Sections: Literature

Ivan Alekseevich Bunin is an outstanding Russian writer who has won special worldwide fame. Bunin's poetry and prose come from a common verbal and psychological source, his richest and unique plastic language is one without the division into literary types and genres. In it, according to K. Paustovsky, there was everything "from the ringing copper of solemnity to the transparency of pouring spring water, from measured chasing to intonations of amazing softness, from light melodies to slow peals of thunder."

What attracts the work of I.A. Bunin to today's schoolchild?

Bunin's work is characterized by an appeal to the inner world of heroes: penetration into the secret impulses of the soul, the riddles of actions, the connection between "mind" and "heart". The environment, the surrounding material things lose their meaning. The perspective of the author's work of art is narrowed down to the psychology and emotionality of the hero.

What a cold autumn
Put on your shawl and hood ...
Look among the blackening pines
As if a fire is rising.

These lines of Fet, uttered by the hero of the story "Cold Autumn", most vividly reflect the time when I. Bunin in emigration wrote the cycle "Dark Alleys". Time of change, time of struggle, time of contradictions. It is noteworthy that in the story "Cold Autumn" contradictions appear constantly. If we trace the creative activity of Bunin, we will see that its "distinguishing feature is the opposition of the poetic traditions of the Russian muse of the" golden age "to the innovative search of the Symbolists." According to Y. Eichenwald's definition, Bunin's work "... stood out against their background as good old."

But for Bunin himself, it was not just an opposition of views, principles, worldview - it was a stubborn and consistent struggle against symbolism. And this fight was so heroic that Bunin found himself alone and was not afraid of the deep wounds she inflicted on him. “To the extremes of the Symbolists, he opposed too much equilibrium of feeling: their whimsicality was too complete sequence of thought, their desire for unusualness was too deliberately emphasized simplicity, their paradoxes - the obvious irrefutability of statements. The more the subject of symbolist poetry wants to be exceptional, the more the subject of Bunin's poetry tries to be normal. " An interesting fact is that while in Italy or Capri, Bunin wrote stories about a Russian village, and while in Russia, about India and Ceylon. Even in this example, you can see the contradictory feelings of the artist. When looking at Russia, Bunin always needed a distance - chronological, and even geographic.

Bunin's position in relation to Russian life looked unusual: to many of his contemporaries Bunin seemed "cold", albeit a brilliant master. "Cold" Bunin. "Cold autumn". Consonance of definitions. Is it accidental? It seems that behind both there is a struggle - the struggle of the new against the old, truth against untruth, justice against injustice - and inevitable loneliness.

"Cold" Bunin. He strove to rip out of his work everything that could be in it in common with symbolism. Bunin especially persisted against the Symbolists in the field of depicting reality. “The Symbolist is the creator of his landscape, which is always located around him. Bunin, on the other hand, steps aside, making every effort to reproduce the reality he adored in the most objective way. But the Symbolist, depicting not the world, but in essence himself, in each work achieves the goal immediately and completely. Bunin, on the other hand, complicates the achievement of his goal, he depicts the landscape accurate, truthful, alive, which leads to the fact that most often there is no place for the artist's personality. " But this is precisely what he opposed himself to the Symbolists.

"Cold autumn". In this story, Bunin, with the help of awakening the system of associative connections in the reader's mind, seeks to say about what was left in the past - simplicity, goodness, purity of thoughts and the inevitability of an impending tragedy.

In it, the fate of the Russian intelligentsia is shown through the fate of a woman, and her fate is revealed not so much through a detailed biography, but through a story about love, in which several days of the past are perceived more fully than the 30 years that have flown after him. The dissonance between good and evil, peace and war, harmony and chaos can be traced throughout this short story. And in the final - loneliness, disappointment in life, although it is brightened up with a dream and faith in happiness "there". The story is a tragedy of love in a time of trouble, a tragedy of reason in the mad flame of revolutionary upheavals.

The opposition of Bunin's worldview and creativity to the rest, the opposition of the old world and the new, good and evil in the story. This is what unites the consonance of definitions - "cold" Bunin and "Cold autumn". Bunin's antithesis is very attractive, so I would like to consider the story "Cold Autumn" from this point of view.

The aim of the work is to determine the ideological and artistic role of the antithesis technique in the story "Cold Autumn" at the level:

• plot
• compositions
• chronotope
• space
• image systems
• artistic and visual means.

The story "Cold Autumn" begins with an event that sets the stage for historical accuracy - World War I. Events are given in fragments: "In June he was a guest", "On Peter's day he was announced by the groom." The whole piece is built on contrast. So in the exposition we read: “In September I came to say goodbye"And "Our wedding was postponed until spring." The cold autumn can be interpreted as the end of ordinary peaceful life along with the dying of nature. But the wedding of the heroes has been postponed until spring. After all, spring appears not only as a time of rebirth of nature, but also as the beginning of a new peaceful life.

Further development of the action takes place in the heroine's house, where "he" came to say goodbye. Bunin capaciously conveys the atmosphere "Farewell evening" reapplying one antithesis after another. On the one hand, the window behind which “ surprisingly early cold autumn. " This laconic phrase has a multi-layered meaning: it is both the cold of autumn and the cold of the soul - as if we hear the father's prophecy to his child: amazingly, scaredly early you will lose Him, you will know the cold of loneliness. On the other hand, "Steamy window". With this phrase, Bunin emphasizes the warmth of the house, comfort, tranquility - "Sat quietly", "exchanged insignificant words, exaggeratedly calm, hiding their secret thoughts and feelings", "with feigned simplicity." And again the antithesis in the manifestation of external calmness and internal anxiety. Bunin skillfully contrasts this state of all people in the room with the feeling that "Touching and creepy." In the same part of the story "In the black sky, pure ice stars sparkled brightly and sharply" and "a hot lamp hanging over the table"... Another vivid illustration of the antithesis: "cold" and "warmth", the external "ice stars" and the internal "hot lamp" - someone else's and one's own.

Subsequent actions take place in the garden. "Let's go to the garden" Bunin uses this particular verb so that the reader immediately has a single association: descended into hell (take the "s" from the word garden). From the world of warmth, family - into autumn, war. “It was so dark at first. Then black branches began to appear in the brightening sky, showered with shiny mineral stars "... And from hell "The windows of the house shine very especially in the autumn way." House-paradise, into which autumn, war, hell will soon burst. There and then a strange dialogue between "her" and "him". The author intensifies the state of impending disaster. The words quoted by "him" are deeply symbolic: "Look between the blackening pines as if a fire is rising ..." Misunderstanding of the symbol by her: “What fire? "Moonrise, of course."The moon symbolizes death, cold. And "fire", fire as a symbol of suffering, pain, destruction of one's own, dear, warm. The atmosphere of non-comfort, non-vitality is discharged by a logical emotional impulse: “Nothing, dear friend. Still sad. Sad and good. I very-very love you". This phrase, warm and light, stands out in contrast to the dark and cold background of the story. This makes the dissonance between good and evil, peace and war even stronger.

The story culminates in a scene of wires that is built in contrast. Heroes are in opposition to nature. "They crossed themselves with impetuous despair and, after standing, entered the empty house." and felt "Only an amazing incompatibility between us and the joyful, sunny, glittering frost on the grass in the morning around us." The climactic phrase: “They killed him - what a terrible word! - In a month in Galicia "- Bunin capaciously recreated the feeling of erased emotional perception over the years. That descent has already happened: "I lived in a basement in Moscow." This is from home where "After supper, a samovar was served as usual!" "I became a woman in bast shoes."It's from "Swiss cape!" Aptly and meaningfully, the author uses here details that characterize better than lengthy descriptions: sold "Some ring, then a cross, then a fur collar ..." That is, she sold the past, renouncing it: "The times of our grandmothers and grandfathers", "Oh, my God, my God." The beauty and slowness of life before the death of the hero are opposed to the frantic pace of life, an abundance of misfortunes, failures after. Paradise-house has turned into a hell-foreign land. The descent is over. There is no life here - just an unnecessary dream.

There is another climax in the work - “I always ask myself: yes, but what happened after all in my life? And I answer myself: only that cold evening "... Bunin gives the heroine the last chance to realize that that evening was a celebration of the spirit, the meaning of life, life itself.

It is in this contradiction that the basis of the tragic plot is expressed. Now the heroine has only faith in expectation of a meeting, faith in happiness “there”. Thus, the storyline can be built like this:

			A life

The composition is in the form of a ring: "You live, rejoice in the world ..." - a life - "... I lived and rejoiced ...". The compositional construction is explained by Bunin as follows: “What was it in my life? Only that cold autumn evening ... the rest is unnecessary sleep. "The work begins with a description of an autumn evening, and ends with a recollection of it. In an episode of a conversation in the park, the heroine says: "I will not survive your death." And his words: "You live, rejoice in the world, then come to me."And she admits that she did not survive him, she just forgot herself in a terrible nightmare. And it becomes clear why in such a dry, hurried, indifferent tone she talked about everything that happened after. The soul died with that evening. The ring composition is used to show the closed circle of the heroine's life: it is time for her to “go”, return to “him”. Compositionally, the work can be divided into parts that contrast in relation to each other.

Part 1. From the beginning of the story to the words: "... want to walk a little?" - an almost absurd picture of tragic calmness, regularity in life, in the estate against the background of a distant, seemingly unrealistic war.

Part 2 ... From the words: "In my soul ..." to the words: "... or sing at the top of my voice?" - He and she, goodbye. Against the background of a joyful, sunny morning, the heroine has emptiness and powerlessness in her soul.

Part 3. From the words: "They killed him ..." to the words: "what she has become for me" - Acceleration of action: on one page - the rest of life. The depiction of the wanderings and hardships of the heroine, which begin with the climactic phrase about "his" death. The heroine impartially describes her future life, stating the facts.

Part 4. until the end of the story - before us is the heroine-storyteller in the present.

So the narrative is built on an antithesis. This principle is proclaimed by the exclamation: "Well, my friends, war!" The words "friends" and "war" are the main links in a chain of contradictions: parting with a loved one - and talking about the weather, the sun - and parting. Contradictions of the absurd.

But there are also contradictions associated with human psychology, accurately conveying mental confusion: "... cry me or sing at the top of my voice." And then the beauty and slowness of life before "his" death is contrasted with a frantic pace and an abundance of failures, misfortunes after.

The chronotope of the work is very expanded. In the first sentence, immediately the season: "in June". Summer, blossoming of the soul, feelings. There is no exact date for "that year": the numbers are not important - this is the past, the past. The past, one's own, dear, blood, organic. The official date is a foreign concept, so someone else's date is indicated exactly: "Killed on the fifteenth of July" "On the nineteenth of July Germany declared war on Russia", to emphasize rejection even in time. A vivid illustration of Bunin's antithesis "friend or foe".

The time limits of the entire story are open. Bunin states only facts. Mentioning specific dates: “They killed on July 15,” “on the morning of the 16th,” “but on June 19”. Seasons and months: “In June of that year”, “in September”, “postponed until spring”, “in a hurricane in winter”, “they killed him a month later”. Enumeration of the number of years: “As many as 30 years have passed since then”, “we spent two years in the Don and Kuban”, “in 1912”. And the words by which you can determine the passage of time: "Lived for a long time", "the girl grew up", "that cold autumn evening", "the rest is unnecessary sleep." Of course, there is a feeling of vanity, mobility of time. In the episode of the farewell evening, Bunin uses only words by which one can determine the time, feel it: “After supper”, “that evening”, “time to sleep”, “stayed a little longer”, “it was so dark at first,” “he left in the morning. There is a feeling of isolation, everything happens in one place, in one small period of time - evening. But it does not burden, but evokes a feeling of concreteness, reliability, warm sadness. The concreteness and abstractness of time is the antithesis of “one's own” time and “someone else's”: the heroine lives in “hers”, in “someone else's” she lives as if in a dream.

The boundaries of time are also contradictory in the meaning of living life. The words of the time of the whole story are numerous enumerations, but they are insignificant for the heroine. But the words of time in the episode of the farewell evening in the meaning of living are a whole life.

Words of time throughout the story		Farewell time words
specific dates:		after dinner
		it's time to sleep
on the morning of the 16th		that evening
spring 18th		stayed a little more
seasons and months:		it was so dark at first
in June of that year		in the morning he left
in September postpone until spring in winter in a hurricane
listing the number of years:
as much as 30 years passed, spent more than 2 years in 1912
words by which you can determine the time:
only lived for a day long

The contrast of the narrative is felt in the work immediately. The space of the story seems to expand with the appearance of stars. They appear in two forms: first, sparkling in the black sky, and then shining in the brightening sky. This image carries a philosophical meaning. Stars in world culture symbolize eternity, the continuity of life. Bunin emphasizes the contrast: the quick separation and death of the hero are eternity and injustice of life. In the second part of the story, when the heroine talks about her wanderings, the space is extended first to Moscow, and then to Eastern and Western Europe: "Lived in Moscow", "lived in Constantinople for a long time", "Bulgaria, Serbia, Czech Republic, Paris, Nice ..."The measured calm life on the estate turned into an endless bustle, the chaos of the heroine's living space : "I was in Nice for the first time in 1912 - and could I think in those happy days what she would once become for me".

One of the main tools in the formation of the author's position is the system of images. Bunin's principle of presenting heroes is remarkable for its brightness and originality. So none of the characters has a name, the name of the "guest" and "groom" has never been named - this is too sacred to trust the paper with the sacred letters, the sounds of your favorite name. The name of a dear person "Is he" akin to Blok's name of the Beautiful Lady in verse - "She". But the name of not his own, a stranger is called - Ferdinand was killed in Sarajevo. In a surreal sense, it can be considered a source of trouble. Evil is "more expressive" than good - here it has a specific name. These images embodied the Bunin antithesis “ours and others”.

Bunin introduces a new layer of images into the work: "family - people". The family is in comfort, kindness, happiness, and the people are strangers "like destroyers", thieves of harmony, "like many", “On Peter's day a lot of people came to us”, “Germany declared war on Russia”, “I too(as mass ) was engaged in trade, sold "," sailed with a myriad of refugees. The author seems to emphasize, using these images, that his story is not only about what happened personally for everyone, but also about what happened to a whole generation. Bunin shows the tragedy of the generation most clearly, using the fate of the woman - the main character. The image of a woman has always been associated with the image of the keeper of the hearth, and the family and home are the main values \u200b\u200bof the time. The events of the First World War, the revolution that followed it, the post-revolutionary years - all this fell to the lot of the heroine - a blooming girl when she first met her and the old woman was close to death - at the end of the story with her memories, similar to life's outcome. In her character, the pride of the emigrant coexists with rebelliousness to fate - are not the traits of the author himself? In life, many things coincide: he had a revolution that he could not accept, and Nice, which could not replace Russia.

An important touch in the "girl" image system. She is indifferent to her past: she has become "Frenchwoman". The heroine describes "Sleek hands", "silver nails" and "golden laces"his pupil with bitter irony, but without any malice. "Sunbeam" among the dull colors of "her" narrative, but we do not feel the warmth - an icy sheen. The greatest tragedy of the intelligentsia is shown by Bunin through its image: the loss of the future, the lack of demand, the death of Russia in the souls of the children of emigrants.

The metonymic image of a soldier appears in the story "In folders and unbuttoned overcoats." This is obvious, the Red Army men to whom people who did not fit the new time sold their things. The image of the heroine's husband is interesting. He is also not named by name, but the contrast between the place of their (the heroine and the future husband) meeting (at the corner of Arbat and the market) and the very laconic, but capacious characteristics of the husband himself is emphasized "A man of a rare, beautiful soul." This probably symbolizes the chaotic nature of the history of Russia at that time. By choosing several characters, Bunin reflected the great tragedy of Russia. Again contrast - what was and what was. Thousands of elegant ladies who turned into "Women in bast shoes" and "People, a rare, beautiful soul", dressed "Worn out Cossack zipuns" and released "Black beards". So gradually, following “ ringlet, cross, fur collar " people were losing the country, and the country was losing its color and pride. The contrast of the Bunin system of images is obvious.

Bunin, as a master of the word, brilliantly, masterly uses the antithesis at all levels of the language. The most interesting is Bunin's syntax. The language of this work of art is characteristic of the author: it is simple, not replete with elaborate metaphors and epithets. In the first part of the novella (the boundaries of the parts, see above), the author uses simple, rare sentences. This creates the impression of leafing through photos in a family album, just a statement of facts. Offer - frame. Fifteen lines - ten sentences - frames. Leafing through the past. "Ferdinand was killed in Sarajevo on June 15th." "On the morning of the sixteenth they brought newspapers from the post office." "This is war!" "And now our farewell evening has come." "Surprisingly early and cold autumn."In the episode of the farewell evening, the author seems to freeze time, stretch the space, filling it with events, and the sentences become complex, each of their parts is widespread. In this part, there are many secondary members of the sentence, contrasting in meaning: « misted from window steam "and" surprisingly early and cold autumn "," on black the sky brightly and keenly sparkled clean icystars "and" hanging over the table hot lamp".Numerically, it is expressed like this: there are five sentences in fourteen lines. "We sat quiet that evening, only occasionally exchanging insignificant words, exaggeratedly calm, hiding our secret thoughts and feelings." “Then black boughs sprinkled with minerally shining stars began to appear in the brightening sky.” “Left alone, we spent a little more time in the dining room, - I decided to play solitaire, - he silently walked from corner to corner, then asked:“ Do you want to walk a little? ” In the next part, Bunin reveals the inner world of the heroes using dialogue. Conversations in this part play a particularly important role. Behind all the phrases on duty, remarks about the weather, about "autumn" there is a second meaning, subtext, unspoken pain. They say one thing - they think about something else, they speak only for the sake of a word, a conversation. The so-called "undercurrent". And the fact that the absent-mindedness of the father, the diligence of the mother, the indifference of the heroine are feigned, the reader understands even without the author's direct explanation: "Only occasionally exchanged insignificant words, exaggeratedly calm, hiding their secret thoughts and feelings." “While dressing in the hallway, he continued to think something, with a sweet smile he recalled Fet's verses:

What a cold autumn

Put on your shawl and hood ...

- I do not remember. It seems so:

Look among the blackening pines As if a fire is rising ...

- What fire?

- Moonrise, of course. There is some charm in these verses: “Put on your shawl and hood ...” The times of our grandparents ... Oh, my God, my God!

- What are you?

- Nothing, dear friend. Still sad. Sad and good. I really, really you I love ".

In the final part of the story, narrative sentences dominate, complicated by homogeneous members of the sentence. An unusual feeling of rhythm, overflowing with life events is created: "Now some ring, now a cross, now a fur collar", "Bulgaria, Serbia, Czech Republic, Belgium, Paris, Nice ...", "I studied ..., sold ..., met ..., left. .. "," sleek handles with silver nails ... gold laces. " All this Bunin opposes to the inner emptiness, fatigue of the heroine. She states her unhappiness without any emotion. Life overflowing with events turns into the fact that there is no life. At the level of syntax, the antithesis is expressed clearly: simple - complex sentences, prevalence, saturation with homogeneous members of the sentence and their absence, dialogicity - the heroine's monologue. Consciousness splits: there is yesterday and now, the past and all life. The syntax tools help with this.

Attention is also drawn to the masterful use of the morphological means of the language. So in the first part of the work, the verbs are put in the past tense. Memories ... The heroine seems to make her way through the windbreak of the past to the present, lives her life, grows old, is disappointed: “Got up”, “crossed”, “passed”, “looked”, “lived”, “wandered”.In the last part of the story, the narration is carried out using the forms of the present: I ask, I answer, I believe, I wait. The heroine seems to be awakening. And life is over.

So, the main feature of the "Bunin" antithesis is that it permeates all levels of the story "Cold Autumn".

1. The "Bunin" antithesis is a way of expressing the author's position.
2. Bunin's contrast is a way of reflecting reality, creating a picture of the world.
3. Opposition is used to reveal the author's worldview, philosophical concept.
4. Antithesis as a demonstration of the catastrophic nature of time at the junction of two centuries, revolutions, wars.
5. Contrast of the psychology of people in the early 20th century.
6. The antithesis in Bunin's story "Cold Autumn" is a technique for creating a composition, plot, chronotope, space, system of images, linguistic features.

The title of the collection "Dark Alleys" evokes images of dilapidated gardens of old estates, overgrown alleys of Moscow parks. Russia, receding into the past, into oblivion.

Bunin is a master who knows how to be unique in the most banal situations, to remain always chaste and pure, for love for him is always unique and holy. In "Dark Alley" love is alien to the concept of sin: "After all, cruel tears remain in the soul from everything, that is, memories that are especially cruel, painful if you remember something happy." Perhaps, in the melancholy of the "Dark Alley" short stories, the old pain from the once-experienced happiness finds its voice.

Bunin is not a philosopher, not a moralist or a psychologist. For him, it is more important what the sunset was when the heroes said goodbye and drove somewhere than the purpose of their trip. "He was always alien to both God-seeking and God-fighting." Therefore, it makes no sense to seek deep meaning in the actions of the heroes. "Cold Autumn" is a story that doesn't really talk about love. This work is the only one with a documentary accurate chronology. The language of the narrative is emphatically dry ... An elderly woman, neatly dressed and nervously fingering a handkerchief, is sitting somewhere in a coastal restaurant, telling her story to a casual interlocutor. Emotions are gone - everything has long been experienced. She speaks equally routinely about the death of the groom, and about the indifference of her adopted daughter. As a rule, Bunin's action is concentrated in a short time interval. "Cold Autumn" is not just a segment of life, it is a chronicle of the whole life. Earthly love, cut off by death, but, thanks to this death, became unearthly. And at the end of her stormy life, the heroine suddenly realizes that she had nothing but this love. “Bunin, at the time of his joyless“ cold autumn ”, having survived the revolution and exile, in the days of one of the most terrible wars, writes a story about love, just as Boccaccio wrote“ The Decameron ”during the plague. For the outbursts of this unearthly fire is the light that illuminates the path of mankind. " As one of the heroines of "Dark Alley" said: "All love is great happiness, even if it is not shared."

List of used literature

1. Adamovich G.V. Loneliness and freedom. New York, 1985.
2. Alexandrova V.A. "Dark alleys" // New magazine, 1947 №15.
3. Afanasyev V.O. On some features of Bunin's late lyric prose // Izvestiya AN SSSR. Dept. Literature and language, 1979, v. 29, issue 6.
4. Baboreko A.K. Bunin during the war 1943-1944 // Daugava, 1980 №10.
5. Dolgopolov L.O. On some features of the late Bunin realism // Russian Literature, 1973 №2.
6. Muromtseva - Bunina V.N. Bunin's Life, Paris, 1958.
7. School of classics. Criticism and comments. Silver Age. 1998.

Review of Bunin's story "Cold Autumn" from the cycle "Dark Alleys". This cycle was written by Ivan Bunin in exile when he was seventy years old. Despite the fact that Bunin spent a long time in exile, the writer has not lost the sharpness of the Russian language. This is evident in this cycle of stories. All stories are dedicated to love, only in each of them the author showed different facets of love. In this cycle, love is present as a carnal attraction and as a sublime feeling. Compositionally, the story "Cold Autumn" is divided into two parts. Before and after the death of the main character's lover. The line dividing the story and the life of the heroine into two parts is drawn very clearly and clearly. The heroine tells about her past in such a way that it seems to the reader that all events are taking place at the moment. This illusion arises due to the fact that the author describes everything in such small details that a whole picture appears before the eyes of the reader, which has form, color and sound. The story "Cold Autumn", in my opinion, can be called historical, although the story in this story has been changed. In the first part of the story, events develop rapidly, reaching the culmination of the story. On June 15, the crown prince was killed, on Petrov's day at dinner he was declared the fiancé of the protagonist, and on July 19 Germany declared war ... In my opinion, the author put an ellipsis in this place for a reason. He is declared a groom and immediately an idyll of a happy family life is drawn in the reader's head, but in the next phrase, war is declared. And all dreams and hopes collapse in an instant. Further, the author focuses on the farewell party. He was called to the front. In September, he comes to say goodbye before leaving. This evening, the bride's father pronounces the phrase: - Surprisingly early and cold autumn! This phrase is pronounced as a statement of fact. At the end of the story, the heroine will say that that cold autumn, that autumn evening is all that she had in her life. This evening is described in great detail, each action of the characters is described.

The story "cold autumn" was written by I.A. Bunin in 1944. This is a difficult time for the entire world. The second world war is going on. She greatly influenced Bunin's life. He, already in exile from the USSR in France, was forced to leave Paris, since German troops entered it.

The story begins at the beginning of the First World War, in which Russia was dragged into European intrigues. The betrothed family is crumbling because of the war. He goes to war. And from their love they have only one autumn evening. This is the evening of goodbye. He dies in the war. After the death of her parents, she sells the remnants of property in the market, where she meets an elderly retired military man, whom she marries and with whom she goes to the Kuban. They lived in the Kuban and Don for two years, and during a hurricane they fled to Turkey. Her husband dies on the ship from typhus. She had only three close people: her husband's nephew, his wife and their seven-month-old daughter. The nephew and his wife disappeared without a trace, having left for the Crimea. And she was left with the girl in her arms. She repeats the route of emigration Bunin (Constantinople-Sofia-Belgrade-Paris). The girl grows up and remains in Paris. The main character moves to Nice, located not far from Bunin's residence during the fascist occupation of France. She realizes that her life has passed "like an unnecessary dream." All life except the autumn evening of farewell to your beloved. This evening is all that was in her life. And she feels that she will soon die and thus reunite with him.

Love can have such a power that the death of a loved one leads to the devastation of the life of the lover. And this is tantamount to death during life.

In this story, one hears a protest against the war, as a weapon of mass murder of people and as the most terrible phenomenon of life. In "Cold Autumn" Bunin draws an analogy of the main character with himself. He himself lived in a foreign land for over thirty years. And in the conditions of the fascist occupation, Bunin wrote "Dark Alley" - a story of love.

Question number 26

The theme of nature in the lyrics of F.I. Tyutchev and A.A. Feta

A. A. Fet - a representative of "pure art" or "art for art". In Russian poetry, it is difficult to find a poet more "major" than he. The poet relied on the philosophy of Schopenhauer, a philosopher who denied the role of reason, art is unconscious creativity, a gift from God, the artist's goal is beauty. Beauty is nature and love, philosophical reflections on them. Nature and love are the main themes of Fet's lyrics.

The poem "I came to you with greetings ..." became a kind of poetic manifesto of Fet. Three poetic subjects - nature, love and song - are closely related to each other, penetrate each other, forming the Fetov universe of beauty. Using the technique of personification, Fet animates nature, she lives with him: "the forest has woken up", "the sun has risen." And the lyrical hero is full of thirst for love and creativity.

Fet's impressions of the world around him are conveyed in vivid images "A fire blazes like a bright sun in the forest ...":

A fire burns like a bright sun in the forest,

And, shrinking, the juniper bursts;

Like drunken giants, a crowd of chorus,

Flushed, the fir tree staggers.

One gets the impression that a hurricane is raging in the forest, swaying the mighty trees, but then you become more and more convinced that the night depicted in the poem is quiet and windless. It turns out that this is just the glare from the fire, giving the impression that the trees are loose. But it was this first impression, and not the giant spruces themselves, that the poet sought to capture.

Fet deliberately depicts not the object itself, but the impression that this object makes. He is not interested in details and details, he is not attracted by fixed, complete forms, he seeks to convey the variability of nature, the movement of the human soul:

Every bush buzzed with bees,

Happiness was heavy over the heart,

I trembled so that from timid lips

Your confession did not go away ...

This creative task is helped to him by a kind of pictorial means: not a clear line, but blurred outlines, not a color contrast, but shades, halftones, imperceptibly passing into one another. The poet reproduces in the word not an object, but an impression. We first come across such a phenomenon in Russian literature in Fet.

The poet does not so much liken nature to man as he fills it with human emotions. Fet's poems are saturated with aromas, the smell of herbs, "fragrant nights", "fragrant dawns":

Your luxurious wreath is fresh and fragrant

Incense of all flowers is heard ...

But sometimes the poet still manages to stop the moment, and then a picture of the frozen world is created in the poem:

The mirror moon floats across the azure desert,

Steppe grasses are strewn with evening moisture,

Abrupt speech, the heart is again superstitious,

Long shadows in the distance drowned in the hollow.

Here, each line captures a short finished impression, and there is no logical connection between these impressions.

In the poem "Whisper, timid breath ..." the rapid change of static pictures gives the verse amazing dynamism, airiness, gives the poet the opportunity to depict the subtlest transitions from one state to another. Without a single verb, only in short nominative sentences, like an artist with bold strokes, Fet conveys a tense lyrical experience.

The poem has a specific plot: it describes a meeting of lovers in the garden. In just 12 lines, the author managed to express a whole bunch of feelings, subtly convey all the shades of feelings. The poet does not depict in detail the development of relationships, but recreates only the most important moments of this great feeling.

In this poem, minute sensations are perfectly conveyed, and, alternating them, Fet conveys the state of the heroes, and the course of the night, and the consonance of nature to the human soul, and the happiness of love. The lyrical hero seeks to "stop the moment", to capture the dearest and sweetest moments of communication with his beloved, with beauty, with nature, with God himself: the whisper and breath of the beloved, the sounds of a stream flowing past, the first timid rays of the approaching dawn, his delight and rapture.

Thus, the main themes of Fet's lyrics - nature and love, seem to be fused together. It is in them, as in a single melody, that all the beauty of the world, all the joy and charm of being are combined.

TYUTCHIV Being a contemporary of Pushkin, F. I. Tyutchev, nevertheless, was ideologically connected with another generation - the generation of "wisdom", which sought not so much to actively intervene in life as to comprehend it. This penchant for knowledge of the world around and self-knowledge led Tyutchev to a completely original philosophical and poetic concept.

Lyrics Tyutchev thematically can be presented as philosophical, civic, landscape and love. However, these themes are very closely intertwined in every poem, where a passionate feeling gives rise to a deep philosophical thought about the existence of nature and the universe, about the connection of human existence with universal life, about love, life and death, about human destiny and the historical destinies of Russia.

Tyutchev's perception of the world is characterized by the perception of the world as a dual substance. The ideal and the demonic are two principles that are in constant struggle. The existence of life is impossible if one of the principles is absent, for there must be balance in everything. So, for example, in the poem "Day and Night" these two states of nature are opposed to each other:

Day - this shining veil -

Day - liveliness of the earth-born,

Healing of a sick soul,

Friend of man and gods.

Tyutchev's day is filled with life, joy and boundless happiness. But he is just an illusion, a ghostly veil thrown over the abyss. The night is completely different:

And the abyss is bared to us,

With your fears and haze

And there are no barriers between her and us:

That is why the night is terrible for us.

The image of the abyss is inextricably linked with the image of the night; this abyss is that primordial chaos from which everything came and into which everything will go. It beckons and frightens at the same time. Night leaves a person alone not only with cosmic darkness, but also alone with himself. The night world seems to Tyutchev to be true, for the true world, in his opinion, is incomprehensible, and it is the night that allows a person to touch the secrets of the universe and his own soul. The day is dear to the human heart because it is simple and understandable. Night gives rise to a feeling of loneliness, lost in space, helplessness in front of unknown forces. This, according to Tyutchev, is precisely the true position of man in this world. Maybe that's why he calls the night "holy."

The quatrain "The Last Cataclysm" prophesies the last hour of nature in grandiose images heralding the end of the old world order:

When nature's last hour strikes

The composition of the parts will collapse earthly:

Water will cover everything visible again,

And God's face will be depicted in them.

Tyutchev's poetry shows that the new society never emerged from the state of "chaos." Modern man has not fulfilled his mission to the world, he has not allowed the world to ascend with him to beauty, to reason. Therefore, the poet has many poems in which a person is, as it were, called back into the element as having failed to fulfill his own role.

Poems "Silentium!" (Silence) - a complaint about the isolation, hopelessness in which our soul dwells:

Shut up, hide and thai

And their feelings and dreams ...

The true life of a person is the life of his soul:

Only be able to live in yourself -

There is a whole world in your soul

Mysteriously magical thoughts ...

It is no coincidence that images of a starry night, pure underground keys are associated with inner life, and images of daytime rays and external noise are associated with outer life. The world of human feelings and thoughts is a true world, but unknowable. As soon as a thought is put on a verbal form, it is instantly distorted: "A spoken thought is a lie."

Tyutchev tries to view things in contradiction. In the poem "Gemini" he writes:

There are twins - for the terrestrial

Two deities - then Death and Sleep ...

Tyutchev's twins are not doubles, they do not echo each other, one is a feminine kind, the other is masculine, each has its own meaning; they coincide with each other, but they are also at enmity. It was natural for Tyutchev to find everywhere polar forces, unified and, nevertheless, dual, consistent with each other and facing each other.

"Nature", "elements", "chaos" on the one hand, space on the other. These are perhaps the most important of those polarities that Tyutchev reflected in his poetry. By separating them, he penetrates deeper into the unity of nature in order to bring the divided together again.

Ivan Bunin's story "Cold Autumn" can be captured with one glance, like a picture, and at the same time its meaning is deeper than a simple description. Why does the hero quote only the first stanza of the poem? Why does the heroine remember a single evening for thirty years? We bring to your attention the experience of carefully reading the story "Cold Autumn".

Feral children are human children who grew up in conditions of extreme social isolation - without contact with people from an early age - and practically did not feel care and love from another person, had no experience of social behavior and communication. Such children, abandoned by their parents, are raised by animals or live in isolation.

If before isolation from society, children had some skills of social behavior, the process of their rehabilitation is much easier. Those who lived in the animal society for the first 3.5-6 years of life, practically cannot master the human language, walk straight, communicate meaningfully with other people, despite even the years later spent in human society, where they received enough care. This once again shows how important the first years of life are for a child's development.

These children are not human. If a person has not spoken before the age of six, then he is unlikely to speak. That is, who we are is a product of our culture, and culture is what we remember.

A person cannot always formulate what he is thinking. There are "forethoughts" or emotions when you read about it later and say that you thought so, but could not formulate it. In fact, it was a "thought-child", there was no adult thought yet. And literature and art help to find a form for this thought.

Memory in relation to a person is not an exact word, especially now when the word is firmly connected with memory a computer... When a person remembers something, assimilates information, then the memory changes him, and the computer does not change from what is entered into his memory.

Many great writers thought about memory. For example, V.V. Nabokov in the work "Memory, Speak". Also Camus gives cause for deep reflection. The hero of his work "The Stranger" has been in solitary confinement in prison for a long time. Here's what he felt over time:

“Yes, I had to endure some troubles, but I was not very unhappy. The most important thing, I will say again, was to kill time. But since I learned to remember, I have not been bored. Sometimes I remembered my bedroom: I imagined going out of one corner and walking across the room, returning back; I went over in my mind everything that I met on my way. I was quick to deal with it in the beginning. But each time the journey took more and more time. I remembered not only a wardrobe, a table or a shelf, but all the things that were there, and I drew every thing for myself in all its details: color and material, inlay pattern, crack, chipped edge. I tried in every possible way not to lose the thread of my inventory, not to forget a single item. Within a few weeks, I could spend hours describing everything in my bedroom. The more I thought about it, the more forgotten or neglected things came to my mind. And then I realized that a person who lived in the world for at least one day could easily spend a hundred years in prison. He would have enough memories not to get bored. In a sense, it was beneficial. "

A. Camus. "Outsider"

In the story "Cold Autumn" you can just see the process of forming thoughts and memory. The main character quotes Fet's verses:

“While dressing in the hallway, he continued to think something, with a sweet smile he recalled Fet's verses:

What a cold autumn!

Put on your shawl and hood ...

- I don't remember, it seems like this:

Look - among the blackening pines

As if a fire is rising ... "

I.A. Bunin. "Cold fall"

He helps his future wife to make the last evening of their meeting so bright and strong that at the end of her life she says:

“But, remembering everything that I have experienced since then, I always ask myself: yes, but what happened in my life? And I answer myself: only that cold autumn evening. Did he ever exist? It was all the same. And this is all that was in my life - the rest is an unnecessary dream. "

I.A. Bunin. "Cold fall"

Remember the beginning of the piece:

“In June of that year, he stayed with us at our estate - he was always considered our own man: his late father was a friend and neighbor of my father. On the fifteenth of June Ferdinand was killed in Sarajevo. On the morning of the sixteenth, the newspapers were brought from the post office. Father left the office with a Moscow evening newspaper in his hands into the dining room, where he, mother and I were still sitting at the tea table, and said:

- Well, my friends, war! The Austrian crown prince was killed in Sarajevo. This is war!

On Peter's day, a lot of people came to us - it was my father's name day - and at dinner he was declared my fiance. But on July 19, Germany declared war on Russia ...

In September, he came to us only for a day - to say goodbye before leaving for the front (everyone then thought that the war would end soon, and our wedding was postponed until spring). And then came our farewell evening. After supper, as usual, a samovar was served, and, looking at the windows fogged up from its steam, the father said:

- Surprisingly early and cold autumn!

We sat quiet that evening, only occasionally exchanging insignificant words, exaggeratedly calm, hiding our secret thoughts and feelings. With feigned simplicity, my father also said about autumn. I went to the balcony door and wiped the glass with a handkerchief: in the garden, in the black sky, pure ice stars sparkled brightly and sharply ".

I.A. Bunin. "Cold fall"

This is a story about how poems help to see the beauty of the world, how they create a mood, how they help to live through difficult moments.

The main character is a very talented person, he knows how to see and live what is needed. Note that he only quotes the first stanza of Fet's poem. Perhaps he remembered the second stanza, but he quoted the first. Because it is felt that his beloved has not yet developed as a person, has not had time to fall in love, she is still only in anticipation of the emotions that will arise in her. He understands that she is not yet ready for this love. He saw her coldness, non-inclusion at the moment. Therefore, he only quotes the first stanza. And the second one sounds like this:

"The glow of the northern night

I remember always near you

And phosphorus eyes shine,

They just don’t warm me ”.

The hero, feeling his chosen one, recalls the second stanza, but, as a delicate person, he quotes the first. He has a presentiment that he will be her only one, he does not need to rush. His love is enough for their happiness. In her coldness, he is able to see beauty.

Bunin has wonderful verses:

We always only remember happiness

And happiness is everywhere. Maybe it

This autumn garden behind the barn

And clean air pouring through the window.

In the bottomless sky with a light white edge

The cloud rises, shines. Long

I follow him ... We see little, we know

And happiness is given only to those who know.

The window is open. Squeaked and sat down

A bird is on the windowsill. And from books

I look away for a moment, tired.

The day is getting dark, the sky is empty

The rumble of a thresher is heard in the threshing floor ...

I see, I hear, I'm happy. Everything is in me.

I.A. Bunin. "Evening"

The hero of the story understands how to feel happiness, enjoy it.

The heroine says a banal thing, and he guesses her thoughts from this banality:

“I thought:“ What if they really kill? And will I really forget it in a short time - after all, everything is forgotten in the end? ” And hastily answered, frightened by her thought:

- Do not say that! I will not survive your death!

After a pause, he said slowly:

“Well, if they kill you, I'll wait for you there. Live, rejoice in the world, then come to me. "

I.A. Bunin. "Cold fall"

The fact that someone will not survive someone's death is usually said when they do not want to communicate on this important topic for the interlocutor. For example, a person knows that he is terminally ill and says that he will soon die. He wants to talk about this topic, even though it is difficult. And often relatives leave this conversation, despite the fact that it is their support that is needed.

In the story, we see that due to her youth, the heroine does not know how to talk about this topic. Then she herself says that she survived the loss and lived on. She had a long life, but he was the only one for her - this evening. And this evening was designed by the hero himself with his quote, by what he said:

“- Look how the windows of the house are shining in an autumn way. I will live, I will forever remember this evening ... "

I.A. Bunin. "Cold fall"

Pay attention to the poetry of his phrase.

If we imagine that he would not have turned out to be such a person, would not have quoted Fet, would not express feelings in poetry, then this evening would not have remained in her memory for life. This example clearly shows how important literature is, how it helps.

Bunin, like his heroine, died in exile.

Bunin was very upset about what happened to Russia. Probably, before his death, he dreamed of joining there with her, killed in wars:

“Can we forget our Motherland? Can a person forget his Motherland? She is in the shower. I am a very Russian person. It does not disappear over the years. "

I.A. Bunin

Homeland

Under a deadly leaden sky

The winter day is gloomy,

And there is no end to the pine forests,

And far from the villages.

One mist is milky blue

Like someone's meek sorrow

Over this snowy desert

Softens the gloomy distance.

I.A. Bunin

Note that there are no characters in the story. There is only the name of Duke Ferdinand. Truly close people live for us without a name, we do not need to name them. They just occupy some part of us.

It is worth noting that the main word in the story is soul... You can even catch a reference to Pushkin's Tatiana:

“Tatiana stood in front of the windows,

Breathing cold on the glass

Lost in thought, my soul,

I wrote with a lovely finger

On a foggy window

The cherished monogram O yes E ”.

A.S. Pushkin. "Eugene Onegin"

And about what happened to the main character that evening in the cold autumn, Bunin clearly says in his other story:

“There was no one, however, and I stood, trembling with excitement and listening to the small, sleepy babbling of aspens. Then I sat down on a damp bench ... I was still waiting for something, sometimes glancing quickly into the dusk of dawn ... And for a long time a close and elusive breeze of happiness was felt around me - that terrible and big that at one time or another meets all of us on the threshold of life ... It suddenly touched me - and maybe it did exactly what needed to be done: touch and leave. I remember that all those tender words that were in my soul finally brought tears to my eyes. Leaning against the trunk of a raw poplar, I caught, like someone's consolation, the faintly arising and dying babbling of leaves and was happy with my silent tears ... "

I.A. Bunin. "Dawn all night"

The story "Cold Autumn" teaches attention to the world, the ability to see the important in what surrounds us. But he himself requires careful reading. When an author writes a work and quotes other authors in it, he implies that the reader knows the cited work in full. In the age of the internet, it is fairly easy to find exactly what the author quoted whenever he wrote it.

This story teaches an attentive and careful attitude towards your life. Because what happens to a person turns into his memories and changes him, makes him a different person.

The most detailed description of the properties of memory is described in the famous work of Proust, in which memories, the ability to remember, are put on one of the first places:

“And suddenly the memory came to life. It was the taste of a piece of biscuit that every Sunday morning in Combra (on Sundays I didn’t leave the house until Mass), she treated me to soak it in tea or lime blossom, Aunt Leonia, when I came to say hello to her. The very sight of the biscuit awakened nothing in me until I tasted it; perhaps because then I often saw this cake on the shelves of pastry shops, but did not eat, his image left Combre and merged with more recent impressions; perhaps because not one of the memories that had long ago dropped out of memory was revived, they all crumbled; forms - including cakes-shells, each with their strict and pious fold awakened an acute sensory perception - died or, immersed in sleep, lost the ability to spread, thanks to which they could reach consciousness. But when nothing remained of the distant past, when living beings died out, and things collapsed, only smell and taste, more fragile, but more tenacious, more insubstantial, more persistent, more reliable, for a long time, like the souls of the dead, remind of themselves, they hope, wait, and they, these barely perceptible little ones, among the ruins carry on themselves, without bending, a huge building of remembrance. "

M. Proust. "Towards Svan"

Sometimes a memory tries to pop up in memory, but it does not work out, and some little thing helps to remember everything at once.

IA Bunin's story "Cold Autumn" was written on May 3, 1944. In this work, the author writes about the theme of love and the theme of time. At first glance, it may seem that the work is written on a historical theme, but in fact, the story in the story acts only as a background, and most importantly, these are the feelings of the heroine and her tragic love.

The work poses the problem of memory, personal reflection of events in the mind of the heroine. Her memory turns out to be stronger than all historical catastrophes, and, despite the fact that she lived a stormy life, in which there were many events and many wanderings, the only thing that happened in her life was that cold autumn evening that she recalls.

Bunin's characters are given in dotted lines. These are not even actually bright characters, individuals, but silhouettes of people, types of that era. The story is narrated from the first person - from the perspective of the main character. The world, history in the work is shown through her eyes. The whole story is essentially her confession. Therefore, everything in the story is imbued with her personal sense and worldview, her assessments.

During the farewell, the heroine's fiancé with a feeling of love says to her the words: “You live, rejoice in the world, then come to me”. And at the end of the work, the heroine repeats these words, but with bitter irony and as if with an unexpressed reproach: “I have lived, I was glad, now I’ll come soon”.

The image of the time is very important in the story. The whole story can be divided into two parts, each of which has its own way of temporarily organizing. The first part is a description of the cold evening and the heroine's farewell to the groom. The second part is the rest of the heroine's life after the death of her fiancé. At the same time, the second part fit into one paragraph, despite its volume of events described in it. In the first part of the story, the time has a specific character, and in the text of the work you can find the exact dates and hours of events: "June fifteenth", "in a day", "on Peter's day", etc. The heroine remembers exactly the sequence of events, and she remembers the smallest the details that happened to her then, what she did, what her parents and fiance did. In the second part of the story, time is abstract. These are no longer specific hours and minutes, but 30 years that have passed unnoticed. If in the first part of the story the volume of captured time is small - only one evening, then in the second it is a huge period of time. If in the first part of the story time passes very slowly, then in the second it accordingly flies by, like one instant. The intensity of the heroine's living, her feelings is higher in the first part of the story. About the second part of the story, according to the opinion of the heroine herself, we can say that this is an "unnecessary dream."

Both parts are unequal in terms of the scope of reality. Objectively, more time has passed in the second part, but the heroine subjectively seems that in the first. Also in the story are opposed two spatial macroimages - "home" and "foreign land".

The space of the house is a concrete, narrow limited space, and a foreign land is an abstract, wide and open space: “Bulgaria, Serbia, Czech Republic, Belgium, Paris, Nice ...”. The house is described exaggeratedly specifically, with many details that emphasize its comfort and warmth: "samovar", "hot lamp", "small silk bag", "golden icon". The image of a foreign land, on the contrary, is imbued with a feeling of cold: “in winter, in a hurricane”, “hard black labor”.

The landscape is very important in the text. This is a description of a cold evening: "What a cold autumn! .. Put on your shawl and hood ... Look - between the blackening pines As if a fire is rising ..." Bunin uses the technique of psychological parallelism, since the landscape in this passage is a reflection of the feelings of the heroes, their experiences. This landscape also foreshadows the tragic events that will happen to the heroes. It is imbued with contrasts: red ("fire") and black ("pines"). He creates in the characters and the reader a feeling of burden, longing, sorrow. This landscape can also symbolize a global and personal catastrophe that will happen a little later. Time and space in the story are closely related. Local, closed and specific time in the first part corresponds to a local, closed space - the image of a house. And the same image of a foreign land corresponds to the abstract and broad time in the second part. Therefore, the reader may come to the conclusion that Bunin draws two opposed chronotopes in his story.

The main conflict in the story is the conflict between the tragic time and the feelings of the individual.

The plot in the story develops linearly: first there is the plot of the action, then its development, the culmination is the death of the hero. And at the end of the story - the denouement, the heroine's approach to death. The whole plot of Bunin's work could be developed on a wide novel canvas. However, the writer chooses the small form of the story. The plot is organized rather according to the principles of a lyrical, rather than an epic work: attention is focused on the feelings of the heroine, the intensity of her inner experiences, and not on external events.

The image of "cold autumn" is the leitmotif of the story. This is a very multifaceted image. It stands in the center of the work and is included in the title. On the one hand, this is a specific image of autumn, on the other, it is a symbol of a tragic life, an impending thunderstorm, and, finally, it is a symbol of the heroine's old age, her approaching death.

The genre of a work can be defined as the genre of a lyric story, because the main thing here is not just a chain of historical events, as in an epic work, but their reflection in the human mind, as is typical of lyrics.

Bunin's story "Cold Autumn" expresses the tragic concept of love and human life. Bunin speaks of the fleeting nature of happiness and love in life, that they easily collapse under the influence of external circumstances. These external circumstances, history even turn out to be unimportant. The heroine managed to survive the death of her fiance, but she still believes that he is waiting for her and they will see each other someday. The main idea is expressed in the last words of the heroine: “But what happened in my life? And I answer myself: only that cold autumn evening. Did he ever exist? It was all the same. And this is all that was in my life - the rest is an unnecessary dream. "

Having survived two world wars, revolution and emigration, the Nobel laureate, Russian writer Ivan Bunin, at the age of seventy-four, creates a cycle of stories called "Dark Alleys". All his works are devoted to one eternal theme - love.

The collection consists of 38 stories, among the rest stands out a story called "Cold Autumn". Love is presented here as an invisible ideal, a feeling that the heroine carries through her whole life. The story is read in one breath, leaving behind a feeling of lost love and faith in the immortality of the soul.

Bunin himself distinguished this story from the rest. The story begins as if from the middle. A noble family, consisting of a father, mother and daughter, celebrate the name day of the head of the family on Peter's day. Among the guests is the future bridegroom of the main character. The girl's father proudly announces his daughter's engagement, but a few days later everything changes: a sensational news is published in the newspaper - Crown Prince Ferdinand was killed in Sarajevo, the situation in the world is tense, war is coming.

It's late, the parents tactfully leave the young alone and go to bed. Lovers don't know how to calm their anxiety. For some reason, the girl wants to play solitaire (usually in anxious moments she wants to do something ordinary), but the young man does not sit still. Reciting Fet's verses, they go out into the yard. The culmination of this part of the story is a kiss and the groom's words that if they kill him, let her live, enjoy life, and then come to him ...

Dramatic events in the story "Cold Autumn"

If you don't have enough time to read, check out the summary of Bunin's Cold Autumn. The description is short, so it will be easy to read it to the end.

A month later he was killed, this "strange word" constantly sounds in her ears. The author is abruptly transported into the future and describes the state of the heroine thirty years later. This is already a middle-aged woman who was destined to go through, like many who did not accept the revolution, all the circles of hell. Like everyone else, she was slowly selling to the soldiers in hats and unbuttoned greatcoats (this important detail is emphasized by the author) something of the property, and suddenly she met a retired military man, a man of rare spiritual beauty. He was much older than her, so he soon offered a hand and a heart.

Like many, they emigrated, dressed in peasant clothes in Yekaterinodar and lived there for two years. After the retreat of the whites, they decided to sail to Turkey, the husband's nephew with his young wife and seven-month-old daughter fled with them. On the way, the husband died of typhus, the nephew and his wife joined Wrangel's army, leaving their daughter and disappearing without a trace.

The hardships of emigration

Further, the story (a brief summary of Bunin's "Cold Autumn" is presented in the article) becomes tragic. The heroine had to work hard, wandering all over Europe, to earn herself and the girl a living. She received nothing in gratitude. The adopted daughter turned out to be a "real Frenchwoman": she got a job in a Parisian chocolate shop, turned into a sleek young woman and completely forgot about the existence of her guardian, who had to beggar in Nice. The heroine does not condemn anyone, this is noticeable in her words: at the end of the story she says that she lived, was happy, there is only a meeting with her beloved.

Analysis of Bunin's "Cold Autumn"

For the most part, the writer presents his works according to the usual scheme, from the third person, starting with the protagonist's memories of anxious moments in life, outbursts of feelings and inevitable parting.

In the story "Cold Autumn" Bunin changes the chronology of events.

The story is told from the perspective of the heroine, this gives the story an emotional coloring. The reader does not know when she met her fiancé, but it is already clear that there are feelings between them, so at the birthday party her father announces his engagement. Arriving to say goodbye to the bride's house, the hero feels that this is the last meeting. Bunin describes in short but capacious images the heroes' last moments together. The restraint of the characters contrasts with the excitement they felt. The words "indifferently responded", "feigned sigh", "absentmindedly looked" and so on characterize the aristocrats of that time in general, among whom it was not customary to talk excessively about feelings.

The hero understands that this is his last meeting with his beloved, so he tries to capture in his memory everything that is connected with his beloved, including nature. He is “sad and good”, “creepy and touching”, he is afraid of the unknown, but bravely goes to lay down his life for “his friends”.

Hymn to love

Bunin touched upon the theme of "Cold Autumn" when he was in adulthood, having gone through all the hardships of life and gaining international recognition.

The cycle "Dark Alleys" is a hymn to not only platonic, but also physical love. The collection's works are more poetry than prose. There are no battle scenes full of impressions in the story, Bunin considers the war, which destroys the fate of people, creating unbearable conditions for them, and those who unleash it, to be responsible for the future as the problem of “Cold Autumn” - a dramatic story of love. This is what the Russian émigré writer Ivan Bunin writes about.

The rest of the heroes of the story "Cold Autumn"

The love drama develops against the backdrop of the First World War. Time in the story seems to slow down when it comes to the main characters. Most of the description is dedicated to young people, rather, one evening in their life. The remaining thirty years fit in one paragraph. The secondary characters of the story "Cold Autumn" by Ivan Alekseevich Bunin are described by two or three features. The father, mother of the girl, the landlady of the apartment who sheltered and abused her, the husband of the main character and even the nephew with the young wife are shown in a tragic light. Another characteristic feature of the piece is that no one has names.

And this is symbolic. Bunin's heroes are collective images of that time. They are not specific people, but those who suffered during the First World War, and later the civil one.

Two main parts of the story

Analyzing Bunin's "Cold Autumn" you understand that the story is divided into two parts: local and historical. The local area involves heroes, their problems, close environment, and the historical part includes such names and terms as Ferdinand, World War I, European cities and countries, for example, Paris, Nice, Turkey, France, Yekaterinodar, Crimea, Novocherkassk and so on. ... This technique immerses the reader in a specific era. By the example of one family, one can deeply get used to the state of people of that time. It is obvious that the writer condemns war and the destructive force that it carries. It is no coincidence that the best books and films about the war are written and filmed without war scenes. Thus, the film "Belorussky Railway Station" is a film about the fate of people who survived after the Great Patriotic War. The film is considered a masterpiece of Russian cinema, although it completely lacks battle scenes.

Final part

Once the great Russian writer Leo Tolstoy told Ivan Alekseevich Bunin that there is no happiness in life, there are only moments, the lightning of this feeling, which should be protected, appreciated and lived by them. The hero of the story "Cold Autumn", leaving for the front, asked his beloved to live, to be happy in the world even if he was killed. But was there any happiness in her life that she saw and experienced? The heroine herself answers this question: there was only one cold autumn day when she was truly happy. The rest seems like unnecessary sleep to her. But that evening was, the memories of him warmed her soul and gave strength to live without despair.

Whatever happened in a person's life, these events were, gave experience and wisdom. Everyone deserves what they dream of. A woman with a difficult fate was happy, because her life was illuminated by a flash of memories.