing that Ivan Alekseevich is called the successor of Chekhov's realism.

If we talk about the features of the poetics of Bunin's poems, we can single out the following: the preservation of the traditions of the nineteenth century, the exact use of epithets (his lyrics abound with them), the simplicity and naturalness of the word (it seems to be alive in his poems), the presence of existential motifs even in poems on other topics, the indispensable use of stylistic figures and techniques, such as sound writing, oxymoron, metaphors, personifications, the already mentioned epithets, and many others. He actively uses synonyms, like beads, stringing words one on top of the other, so that the reader has a vivid picture.

Themes of Bunin's lyrics

Relatively speaking, the poems of Ivan Alekseevich Bunin can be divided into three large parts - landscape, philosophical and love. Of course, he touched on other topics in his work, but it is these three that dominate the lyrics of Ivan Bunin.

landscape lyrics

It was with landscape poems that he began his creative way Ivan Bunin. The verses of Bunin's landscape lyrics have incredible expressiveness, they are so picturesque that it seems that you are looking at the picture, and not reading the text. Not without reason, Bunin's colleagues spoke of him as a creator of nature, they said that in the depiction of the landscape he is similar to Levitan, that, apart from him, few people feel and understand nature like he does. Perhaps this is true - according to Bunin, nature is the only harmonious one, it is an integral part of human life. Only in it there is beauty that can heal humanity - such is the law of Bunin's landscape lyrics.

The image of autumn and the Russian forest is most often used by the poet. The forest for him is like music, which he sings with great love, and therefore all his poems are musical. In Bunin's depiction of landscapes, there are many different colors and sound effects, accurately selected epithets, personifications, metaphors, helping the author to create amazingly accurate images. There is no lyrical hero here, all attention is focused on the beauty of nature.

Very often, Bunin shows night landscapes, since night is his favorite time of day. At night, the sleeping nature seems magical, alluring, enchants even more - that is why many poems are dedicated to the night. As a rule, in most of his poems, in addition to the night and the forest, there are images of the sky, stars, and endless steppes. Composing landscape lyrics, the poet saw before him his beloved Oryol region, where he spent his childhood.

Philosophical lyrics

Bunin's landscape lyrics gradually gave way to philosophical ones, or rather, smoothly flowed into it. It began at the turn of the century, at the beginning of the new century. Then the poet was very fond of the Koran, read the Bible, which, of course, could not but be reflected in his works.

Bunin's philosophical lyrics speak of life and death. Bunin wanted to figure out why an event happens, he thought about the eternal - about good and evil, about truth, about memory, about the past and the present. During this period, many references to history can be found in his poems. different countries. He was interested in the legends of the East, ancient Greece, deities, Christianity. Loneliness and doom, eternity, human destiny - these themes are also not uncommon in Bunin's philosophical lyrics. In his poems, he sought to understand the meaning of life - and the connection between philosophical poems and landscape ones becomes characteristic: it was in love for nature and reverence for her that the poet found salvation for the human soul.

The philosophical lyrics of Ivan Alekseevich are distinguished by a special atmosphere - absolute silence. When you read poems on this subject, it seems that even the air stops oscillating. You completely immerse yourself in the experiences of the lyrical hero (here he is present), you surrender to them as if they were your own. Such silence, according to Bunin, is needed in order to be able to hear God, who is the bearer of Light, Truth and Love. Many of the author's poems have been written about God and biblical motifs.

love lyrics

Poems about love in the work of Ivan Alekseevich Bunin are presented in somewhat smaller quantities, but nevertheless play a large role among his works. A long time ago, Bunin's love lyrics were defined as tragic - perhaps this is the most capacious and accurate definition.

Love for Ivan Alekseevich is the most intimate, important, the main thing, for which it is worth living on earth. He is absolutely sure of the existence of true love, and although many of his poems are devoted to love suffering, he also writes about mutual, happy love, albeit less often. One of the main motives of Bunin's love lyrics is loneliness, unrequited love, the inability to experience happiness. It is tragic because it is dominated by thoughts about what did not come true, memories of the departed, regrets about the lost, the fragility of human relationships.

Bunin's love lyrics are in contact with the philosophical - love and death, and with the landscape - love and the beauty of nature. Bunin is pessimistic - in his poems, happiness cannot live long, love is followed by either separation or death, a successful outcome is not given. However, love is still happiness, because it is the highest that a person can know in life. At the same time, the poet himself in his personal life, after several unsuccessful attempts, nevertheless found family happiness and a wife who, until the end of his days, supported him in everything.

As in any other, Bunin's love lyrics have a number of features. These are, for example, the avoidance of beautiful phrases, the use of nature as an observer of love suffering, the mention of spring (the poet's favorite season) as a symbol of love, an open protest against the imperfection of the universe, an indispensable combination of spiritual and physical (it is impossible to know the soul without comprehending the flesh). At the same time, there is nothing shameful or vulgar in Bunin's poetry, it is holy and remains a great mystery for him.

Other motives of Bunin's lyrics

In addition to the topics mentioned above, the following are present in the work of Ivan Alekseevich: civil lyrics - poems about the hard fate of the common people; the theme of the Motherland is nostalgia for old Russia, poems on such topics are not uncommon for the emigre period of the poet's work; the theme of freedom, history and man; the theme of the poet and poetry is the purpose of the poet in life.

Ivan Alekseevich Bunin made a great contribution to the development of Russian literature. No wonder it was he who became the first Russian writer to receive the Nobel Prize - in fact, world recognition. Every person should know both Bunin's prose and poetry, especially if he considers himself a connoisseur of literature.

As you know, many poets wrote (are writing) and prose. They start both, as a rule, not at the same time, but only then they connect this more powerful, solid genre. Convincing confirmation of what has been said can be found in any literature: Goethe, Hugo, Kipling, E. Poe ... You can’t immediately figure out who they are mostly - prose writers or poets. In anyway both. And in Russian literature the first three names that immediately come to mind, as soon as we start talking about the poets who wrote prose, are Pushkin, Lermontov, Bunin.

Only after them will we begin to remember A. Bely, Khodasevich, F. Sologub, G. Ivanov, Pasternak... Bunin's prose, as it were, overshadowed his own poetry. But it only seems. A shrug at the mention of Bunin the poet, which other arrogant critics have recently allowed themselves, is at least frivolous. Bunin's poetry has long acquired not only a strong, but also an extremely important place in Russian literature.

He began to write poetry at the turn of the arrival of new poetry, literally before it. He internally did not accept the lovables, but they did not accept him. But he himself was new. No., not a symbolist, not an acmeist. But new.

This is no longer the old traditional classic, not the nineteenth century. He even influenced them - say, Akhmatova. They took a lot from him without realizing it. They thought that he was only a landscape painter, at first not noticing his penchant for psychological analysis. But after all, purely landscape lyrics, which ceased to be only the background of what is happening, and came out in the main characters, - it was also a kind of discovery. I already mentioned once how I was struck in early childhood by the lines read to me by my mother: Remember how the birch trees rustle, And beyond the forest, at the boundary, Golden waves of rye walk slowly and smoothly. For a long time I did not know whose they were.

How quickly his rare powers of observation developed in him! Mushrooms are gone, but smells strong In the ravines of mushroom dampness. And in the same poem: And, lulled by the horse's step, I listen with joyful sadness. Like the wind with a single-tone ringing Buzzing-singing in the barrels of a gun. Sadness is sadness, but there is also a growing sense of anxiety. The eternal motif characteristic of Russian lyrics is remarkable: the image of a sleeping woman in her touching defenselessness. Recall Fet: "At dawn, you do not wake her." There is not just a dream, but a whole plot: the heroine sleeps so sweetly at dawn because she did not sleep for a long time "she left in the evening."

And the brighter the moon played, And the louder the nightingale whistled, She became paler and paler, Her heart beat more and more painfully. Nothing seems to happen to Bunin, but the picture is even more poignant: I entered her at midnight. It slept - the moon shone In its window - and the blankets Shone the lowered satin. She lay on her back, Naked, bifurcated breasts, - And quietly, like water in a vessel, Her life stood in a dream. And there's a story here too. But we do not know who they are: the sleeping woman and he, who entered her at night. Refinement, elegance of writing set us up for a special solemnity.

A dream appears to us as a vessel in which life stands. But Bunin is not only like that, he is surprisingly democratic both in verse and in prose - in topic and in word.

I am an idle girl on the tower,

He is a fisherman, a cheerful person.

The white sail is sinking on the estuary,

He saw many seas and rivers.

They say Greek women on the Bosphorus

Good ... And I'm black, thin.

Drowning a white sail in the sea -

Maybe never return.

I'll wait in the weather, in bad weather ...

I can’t wait - I’ll read from the chestnut,

I will go out to the sea, I will throw a ring into the water

And I'll strangle myself with a black scythe.

The poem is called "Song". Yes, this is a typical girl's song, the words of which are composed, as most often happened in Russia, by a man. The mystery is why it was not set to music, especially since the author communicated with excellent composers.

This "Song", as befits its genre, gives a certain generalized, almost already expected image of the heroine and what will happen to her. And literally next to it are also poems about a woman, but about a completely different one and therefore completely different - infinitely specific, carefully worked out, permeated with purely individual pain. One of best poems in Russian poetry- "Loneliness".

And the wind, and the rain, and the haze

Above the cold desert water.

Here life died until spring,

Until spring, the sodas were empty.

I am alone at the cottage.

It's dark for me Behind the easel, and blowing through the window. Painter. It's cold, it's dark, you can't even work. Yesterday you were with me, But you are already sad with me. Towards the evening of a rainy day You began to seem like a wife to me ... Well, goodbye! Somehow until spring I will live alone - without a wife ...

Gap. Until spring? No, it's forever. Today go endlessly The same clouds - ridge after ridge. Your trail is under rain on the porch Fluffed up, filled with water. And it hurts me to look alone In the evening gray darkness.

Longing is mortal. And look at the words that are repeated and pumped up: haze, dark, rainy day, gray darkness ... But what about the "footprint in the rain at the porch", already blurred, is still visible? He is seen, remembered only by the vision of the artist. I wanted to shout after him: "Come back, I'm related to you!" However, he didn't shout, he restrained himself.

A few years later, Akhmatova shouted (remember, I spoke about influences?): Gasping for breath, I shouted: "Joke All that was. If you leave, I will die." Bunin, instead of screaming, says: But for a woman there is no past: She fell out of love - and became a stranger to her. Ruthless, analytical words. Here are beautifully written verses, but the prose writer is already leading the poet's hand.

This motive: the ease with which a woman can stop loving and become completely indifferent, is constant in Bunin. In another poem: "She forgave me - and forgot." Amazing understanding of the female soul. And the ending - almost everyone knows it: Well! I'll flood the fireplace, I'll drink ... It would be nice to buy a dog.

Truly loneliness! He has another poem with the same name - this happens in poetry. It goes through life after all. But here it is no longer about his loneliness: "A thin companion, a foreigner" ... Poems are moderately ironic.

And at the same time - after all, she feels bad, she is sorry. And yet - probably, some kind of foreboding hurts the soul. And the companion is swimming in the cold evening sea, waiting for someone to see her, plastered with wet tights, playing with the dog (remember the supposed dog from the first "Solitude"?). And meanwhile: On the precipice. What towered behind, in the bright sky, Blackened a lonely bench...

The Writer, who had dined at a party, stood there with his head open. He smoked a cigar and, smiling, Thought: "The striped leotard made her look like a zebra." Doesn't, but did. In the past time. In these white verses, he seems to be trying it on for future book. And after all, the writer is himself, Bunin, with his trademark powers of observation. This is confirmed by the following poem, written the next day (he suddenly begins to date in such detail - no worse than Blok).

In these verses there are “wind from Finland”, and “I’m going to the sea”, and “here is a bench and a straw umbrella, / / further the cliff” ... Everything is in place. It's also quite a psychological picture. A. Tvardovsky in his well-known preface "On Bunin", admiring Bunin's most detailed knowledge of Russian nature (understeppe), adds: "But, of course, if his pictorial possibilities were limited only to these, albeit the most accurate and artistic pictures and strokes, his meaning would be would be far from what he acquired in Russian literature. Nothing can replace a person with his joys and sufferings as an object of depiction in art - no charm of the object-sensory world alone, no "beauties of nature" in themselves. "" Individuality of fate "- this is the main thing in Bunin, both in poetry and in prose.

He has no verses where any contemporary known to all would be described, acted. Except one. The poem "Artist" is filled with such psychological certainty, such certainty of life details, that there is no doubt: it is about Chekhov. We know with what reverence and respectful tenderness Bunin treated him. Poems about the last, Yalta, period of Chekhov were written four years after his death. Crunching on the large pebbles, he walked through the Sloping Garden, looked over the pools, and sat down on a bench...

Behind the new white house, the Yaila Ridge is both close and heavy. Anyone who has been to Autkin's house and garden knows that even now nothing changed, only the house is not new. Languishing from the heat, the slate crane stands in the bush. The pigtail is lowered, The leg is a spinning cane... He says: "What, bird? It would be nice to go to the Volga, to Yaroslavl!" Do you feel? Bunin (and even in verse!) conveys Chekhov's speech.

And how true! He, smiling, thinks about how they will endure him - like gray-grey mourning robes in the hot sun, how yellow the fire is, how white the house is on the blue. And here he shows Chekhov the artist. No wonder the verses are named that way. A fat priest descends from the porch with a censer, Brings out the choir... The crane, frightened by the choir. Snaps, rises from the fence - And well, dance and bang your beak on the coffin!

The last line here, to be honest, makes me doubt that this is how Chekhov could write. Is this why Vunik does not insist to the end and does not call his name directly? Itchy in the chest. Dust is blowing off the highway. Hot, especially dry. He took off his pince-nez and thinks, perhaya: "Yes, sir, vaudeville ...

Everything else is style. Turning to the poetry of Ivan Bunin, one cannot fail to name poems about his travels, about the East, huge ocean steamers, and exoticism. Here he somehow strangely approaches Nikolai Gumilyov. But Bunin's travels seem to be filled with more comfort. His luxurious stanzas are written in cool cabins, where he retires from the red-hot deck.

Is it because these essentially diary, travel poems are distinctly cold. It is quite obvious that his feelings are much more alive among his native plains. Here is a summer downpour, but As soon as we reach the thicket - Everything will calm down ... Oh, dewy bush! Oh, happy and brilliant eyes And the chill of submissive lips!

No wonder they ran. Here he is, Bunin. Or another eternal theme, as is the theme in music: This house a hundred years ago Was full of my ancestors... The poems are called "Grandfather in his youth." - and his current grandson admires his grandfather sweetly and painfully, understands him, wants to live his life, to enter the house, where "like a small mother-of-pearl, a moth silently floats." And the combination of spring and old age is especially contrasting and touching. “Here is March,” the poet thinks in “one poem.

In another: And the grandmother - in a rocking chair, smokes And thinks: "So, it's already March! .." Old people often smoke at his place. In front of the person sitting in the chair - On the table where the cup of tea was cold. Burnt cigar stream Strips of blue fiber. And in the end: Gray ashes grew on the cigar, A sweetish aroma flowed. And in front of the smoking grandmother ("On Plyushchikha") - ... smoke, like a lazy tow Merging with a light stripe, It turns blue, melts ... like behind a spruce In a distant clearing in spring.

How he loves them and all this, outgoing, sweet, that is, a part of himself! Hardly anyone else Russian poetry it is expressed with such force. It will not immediately pass into his prose, but it will remain in it to the end.

Konstantin VANSHENKIN

Bunin's lyrics: main themes and motives. Motifs of early landscape lyrics by I.A. Bunin The main features of Bunin's prose and poetry

Themes and motifs of Bunin's lyrics

Bunin's love lyrics

Eternal and transient in Bunin's lyrics

Loneliness and nature in Bunin's lyrics

Send your good work in the knowledge base is simple. Use the form below

Faculty of Russian Philology and National Culture

Department of Literature

Course work

"Love lyrics of Bunin"

Korneeva Olesya Vadimovna

scientific director

Gracheva I. V.

Ryazan 2006

INTRODUCTION

LIFE AND WORK OF I. A. BUNIN

ARTISTIC FEATURES OF BUNIN'S LOVE LYRICS

TRADITIONS AND INNOVATIONS OF LOVE LYRICS OF BUNIN

CONCLUSION

LIST OF USED LITERATURE

INTRODUCTION

"No, it's not the landscape that draws me,

Not the colors I seek to notice,

And what shines in these colors -

Love and joy of being."

I. Bunin

Similar Documents

Ivan Alekseevich Bunin: childhood

The beginning of the creative path

Writer or poet?

Influence of colleagues

First collections

"Leaf fall"

Features of Bunin's poetry

Themes of Bunin's lyrics

landscape lyrics

Philosophical lyrics

love lyrics

Other motives of Bunin's lyrics

Bunin's lyrics: main themes and motives. Motifs of early landscape lyrics by I.A. Bunin The main features of Bunin's prose and poetry

Themes and motifs of Bunin's lyrics

Bunin's love lyrics

Eternal and transient in Bunin's lyrics

Loneliness and nature in Bunin's lyrics

Send your good work in the knowledge base is simple. Use the form below

Faculty of Russian Philology and National Culture

Department of Literature

Course work

"Love lyrics of Bunin"

Korneeva Olesya Vadimovna

scientific director

Gracheva I. V.

Ryazan 2006

INTRODUCTION

LIFE AND WORK OF I. A. BUNIN

ARTISTIC FEATURES OF BUNIN'S LOVE LYRICS

TRADITIONS AND INNOVATIONS OF LOVE LYRICS OF BUNIN

CONCLUSION

LIST OF USED LITERATURE

INTRODUCTION

"No, it's not the landscape that draws me,

Not the colors I seek to notice,

And what shines in these colors -

Love and joy of being."

I. Bunin

Similar Documents

Ivan Alekseevich Bunin: childhood

The beginning of the creative path

Writer or poet?

Influence of colleagues

First collections

"Leaf fall"

Features of Bunin's poetry

Themes of Bunin's lyrics

landscape lyrics

Philosophical lyrics

love lyrics

Other motives of Bunin's lyrics

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