The works of the 19th century were mainly devoted to the theme of love, but light romantic love was not interesting for writers, it was necessary for the main characters to test their feelings by going through a series of tests. The writers in the stories tried to answer the main question of what love is, how it affects a person’s life, whether it destroys him or whether it is salvation, how long this feeling can last.
Ivan Bunin shows in his stories all the tragedy of love: it is beautiful, but destructive for a person. Usually, the love of Bunin's heroes does not go into the family channel, where everyday life and everyday life can underestimate or completely destroy these feelings. This is the kind of love the writer shows in the work " Sunstroke", where the main characters experience strong feelings, they are in love.
The characters in the story have no names, only he, she and their experiences. Such a commonality allows everyone who reads this story to experience some of their feelings and perceive the plot in their own way. Although main character woman, the author still looks at everything that happens through the eyes of a male hero. The traditional beginning in the story: the main characters are traveling on a ship, and their chance meeting turns out to be a flash of a new feeling.
Their attraction is so strong that they decide to enter into a more real connection. Not knowing the names, they retire to one of the rooms. But already a new day does not bring them anything good: after an instantaneous outbreak of love, disappointment appears. Both of them try not to remember what happened to them. They part ways without ever getting to know each other. Heroes do not worry about parting, pretending to be indifferent.
And only a few months later the lieutenant realizes that he loves and suffers, but he does not know anything about her, not even her name. After going through moral suffering, the hero again finds himself on the ship. But now there is no trace of his fun, his soul has grown old, and he himself says that he feels much older than he really is.
The title that the writer gave to his story is interesting. Sunstroke associated with lightning, a flash that strikes, knocks a person down, but when it disappears, the person suffers and suffers. Nature becomes another character in Bunin's story. She is always present in the story, creating a certain emotional mood. The dark night on the eve of intimacy is so good that they, the heroes, cannot but be together. Dawn is a mirror reflection of the feeling that the heroes suddenly experienced: the dawn went out, continuing to glow in some places.
Bunin uses the world around him to show the happiness that awaits the heroes ahead. But the lights floating away are a symbol of the monotony and routine of life, where a vivid feeling cannot exist. The details recreated by the author help to show more accurately how this subtle feeling arises, how the mutual attraction of young bodies arises. The hands of the girl are pretty and strong, and the body is strong and swarthy.
The love shown by Bunin is not described by the author spiritually, it is only physical. And then the writer inserts many verbs into the text to show the reality of the picture and how thoughtless the act of the main characters is. The heroine herself called their romance a sunstroke. The young woman behaves sensibly, showing her lover that it was a light romance in which no continuation is needed.
Main character behaves differently. He also does not think about continuing the novel until he begins to realize that he is in love. After this novel, the lieutenant can no longer say that it has become amusing. The memories of what happened are already torment and suffering for the protagonist. Not understanding how to continue to live, he does not see a goal in his life, it seems to him meaningless. His heart was struck by a terrible sunstroke.
At the end of the story, the author shows the reader the appearance of the hero in order to compare him inner world and the main features of his appearance. The hero's face is gray from sunburn, blue eyes and a burnt mustache. Ivan Bunin again shows the reader the details that make it possible to understand the feelings of the hero. But the author stubbornly shows and proves that this love has no future, it cannot develop. Happiness and love cannot last forever, the author argues, they are fleeting, but full of suffering.
idea and meaning of the story. A. bunina sunstroke? and got the best answer
Answer from Alexey Khoroshev[guru]
The plot of the story is simple, but the subtext is complex, it can be understood at the level of feelings, intuition, memories.
The story "Sunstroke", written in 1925 in the Maritime Alps. This work, as well as "Ida", "The Case of Cornet Elagin", anticipates the collection of short stories "Dark Alleys".
“All love is great happiness, even if it is not divided” - this phrase of the writer can be put as an epigraph to all his stories about love. He talked a lot about her, beautiful, incomprehensible, mysterious. But if in the early stories Bunin wrote about tragic unrequited love, then in Sunstroke it is mutual. And yet tragic! Incredible? How can that be? It turns out it can.
The plot of the story is simple. He and she meet on the ship. The meeting is random, warmed up by wine, the warmth of the night, a romantic mood. The heroes, getting off the ship, spend the night in a hotel, and part in the morning. That's all. As you can see, Bunin updates the genre of the story, simplifies the event plot, deprives the story of external entertainment. Behind a very banal plot lies an internal conflict - the conflict of the hero with himself, so Bunin does not pay much attention to events, he writes about feelings. But it is very difficult to look into the soul of a person, into this vast and unknown world, closed from prying eyes. What do we know about heroes? Almost nothing. He, the lieutenant, traveling according to his need, at first does not take this “road adventure” seriously. She leaves home in the morning, where her husband and three-year-old daughter are waiting for her. Is the woman beautiful? Bunin does not offer us a specific portrait of a stranger, but he details it. We see her small strong hand, strong body, her hair, which she fastens with hairpins, we hear her “simple lovely laugh”, we feel the delicate aroma of her perfume.
This creates an image of a mysterious femme fatale, as if Bunin wanted to unravel the secret of female charm, which acts so magically on a man. And he succeeded. The reader is fascinated by this stranger. He, she, the city - everything is nameless. What is this? Generalization? Or maybe it's not all that important? The important thing is that for the reader they will simply remain a Man and a Woman with a great secret of love. It is important that the city will remain the City of the Sun, happy and unsolved. It is important that Bunin, being a subtle psychologist, allows us to follow the internal state hero. Easily and happily, the lieutenant parted with the stranger, carelessly returned to the hotel. But something happened that the lieutenant could not have imagined: his funny adventure was not forgotten! What is this? Love! But how to convey in words what a person can feel on paper? How did Bunin manage to show “all the cataclysms that shake the fragile bodily foundation to the core, when the whole world is transformed in a person’s sensations, when sensitivity to everything around is heightened to the limit?” The writer was able to convey the painful experiences of the hero. Immediately before us is a change in the mood of a man. At first, the lieutenant becomes sad, his heart shrinks with “tenderness". He tries to hide his confusion behind external bravado. Then a kind of dialogue with himself takes place. He tries to laugh, shrug his shoulders, smoke, drive away sad thoughts and ... he cannot. He constantly finds objects reminiscent of a stranger: "a hairpin, a crumpled bed", "an unfinished cup"; he smells her perfume. This is how flour, longing is born. There is no trace of lightness and carelessness!
The system of antonyms proposed by Bunin is aimed at showing what an abyss lay between the past and the present. “The room was still full of her”, her presence was still felt, but already “the room was empty”, “and she was already gone”, “already left”, “she will never see her”, and “you will never say anything again”. The ratio of contrasting sentences that connect the past and the present through memory is constantly visible.
Answer from Makakina[guru]
May garb. Read it and that's all .. Bunin has no veil in his works (almost none) if you read (by the way, not such a great work) you will understand everything yourself!
Russian literature has always been distinguished by extraordinary chastity. Love, in the view of a Russian person and a Russian writer, is primarily a spiritual feeling. The attraction of souls, mutual understanding, spiritual community, similarity of interests have always been more important than the attraction of bodies, the desire for physical intimacy. The latter, in accordance with Christian dogmas, was even condemned. L. Tolstoy administers a strict trial over Anna Karenina, no matter what various critics say. In the traditions of Russian literature, there was also an image of women of easy virtue (remember Sonechka Marmeladova) as pure and immaculate creatures, whose soul is in no way affected by the “costs of the profession”. And in no way could a short-term connection, a spontaneous rapprochement, a carnal impulse of a man and a woman to each other be welcomed and not justified. A woman who embarked on this path was perceived as a creature either frivolous or desperate. In order to justify Katerina Kabanova in her actions and see in her betrayal of her husband an impulse for freedom and a protest against oppression in general, N.A. Dobrolyubov in the article “A ray of light in dark kingdom”had to involve the whole system public relations Russia! And of course, such a relationship has never been called love. Passion, attraction at its best. Ho not love.
Bunin fundamentally rethinks this "scheme". For him, the feeling that suddenly arises between random fellow travelers on the ship turns out to be as priceless as love. Moreover, it is love that is this heady, selfless, suddenly arising feeling, causing association with a sunstroke. He is convinced of this. “Soon it will be released,” he wrote to his friend, “the story “Sunstroke”, where I again, as in the novel“ Mitina Love ”, in“ The Case of Cornet Elagin ”, in“ Ida ”,“ I talk about love.
Bunin's interpretation of the theme of love is connected with his idea of Eros as a powerful elemental force - the main form of manifestation of cosmic life. It is tragic in its essence, as it turns a person upside down, dramatically changes the course of his life. Much in this respect brings Bunin closer to Tyutchev, who also believed that love does not so much bring harmony into human existence how much the "chaos" lurking in it reveals. But if Tyutchev was nevertheless attracted by the “union of the soul with the soul of his own”, which ultimately resulted in a fatal duel, if in his poems we see unique individuals who initially, even striving for this, are not able to bring happiness to each other, then Bunina is not concerned about the union of souls. Rather, he is shocked by the union of bodies, which in turn gives rise to a special understanding of life and another person, a feeling of indestructible memory, which makes life meaningful, and in a person shows his natural beginnings.
It can be said that the whole story “Sunstroke”, which, as the writer himself admitted, grew out of one mental “idea of going on deck ... from the light into the darkness of a summer night on the Volga”, is devoted to a description of this immersion in darkness, which the lieutenant is experiencing who lost his random lover. This immersion in darkness, almost “insanity” takes place against the backdrop of an unbearably stuffy sunny day, filling everything around with penetrating heat. All descriptions are literally overflowing with burning sensations: the room where random fellow travelers spend the night is “hotly hot during the day by the sun”. And the next day begins with a "sunny, hot morning." And later, “everything around was flooded with a hot, fiery ... sun.” And even in the evening, heat spreads in the rooms from the heated iron roofs, the wind raises thick white dust, the huge river glistens under the sun, the distance of water and sky shines dazzlingly. And after the forced wanderings around the city, the shoulder straps and buttons of the lieutenant's tunic “burned so much that they could not be touched. The band of the cap was wet with sweat inside, his face was on fire...”.
The sunshine, the blinding whiteness of these pages should remind readers of the “sunstroke” that overtook the heroes of the story. This is at the same time immeasurable, sharpest happiness, but it is still a blow, albeit a “sunny”, i.e. painful, twilight state, loss of reason. Therefore, if at first the epithet solar is adjacent to the epithet happy, then later on the pages of the story there will appear “a joyful, but here it seems to be an aimless sun.”
Bunin very carefully reveals the ambiguous meaning of his work. He does not allow the participants in a short-term romance to immediately understand what happened to them. The heroine pronounces the first words about some kind of “eclipse”, “sunstroke”. Later, he will repeat them in bewilderment: “Indeed, it’s like some kind of “sunstroke”. But she still talks about it without thinking, more concerned about ending the relationship right away, because it may be “unpleasant” for her to continue it: if they go again together, “everything will be spoiled”. At the same time, the heroine repeatedly repeats that this has never happened to her, that what happened on her own day is incomprehensible, incomprehensible, unique. But the lieutenant, as it were, passes her words past her ears (later, however, with tears in his eyes, perhaps only in order to revive her intonation, he repeats them), he easily agrees with her, easily takes her to the pier, easily and Carelessly returns to the room where they had just been together.
And now the main action begins, because the whole story of the rapprochement of two people was only an exposition, only a preparation for the shock that happened in the soul of the lieutenant and which he immediately cannot believe. First, it is about the strange feeling of the emptiness of the room, which struck him when he returned. Bunin boldly collides antonyms in sentences to sharpen this impression: “The number without her seemed somehow completely different than it was with her. He was still full of her - and empty ... She still smelled of her good English cologne, her unfinished cup was still standing on the tray, but she was already gone. And in the future, this contrast - the presence of a person in the soul, in memory and his real absence in the surrounding space - will intensify with every moment. In the soul of the lieutenant, a feeling of wildness, unnaturalness, implausibility of what happened, intolerable pain from loss is growing. The pain is such that it must be saved at all costs. There is no salvation in anything. And every action only brings him closer to the thought that he cannot “get rid of this sudden, unexpected love” in any way, that his memories of the experience, “the smell of her tan and canvas dress”, about the “live, simple and cheerful sound” will forever haunt him. her voices." Once F. Tyutchev begged:
Oh Lord, give me burning suffering
And dispel the deadness of my soul:
You took it, but the flour of remembrance,
Leave living flour to me for her.
The heroes of Bunin do not need to conjure - the “torment of remembrance” is always with them. The writer perfectly depicts that terrible feeling of loneliness, rejection from other people, which the lieutenant experienced, pierced by love. Dostoevsky believed that such a feeling can be experienced by a person who has committed a terrible crime. Such is his Raskolnikov. What crime did the lieutenant commit? Only that he was overwhelmed by “too much love, too much happiness”!? However, this is what immediately distinguished him from the mass of ordinary people living an ordinary, unremarkable life. Bunin deliberately picks out individual human figures from this mass in order to clarify this idea. Here, at the entrance of the hotel, a cab stopped and simply, carelessly, indifferently, calmly sitting on the box, smokes a cigarette, and another cab driver, taking the lieutenant to the pier, says something cheerfully. Here the women and peasants at the bazaar are energetically inviting buyers, praising their goods, and satisfied newlyweds look at the lieutenant from photographs, a pretty girl in a wrinkled cap and some military man with magnificent sideburns, in a uniform decorated with orders. And in the cathedral church choir sings "loudly, cheerfully, resolutely."
Of course, the fun, carelessness and happiness of others are seen through the eyes of the hero, and, probably, this is not entirely true. But the fact of the matter is that from now on he sees the world just like that, imbued with people who are not “hit” by love, “torturously envy”. After all, they really do not experience that unbearable torment, that incredible suffering that does not give him a moment of peace. Hence his sharp, some kind of convulsive movements, gestures, impetuous actions: “quickly got up”, “hurriedly walked”, “stopped in horror”, “began to stare intently”. The writer pays special attention to the gestures of the character, his facial expressions, his views (for example, an unmade bed repeatedly falls into his field of vision, possibly still keeping the warmth of their bodies). Also important are his impressions of being, the sensations uttered aloud by the most elementary, but therefore striking phrases. Only occasionally does the reader get the opportunity to learn about his thoughts. This is how Bunin's psychological analysis is built, at the same time both secret and explicit, some kind of "super-obvious".
The culmination of the story can be considered the phrase: “Everything was fine, there was immense happiness in everything, great joy; even in this heat and in all the smells of the marketplace, in all this unfamiliar town and in this old county hotel, there was this joy, and at the same time, the heart was simply torn to pieces. It is even known that in one of the editions of the story it was said that the lieutenant "had a persistent thought of suicide." Thus, a dividing line is drawn between the past and the present. From now on, he exists, “deeply unhappy”, and some of them, others, happy and contented. And Bunin agrees that “everything everyday, ordinary is wild, scary” to the heart that she visited great love- that “new ... strange, incomprehensible feeling”, which this unremarkable person “could not even imagine in himself”. And mentally the hero dooms his chosen one to a “lonely life” in the future, although he knows perfectly well that she has a husband and daughter. But the husband and daughter are present in the dimension of “ordinary life”, just as simple, unpretentious joys remain in “ordinary life”. Therefore, for him, after parting, the whole world around turns into a desert (not without reason in one of the phrases of the story - on a completely different occasion - the Sahara is mentioned). “The street was completely empty. The houses were all the same, white, two-story, merchants ... and it seemed that there was not a soul in them. The room breathes with the heat of “light-bearing (and therefore colorless, blinding! - M.M.) and now completely empty, silent ... world”. This “silent Volga world” comes to replace the “immeasurable Volga expanse”, in which she, beloved, the only one, disappeared, disappeared forever. This motif of the disappearance and at the same time the presence in the world of a human being living in human memory is very reminiscent of the intonation of Bunin's story “Light Breath” -
about the chaotic and unrighteous life of the young schoolgirl Olya Meshcherskaya, who possessed this most inexplicable " easy breathing and died at the hands of her lover. It ends with these lines: "Now this light breath has again dissipated in the world, in this cloudy sky, in this cold spring wind."
In full accordance with the contrast between the individual existence of a grain of sand (such a definition suggests itself!) And the boundless world, a collision of times so significant for Bunin's concept of life arises - the present, present, even momentary time and eternity, into which time grows without it. The word never begins to sound like a refrain: “he will never see her again”, “never tell” her about his feelings. I would like to write: “From now on, my whole life is forever, until your grave ...” - but you cannot send a telegram to her, since the name and surname are unknown; I’m ready to die even tomorrow in order to spend a day together today, to prove my love, but it’s impossible to return my beloved ... At first, it seems unbearable for the lieutenant to live without her only an endless, but a single day in a dusty town forgotten by God. Then this day will turn into flour "the uselessness of all future life without her."
The story has, in fact, a circular composition. At the very beginning of it, a blow is heard on the pier of the moored steamer, and at the end the same sounds are heard. Days passed between them. One day. Ho, in the view of the hero and the author, they are separated from each other by at least ten years (this figure is repeated twice in the story - after everything that happened, after realizing his loss, the lieutenant feels “aged ten years”!), but in fact, by eternity. Another person is riding on the ship again, having comprehended some of the most important things on earth, having joined her secrets.
What is striking in this story is the sense of the materiality of what is happening. Indeed, one gets the impression that such a story could be written by a person who only really experienced something similar, who remembered both the lonely hairpin forgotten by his beloved on the night table, and the sweetness of the first kiss, which took his breath away. Ho Bunin sharply objected to identifying him with his heroes. “I have never told my own novels ... and“ Mitina Love ”and“ Sunstroke ”are all fruits of the imagination,” he was indignant. Rather, in the Maritime Alps, in 1925, when this story was written, he imagined the shining Volga, its yellow shoals, oncoming rafts and a pink steamer sailing along it. All the things he was never meant to see. And the only words that the author of the story utters “on his own behalf” are the words that they “remembered this minute for many years afterwards: neither one nor the other had ever experienced anything like this in their entire lives.” The heroes, who are not destined to see each other anymore, cannot know what will happen to them in that “life” that will arise outside the narrative, what they will feel afterwards.
In a purely “dense”, material manner of narration (it was not for nothing that one of the critics called what came out from under his pen “brocade prose”) it was precisely the worldview of the writer who thirsted through memory, through touching the subject, through the trace left by someone (when Having visited the Middle East, he was glad that he saw in some dungeon a “living and clear footprint” left five thousand years ago) to resist the destructive action of time, to triumph over oblivion, and therefore over death. It is memory in the writer's mind that makes a person like God. Bunin proudly said: "I am a man: like a god, I am doomed / To know the longing of all countries and all times." Likewise, a person who knows love the art world Bunina can consider herself a deity, to whom new, unknown feelings are revealed - kindness, spiritual generosity, nobility. The writer speaks of the mystery of the currents that run between people, binding them into an indissoluble whole, but at the same time he persistently reminds us of the unpredictability of the results of our actions, of the “chaos” that hides under a decent existence, of the trembling caution that such a fragile organization requires, like human life.
Bunin's work, especially on the eve of the cataclysm of 1917 and emigration, is imbued with a sense of catastrophism that lies in wait for the passengers of the Atlantis, and selflessly devoted to each other lovers, who are nevertheless bred by life circumstances. But the anthem of love and joy of life will sound no less loudly in it, which can be available to people whose heart has not grown old, whose soul is open to creativity. But in this joy, and in this love, and in the self-forgetfulness of creativity, Bunin saw the danger of a passionate attachment to life, which can sometimes be so strong that his heroes choose death, preferring eternal oblivion to the acute pain of pleasure.
Man is an amazing being. It combines completely opposite, but at the same time complementary concepts, such as reason and feeling. These two most important components of a person's inner world significantly influence his aspirations and actions. At all times, the problem of reason and feeling worried writers: heroes literary works often faced with a choice between the command of feeling and the prompting of reason.
That is why I decided to discuss this topic.
The great classic of Russian literature I. A. Bunin raised this issue in his story "Sunstroke". In this work, the mind comes into conflict with the feelings. The main characters fall in love with each other at first sight, love overshadows their consciousness, like a sunstroke. They are no longer able to think firmly, completely surrender to their feelings. Unfortunately, the lieutenant and the woman in the canvas dress have no future. They both understand this very well, but they cannot and do not want to change anything. “There has never been anything even like what happened to me, and there will never be again. It’s like an eclipse has found me… Or, rather, we both got something like a sunstroke…” the main character said to the lieutenant during parting. After such acute experiences, both heroes returned to their everyday life where there is no place for bright feelings. In the end, reason prevailed, because the woman had obligations to the family, her little daughter was waiting for her, whom she did not want to make unhappy. But I think if the characters really wanted to, they could change everything and be together.
Another famous Russian writer A. I. Kuprin in his story “ Garnet bracelet also talks about reason and feeling. The petty official Georgy Stepanovich Zheltkov fell in love with the princess, who did not have any feelings for him and was married. The main character understood that his love for Vera would never continue, but he was not going to give it up. He was very glad that he was lucky enough to meet such a woman. "... This is not a disease, not a manic idea - this is love, which God was pleased to reward me." Zheltkov did not even think of demanding reciprocity from Vera, he simply lived with feelings and listened only to what his heart told him. Love for the princess leads the protagonist to death, but this is his own choice. He did not want to return to his ordinary life, devoid of any emotions and experiences. We can say that in the inner world of the protagonist, feelings won a complete victory over reason.
The question arises, is it right when a person becomes reckless because of his love? Of course, there are many situations, but I still think that you should always keep a piece of common sense in yourself.
Summarizing all of the above, I want to conclude that the mind and feelings are two completely different, but so close concepts. They should not exist separately, they should only coexist together and complement each other. Living by one mind or one feeling is wrong. There must be harmony in the inner world of a person, and then he will be truly happy.
Updated: 2017-10-21
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What is the peculiarity of the plot of the story?
(The story begins without an introduction, as if it were a continuation of some kind of story. The writer seems to snatch out a piece of life - the brightest piece, like a "sunstroke". The heroes do not have names, she is just a woman and a man. The writer does not name the characters - he it is important to show the feeling itself and what it does to a person.)
Why does Bunin not mention the reasons for the sudden love of the characters?
(The story is very short, it omits long descriptions, omits the reasons that pushed the characters to each other. This remains a mystery that cannot be solved.)
What is the peculiarity of the portrait of the heroine?
(Bunin does not describe the appearance of the heroine, but highlights the main thing in her - a simple, charming laugh speaks of how "everything was lovely in this little woman.")
Which Bunin describes a stranger after a night in a room?
("She was fresh, as at seventeen she was embarrassed very little; she was still simple, cheerful and - already reasonable.")
How does she explain what happened to them?
(“It’s like an eclipse came over me ... Or, rather, we both got something like a sunstroke.” The woman was the first to understand the acuteness of what had happened and the impossibility of continuing this too strong feeling.)
What has changed in the room since she left that reminds you of her?
(“The room without her seemed somehow completely different than it was with her. It was still full of her - and let it be. Only the smell of good English cologne and an unfinished cup remained, but she was already gone ...”)
What impression did this make on the lieutenant?
(The lieutenant's heart suddenly contracted with such tenderness that he hurried to light a cigarette and walked up and down the room several times. The lieutenant laughs at his "strange adventure", and at the same time "tears well up in his eyes".)
What is the role of the detail in this story?
(At the beginning of the story, the details of the portrait of the heroine: “A small strong hand smelled of sunburn in a light canvas dress” - emphasize the naturalness, simplicity and charm of a woman. The word “small” is found several times - evidence of defenselessness, weakness (but at the same time strength - “a small strong hand "), tenderness.
Other details (the smell of cologne, a cup, a screen moved aside, an unmade bed, a hairpin forgotten by her) reinforce the impression of the reality of what happened, deepen the drama: “He felt such pain and such uselessness of his entire future life without her that he was seized by horror, despair.” The steamboat is a symbol of separation.)
What does such a seemingly small detail mean - a hairpin forgotten by the heroine?
(This is the last trace of the “little woman”, visible, real. It is important for Bunin to show that the feeling that flared up after a fleeting meeting will not leave the hero.)
What new feelings did the lieutenant have?
(All the lieutenant's feelings seem to be sharpened. He “remembered her all, with all her slightest features, remembered the smell of her tan and canvas dress, her strong body, lively, simple and cheerful sound her voices." And another new feeling, not previously experienced, torments the lieutenant: this is a strange, incomprehensible feeling. He does not know "how to live the next day without her", he feels miserable.
This feeling is gradually transformed: “Everything was fine, there was immense happiness in everything, great joy ... and at the same time, the heart was simply torn to pieces.”)
Why is the hero trying to free himself from the feeling of love?
(“The sunstroke” that hit the lieutenant was too strong, unbearable. Both the happiness and the pain that accompanied it turned out to be unbearable.)
(“Sunstroke” is accompanied by natural heat, which exacerbates the feeling of loss. Hot streets cannot dispel the pain of separation and longing. Nature in the story emphasizes the power of a sudden flash of feeling and the inevitability of parting.)
Too much love - why is it dramatic and even tragic?
(It is impossible to return a loved one, but it is also impossible to live without it. The hero cannot get rid of sudden, unexpected love, “sunstroke” leaves an indelible mark on the soul.)
How did the experience of the past day affect the hero?
(The hero feels ten years older. The instantaneousness of the experienced impression made him so sharp that it seems that almost a whole life was contained in him.)
Final questions about the story:
1. How should the title of the story be understood? What meaning does the writer put into the epithet "sunny"? How does this meaning change throughout the story?
2. Explain how Bunin draws the inner world of a person. With which of the Russian writers of the 19th century can you compare the methods of psychological analysis used by him?
3. Give examples ring composition works. Is it possible to speak about the absolute identity of "beginnings" and "ends"?
Conclusion:
Love in Bunin's works is dramatic, even tragic, it is something elusive and natural, blinding a person, acting on him like a sunstroke. Love is a great abyss, mysterious and inexplicable, strong and painful.
Tasks:
1. What is the difference between the interpretation of love in the stories "Light Breath", "Grammar of Love" and "Sunstroke"?
2. What cross-cutting images-motives are present in Bunin's stories about love?