The female image in Bunin's work is black eyes. Female images in the stories of I.A. bunin. List of used literature

The works of Turgenev and Bunin are in many ways a vivid example of a clear reflection of the traditions of Russian literature. The image of the character of a Russian person, the manner of showing a free, broad soul, ready to go on great feats, forgive, learn new things, and most importantly - capable of the most true love sincere and demanding nothing in return. This is expressed especially well through the female images of both writers, which we will now try to approach by examining several heroines known to us.
The female images of Turgenev are shown to the reader as strong-willed, cordial, eager for discoveries and exploits, but often dying from their love. Such is the poetic and inspired image of Asya, who dreams of "not living in vain, leaving a trace behind her ..." But her dreams remained unfulfilled. How pure and beautiful is Asya's first love, her faith and desire for freedom, for her own happiness... But, faced with reality, with the egoism and silence of a person mistaken for a hero, her best aspirations crumble and die. The action of the "usual order" turned out to be disastrous for ideal, bright dreams.
Another heroine, Elena Stakhova, from the novel "On the Eve" is the same dreamy, simple girl, but she is strong in spirit and ready to take extraordinary actions for the sake of accomplishing a feat. Its peculiarity was that its sacrifice would not be in vain, but would certainly benefit society. In this novel, the writer responded to pure and sincere love and reduced the events to the fact that this feeling resonated in the heart of another person. Now Insarov and his struggle for the liberation of the Motherland become dearer to her than anything in the world, and she follows him to share his hard and dangerous life. Elena's dream came true, and even after the death of her husband, she remains in Bulgaria to continue his work.
Bunin's female images are distinguished by tender, maternal love. Such a feeling does not die under any circumstances and is not afraid of either trials or death itself. She pushes his characters to acts close to feats, despite any ailments. So the sick Anisya from the story "Merry Yard", overcoming pain and suffering, goes to a distant village to see her beloved son who has left home. However, in his work, Bunin does not write about happy, connecting love, probably believing that such love eventually flows into other, more fundamental feelings of affection, kinship, etc. The main shades of his works contain a considerable share of feelings of loss, bitterness and longing for the past . The writer seeks to express the immeasurable value of every moment of a person’s life, while he is happy, but at the same time, as if he leaves them far behind, showing that everything passes, remaining only in a fickle human memory. It is these moments that become the center of his descriptions, they are the source of his inspiration and the goal of the passing life.
"All love is a great happiness, even if it is not shared" - a quote from "Dark Alleys", which, it would seem, can be repeated by each hero of both writers, whose female images embodied all the aspirations and experiences of ordinary Russian women who lived at that time. time. The work of Bunin and Turgenev can be confidently called a great legacy, a model and an example to follow.

Gymnasium Salmanov, 11 "B"

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Women's images in works

I.A. Bunin.

Introduction

A woman is a thin, elusive world that is not subject to the understanding of men. And the only one who can reveal the secret of a woman is a writer, we see evidence of this in literature.

Women in the literature of the 19th century very often act as carriers of moral and spiritual qualities and values asserted by the author. They are undoubtedly more humane, loftier, spiritually richer and even, at times, stronger than men.

The inner world of a woman, as a rule, is formed in relative independence from the influence of the social environment, from the bustle of life, in an oasis of girlish, sublime book impressions, ideal dreams. The sphere of her interests and aspirations is the sphere of feelings, high love, moral ideality. The writers of the 19th century very vividly and emotionally reveal the female nature. One of these writers is Ivan Alekseevich Bunin. A connoisseur of female character, a singer of beauty, he gives us a beautiful gallery female images in his poetic prose.

Relevance

The works of I. A. Bunin cannot leave anyone indifferent - neither a young reader, nor a person wise by life experience. They are sad and sublime, full of thoughts, truthful. Bunin does not exaggerate when he talks about loneliness, about sorrows, about troubles that haunt a person throughout his life. High school students read Bunin's poetic prose with interest. After all, all the problems: questions of morality, love, and purity, revealed in the works of Bunin, are relevant to this day.

The purpose of the work: Consider and analyze female images in the prose of I.A. Bunin. And also to explore some patterns of intersection of the real, everyday and spiritual, to find and understand the spiritual and philosophical subtext of Bunin's story "Clean Monday".

Women's images are especially attractive in Bunin's stories. The theme of love in Bunin's work occupies a leading place. One way or another, it can be traced in a variety of stories and novels. And we understand what the writer wanted to say when he showed how close death and love are in our lives. Bunin always sought to comprehend the miracle of femininity, the secret of irresistible female happiness. “Women seem mysterious to me. “The more I study them, the less I understand,” he writes out such a phrase from Flaubert’s diary.

Bunin always sought to comprehend the miracle of femininity, the secret of irresistible female happiness. This is especially characteristic of the book “Dark Alleys”. The creation of the cycle of stories “Dark Alleys” was a source of spiritual uplift for Bunin during the war years. The author himself considered the works of the collection, written in 1937-1944, his highest achievement. The cycle of stories was defined by critics as an "encyclopedia of love" or, more precisely, an encyclopedia of love dramas. Love is portrayed here as the most beautiful, the most high feeling. In each of the stories ("Dark Alleys", "Rus", "Antigone", "Tanya", "In Paris", "Galya Ganskaya", "Natalie", "Clean Monday"; here one can also include those written before "Dark Alleys" The story "Sunstroke") shows the moment of the highest triumph of love. All the stories in the collection are brought together by the motive of memories of youth and homeland. All of them are fictitious, which the author himself emphasized more than once. However, all of them, including their retrospective form, are caused by the author's state of mind. Women play here leading role. With amazing skill, Bunin finds the right words and images. They seem to have color and shape. A few precise and colorful strokes - and before us is a portrait of a woman.

There are many other most charming female images in the book “Dark Alleys”: sweet gray-eyed Tanya, “a simple soul”, devoted to her beloved, ready for any sacrifice for him (“Tanya”); the tall, stately beauty Katerina Nikolaevna, the daughter of her century, who may seem too bold and extravagant (“Antigone”); the simple-hearted, naive Polya, who retained her childish purity of soul, despite her profession (“Madrid”) and so on.

The fate of most of Bunin's heroines is tragic. Suddenly and soon the happiness of Olga Alexandrovna, an officer's wife, is cut short, who is forced to serve as a waitress ("In Paris"), breaks up with her beloved Rusya ("Rusya"), dies from childbirth Natalie ("Natalie").

The finale of another short story in this cycle, Galya Ganskaya, is sad. The hero of the story, the artist, does not get tired of admiring the beauty of this girl. At thirteen, she was "sweet, frisky, graceful ... extremely, a face with blond curls along her cheeks, like an angel's." But time passed, Galya matured: “... no longer a teenager, not an angel, but an amazingly pretty thin girl ... The face under a gray hat is half covered with an ashy veil, and aquamarine eyes shine through it.” Passionate was her feeling for the artist, great and his attraction to her. However, soon he was going to leave for Italy, for a long time, for a month and a half. In vain does the girl persuade her lover to stay or take her with her. Having been refused, Galya committed suicide. Only then did the artist realize what he had lost.

It is impossible to remain indifferent to the fatal charm of the Little Russian beauty Valeria (“Zoyka and Valeria”): “... she was very good: strong, fine, with thick dark hair, with velvet eyebrows, almost fused, with formidable eyes the color of black blood, with hot a dark blush on a tanned face, with a bright gleam of teeth and full cherry lips. No less beautiful is the young woman from the story "One Hundred Rupees". Her eyelashes are especially good: "... like those heavenly butterflies that so magically flicker on heavenly Indian flowers." When the beauty is reclining in her reed armchair, “measuredly shimmering with the black velvet of her butterfly eyelashes”, waving her fan, she gives the impression of a mysteriously beautiful, unearthly creature: “Beauty, intelligence, stupidity - all these words did not go to her in any way, as they did not go everything human: truly it was as if from some other planet.

The string of charming female images in Bunin's short stories is endless. It is impossible not to mention the unfortunate, abandoned, still “green” girl Parashka (“On the Road”, 1913). The girl is given to the first comer, who turned out to be a thief and a scoundrel. The author does not obscure her instinctive attraction to the male strong beginning, the desire to "spill the wine" of her blossoming femininity. But that is not the source of the unfolding drama. The vagueness of the simplest concepts, loneliness, the unclean environment in which Parashka lives make her easy, inanimate for a potential criminal. The unfortunate woman, barely falling under his power, painfully feels the terrible fragility, depravity of her existence.

On the other, in comparison with Parashka, life "pole" is the beauty, the daughter of wealthy aristocrats Olya Meshcherskaya, the heroine of the story "Light Breath". The story itself is light and transparent, like the whole life of Olya Meshcherskaya. Only what happened to Olya is not as easy to decipher.

From the first lines of the story, there is a dual impression: of a sad deserted cemetery, where on one of the crosses there is “a photographic portrait of a schoolgirl with joyful, amazingly lively eyes” Life and death, joy and tears are a symbol of Olya Meshcherskaya’s fate

This contrast is developed further. A cloudless childhood, adolescence of the heroine: Olya stood out from the carefree and cheerful crowd of girls of her age. She loved life, accepting it for what it is. The young schoolgirl has much more joys and hopes than sorrows and disappointments. Besides, she was really lucky: she was pretty, from a wealthy family. “Yuna was not afraid of anything” and therefore she was always open, natural, light, attracted the attention of those around her with her love of life, the sparkle of her clear eyes, and the grace of her movements.
Having developed physically early, turning into a charming girl, Olya Meshcherskaya intuitively strove to fill her soul with something sublime, bright, but she had neither experience nor reliable advisers, so true to herself, she wanted to try everything on her own. Not distinguished by either cunning or cunning, she frivolously fluttered between gentlemen, deriving endless pleasure from the awareness of her own femininity. More than unusually, her half-childish state of a student running around during the break is combined, and right there her almost proud confession that she is already a woman. Yes, she felt like a woman very early. "But is that bad?" the author asks. To love and be loved, to find happiness and strength in the inner feeling of belonging to the weaker sex - shouldn't many be taught this on purpose even today? However, not being able to stop in time in her experiments, Olya learned the physical side of love too early for her still fragile soul, which became the most unpleasant surprise for her: “I don’t understand how this could happen, I went crazy, I never thought that I am! Now I have one way out ... I feel such disgust for him that I can’t survive this! .. ”It seems that what happened was for Olga the first heavy blow in her life, which caused a cruel emotional drama. Unable to do anything half-heartedly, surrendering to thoughts and feelings completely, without a trace, Olya probably hated herself for an unconscious misconduct. In Olya's actions there is no vice, no revenge, no firmness of decisions. But just such a turn is terrible: a creature perishes that does not understand the horror of its position.

Olya is compared by Bunin with a light breath that "scattered in the world", in the sky, the wind, that is, in life, to which she always belonged undividedly.

And how contrasting the image of another woman seems, her classy lady, the “middle-aged girl”, whose name we don’t even know. She has long lived "some fiction that replaces her real life." Now her dream, the subject of her relentless thoughts and feelings, has become Olya, whose grave she visits so often.
Two female images, so dissimilar, stand before my eyes after reading a short story: Olya - a precocious woman and the head of a gymnasium - a gray-haired "middle-aged girl", life and a dream of life, a flood of feelings and an invented, illusory world of her own sensations. Easy breathing and oxygen mask. It awakens reflections on the perishable and the eternal, on life and its transience. It helps to see the beauty of the world behind simple phenomena and objects, to realize the value of an ever-changing life.

Very interesting and unusual in its own way is the story of A.I. Bunin "Clean Monday". Bunin put his soul into the creation of this story. According to his wife, on one of his sleepless nights, he left his confession on a piece of paper: “I thank God that he gave me the opportunity to write “Clean Monday”.

Heroes: He and she are Russians, they live in Russia, but they are beautiful not with Russian, but with exotic beauty: “I was handsome at that time for some reason with southern hot beauty.” “She had some kind of Indian, Persian beauty: a swarthy amber face, magnificent and somewhat sinister hair in its thick blackness ...”. "Most often silent ...". "King Maiden Shamakhanskaya Queen".

In her apartment, overlooking the most ancient part of Moscow, languages, styles, objects from all over the world mixed up: a Turkish sofa, an expensive piano, the Moonlight Sonata, books by Hoffmannsthal, Schnitzler, Tetmayer, Pshibyshevsky, a portrait of Tolstoy anathematized.

These interior details emphasize that the heroine herself has mixed up "high" and "low". She loved gourmet meals, entertainment, drank a lot, smoked, wore beautiful expensive clothes, allowed him impudent caresses. Before the reader is a modern woman, born of the New Time. And yet there was a lot in her that was incomprehensible, mysterious, romantic, dreamy, wise. In one image, it seems that the incompatible is combined.

Who will win in it: a patriarchal woman or an emancipated person?

She was unattainable in her perfection: she was so good that she was seen off with her eyes, she wore a velvet pomegranate dress or black velvet, shoes with gold clasps, diamond earrings emphasized the refined beauty of the heroine. It seems that in this perfect form, thoughts about the ordinary are never born. How simple, earthly, her confession sounds: “It’s not clear why,” she said thoughtfully, stroking my beaver collar, “but it seems that nothing can be better than the smell of winter air ...”

The author helps the reader to see in the heroine a tender, quivering soul. Her physical shell, bright, bold, catchy, frivolous, does not correspond to the depth of emotional experiences. It turns out that there is not a single historical place in Moscow and the surrounding area where she has not been or would not want to be - from the schismatic cemetery to Griboyedov’s apartment. She is interested in the history of the Fatherland, this is not clear to the hero: “... There were not a soul of passers-by, and to whom Of these, Griboyedov could be needed. She is interested in the life of Peter and Fevronia, as a symbol of eternal love. She reflects on the destiny of man together with Platon Karataev, tries to understand the philosophical views of L. Tolstov, admires the heroes of the Battle of Kulikovo Peresvet and Oslyabey. Pays tribute to Chekhov, a true Russian intellectual. She loves "Russian, annalistic, Russian legends", rereads them so often that she memorizes them. She recalls how last year, on a passionate day, she went to the Chudov Monastery: “There are puddles everywhere, the air is already soft, spring, in my soul somehow gently, sadly, and all the time this feeling of the homeland of her antiquity.” The heroine says about herself: “I often go in the mornings or in the evenings when you don’t drag me to restaurants in the Kremlin cathedrals.”

At the beginning of the story, the heroine speaks in short sentences that end with an ellipsis:

You don't like everything!

Yes, a lot...

No, I'm not fit to be a wife. I'm not good, I'm not good...

The image of the heroine gradually develops, and her speech develops: from short sentences to complex constructions with philosophical concepts and definitions:

How good. And now only in some northern monasteries this Russia remains. Yes, even in church hymns. Recently I went to the Zachatievsky Monastery - you cannot imagine how wonderfully the stichera are sung there! And Chudovoe is even better. Last year I went there all the time on Strastnaya. Ah, how good it was! There are puddles everywhere, the air is already soft, the soul is somehow tender, sad, and all the time this feeling of the homeland, its antiquity ... All the doors in the cathedral are open, the common people come in and out all day, the whole day of the service ... Oh, I’ll leave I'm going somewhere to a monastery, to some of the most deaf, Vologda, Vyatka!

But what remains unchanged is that she still does not finish something, she is silent about something, leaving the unsaid for conjecture,

Bunin, gradually changing the style of narration, leads the reader to the idea that the departure from the worldly bustle of the heroine is natural, deliberate. And it's not all about religiosity, in her opinion, but about the desire to live a spiritualized life. Giving up life “here” is not a spiritual impulse, but a thoughtful decision that the heroine can justify. She knows everything about the modern world, and she rejects what she has learned. Yes, the heroine is trying to find meaning, support in the world around her, but she doesn’t find it, even the hero’s love doesn’t bring her happiness. She cannot respond to strong feelings and, having surrendered to him, goes to the monastery.

Work description

A woman is a thin, elusive world that is not subject to the understanding of men. And the only one who can reveal the secret of a woman is a writer, we see evidence of this in literature.
Women in the literature of the 19th century very often act as carriers of moral and spiritual qualities and values asserted by the author. They are undoubtedly more humane, loftier, spiritually richer and even, at times, stronger than men.
The inner world of a woman, as a rule, is formed in relative independence from the impact social environment, from the bustle of life, in the girlish oasis, sublime book impressions, ideal dreams. The sphere of her interests and aspirations is the sphere of feelings, high love, moral ideality. The writers of the 19th century very vividly and emotionally reveal the female nature. One of these writers is Ivan Alekseevich Bunin. A connoisseur of the female character, a singer of beauty, he gives us a wonderful gallery of female images in his poetic prose.

Hardly anyone will argue that some of the best pages Bunin's prose dedicated to woman. The reader is presented with amazing female characters, in the light of which male images. This is especially characteristic of the book "Dark Alleys". Women play a major role here. Men, as a rule, are just a background that sets off the characters and actions of the heroines.

Bunin always sought to comprehend the miracle of femininity, the secret of irresistible female happiness. “Women seem mysterious to me. The more I study them, the less I understand, ”he writes such a phrase from Flaubert’s diary.

Here we have Nadezhda from the story “Dark Alleys”: “... a dark-haired, also black-browed and also still beautiful woman who looked like an elderly gypsy, with a dark fluff on her upper lip and along her cheeks, light on the go, entered the room, but full, with large breasts under a red blouse, with a triangular belly, like that of a goose, under a black woolen skirt. With amazing skill, Bunin finds the right words and images. They seem to have color and shape. A few precise and colorful strokes - and before us is a portrait of a woman. However, Nadezhda is good not only outwardly. She has a rich and deep inner world. For more than thirty years, she has kept in her soul love for the master who once seduced her. They met by chance in the "intern room" by the road, where Nadezhda is the hostess, and Nikolai Alekseevich is a traveler. He is not able to rise to the height of her feelings, to understand why Nadezhda did not marry "with such beauty that she ... had", how you can love one person all your life.

Her eyelashes are especially good: "... like those heavenly butterflies that so magically flicker on heavenly Indian flowers." When the beauty is reclining in her reed chair, “measuredly shimmering with the black velvet of her butterfly eyelashes”, waving her fan, she gives the impression of a mysteriously beautiful, unearthly creature: “Beauty, intelligence, stupidity - all these words did not go to her, as they did not go everything human: truly it was as if from some other planet. And what are the astonishment and disappointment of the narrator, and with it ours, when it turns out that anyone who has a hundred rupees in his pocket can possess this unearthly charm!

The string of charming female images in Bunin's short stories is endless. But speaking of female beauty, imprinted on the pages of his works, one cannot fail to mention Olya Meshcherskaya, the heroine of the story "Light Breath". What an amazing girl she was! Here is how the author describes it: “At the age of fourteen, with a thin waist and slender legs, her breasts and all those forms were already well outlined, the charm of which the human word had never yet expressed; at fifteen she was already known as a beauty. But the main essence of the charm of Olya Meshcherskaya was not in this. Everyone, probably, had to see very beautiful faces, which you get tired of looking at after a minute. Olya was first of all a cheerful, "live" person. There is not a drop of stiffness, affectation or self-satisfied admiration of her beauty in her: “But she was not afraid of anything - no ink spots on her fingers, no flushed face, no disheveled hair, no knee that became naked when she fell on the run.” The girl seems to radiate energy, the joy of life. However, "the more beautiful the rose, the faster it fades." The ending of this story, like other Bunin novels, is tragic: Olya dies. However, the charm of her image is so great that even now romantics continue to fall in love with him. Here is how K.G. writes about this. Paustovsky: “Oh, if only I knew! And if I could! I would cover this grave with all the flowers that only bloom on earth. I already loved this girl. I shuddered at the irreparability of her fate. I ... naively reassured myself that Olya Meshcherskaya was Bunin's fiction, that only a tendency to romantic perception world makes me suffer because of the sudden love for the dead girl.

Paustovsky, on the other hand, called the story “Light Breath” a sad and calm reflection, an epitaph to girlish beauty.

On the pages of Bunin's prose there are many lines devoted to sex, a description of a naked female body. Apparently, the writer's contemporaries more than once reproached him for "shamelessness" and base feelings. Here is the rebuke the writer gives to his ill-wishers: “... how I love ... you, “human wives, a network of seduction by man”! This “network” is something truly inexplicable, divine and diabolical, and when I write about it, I try to express it, I am reproached for shamelessness, for low motives... It is well said in one old book: “The writer has the same full right to be bold in their verbal images of love and its faces, which at all times was granted in this case to painters and sculptors: only vile souls see vile even in the beautiful ... "

Bunin knows how to speak very frankly about the most intimate, but he never crosses the line where there is no place for art. Reading his short stories, you do not find even a hint of vulgarity or vulgar naturalism. The writer subtly and tenderly describes love relationship, "Love of the earth." “And how he embraced his wife and he her, her whole cool body, kissing her still wet breasts, smelling of toilet soap, eyes and lips, from which she had already wiped the paint.” ("In Paris").

And how touching are the words of Russia addressed to her beloved: “No, wait, yesterday we kissed somehow stupidly, now I will kiss you first, only quietly, quietly. And you hug me ... everywhere ... ”(“ Rusya ”).

The miracle of Bunin's prose was achieved at the cost of the great creative efforts of the writer. It's unthinkable without it. great art. Here is how Ivan Alekseevich himself writes about this: “... that marvelous, indescribably beautiful, something completely special in everything earthly, which is the body of a woman, has never been written by anyone. We need to find some other words." And he found them. Like an artist and sculptor, Bunin recreated the harmony of colors, lines and shapes of a beautiful female body, sang the Beauty embodied in a woman.

The bottomless, calm, night twinkling of stars is like you at times! I. A. Bunin Ivan Alekseevich Bunin - a subtle lyricist and connoisseur human soul. He was able to very accurately and fully convey the most complex experiences, interweaving human destinies. Bunin can also be called an expert on the female character. The heroines of his late prose are distinguished by their directness of character, bright individuality and mild sadness. The image of Nadezhda from the story “Dark Alleys” is unforgettable. A simple Russian girl was able to selflessly and strongly love the hero, even the years did not erase his appearance. Having met

Thirty years later, she proudly objects to her former lover: “What does God give to whom, Nikolai Alekseevich. Youth passes for everyone, but love is another matter ... No matter how much time passed, everyone lived alone. I knew that you were gone for a long time, that for you it was as if there was nothing, but ... ”Only a strong and noble nature is capable of such a boundless feeling. Bunin, as it were, rises above the heroes of the story, regretting that Nadezhda did not meet a person who could appreciate and understand her beautiful soul. But it's too late, too late to regret anything. gone forever best years. But there is no unrequited love, say the heroes of another wonderful story, “Natalie”. Here, a fatal accident separates the lovers, still too young and inexperienced, perceiving absurdity for a catastrophe. But life is much more varied and generous than one might imagine. Fate brings lovers together again mature years when much is understood and comprehended. It seems that life has turned in a favorable direction for Natalie. She still loves and is loved. Boundless happiness fills the souls of the heroes, but not for long: in December, Natalie "died on Lake Geneva in premature birth." What happens, why is it impossible for the heroes to enjoy earthly happiness? Wise artist and man - Bunin saw too little happiness and joy in real life. Living in exile, far from Russia, the writer could not imagine serene and complete happiness away from his homeland. This is probably why his heroines only for a moment feel the bliss of love and lose it. In a harsh time, the writer lived and worked, he could not be surrounded by carefree and happy people. Being an honest artist, Bunin could not reflect in his work what he had not seen in real life.

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Female images of Bunin's late prose

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FINAL QUALIFICATION WORK

Topic: Typology of female images in the work of I.A. Bunin

Introduction

Chapter 1. Theoretical aspects of the research topic, a gallery of female images in the works of I.A. Bunin

Chapter 2. Analysis of female images in the stories of I.A. Bunin

2.1 The image of a commoner woman

2.2 Female image - representatives of Bohemia

2.3 Images of independent and independent women

Chapter 3. Methodological aspects of the research topic

3.1 Creativity I.A. Bunin in school programs Literature for grades 5-11

3.2 Creativity I.A. Bunin in teaching materials Literature for grade 11

3.3 Studying stories from the cycle "Dark Alleys" in grade 11

Conclusion

Bibliography

Application. Lesson summary in grade 11

Introduction

The last two decades of the 20th century were marked by an appeal to Russian classics turn of XIX- XX centuries. This is due, first of all, to the return of the names of many artists, philosophers who created and determined the spiritual atmosphere of that time, which is commonly called the "Silver Age".

At all times, Russian writers raised in their work "eternal questions": life and death, love and separation, the true destiny of man, paid close attention his inner world, his moral quest. The creative credo of the writers of the 19th-20th centuries was "an in-depth and essential reflection of life." To the knowledge and understanding of the individual and national, they went from the eternal, universal.

One of such eternal universal values is love - a unique state of a person, when a feeling of the integrity of the personality arises in him, the harmony of the sensual and spiritual, body and soul, beauty and goodness. And it is a woman who, having felt the fullness of being in love, is able to make high demands and expectations on life.

In Russian classical literature, female images more than once became the embodiment of best features national character. Among them are a gallery of colorful female types created by A. N. Ostrovsky, N. A. Nekrasov, L. N. Tolstoy; expressive images of the heroines of many works by I. S. Turgenev; captivating female portraits of I. A. Goncharov. A worthy place in this series is occupied by wonderful female images from the stories of I. A. Bunin. Despite the unconditional differences in life circumstances, the heroines of the works of Russian writers undoubtedly have the main common feature. They are distinguished by the ability to love deeply and selflessly, revealing themselves as a person with a deep inner world.

The work of I. A. Bunin is a major phenomenon in Russian literature of the 20th century. His prose is marked by lyricism, deep psychologism, as well as philosophy. Writer created whole line memorable female characters.

The woman in the stories of I. A. Bunin is, first of all, loving. The writer sings maternal love. This feeling, he argues, is not given to go out under any circumstances. It does not know the fear of death, overcomes serious illnesses and sometimes turns ordinary human life into a feat.

Bunin creates a whole gallery of female images. They all deserve our close attention. Bunin is an excellent psychologist, he notices all the features of human nature. His heroines are surprisingly harmonious, natural, cause genuine admiration and sympathy.

For I.A. Bunin is characterized by the disclosure in the female image of features close to the ideal embodiment of femininity of the "Silver Age" era. The motif of mystery, immaculate beauty, which determines the unearthly essence of Bunin's heroines, is considered by the author in contact with the events of another world and Everyday life. All female images in Bunin's work make you think about the complexity of human life, about the contradictions in human nature. Bunin is one of the few writers whose work will be relevant at all times.

The object of the study is female images in the works of I.A. Bunin.

The subject is a characteristic of female images in the stories of I.A. Bunin.

The purpose of the study is to present a description and analysis of female images in the work of I.A. Bunin.

1) describe the gallery of female images in the works of I.A. Bunin;

2) to analyze female images in the stories of I.A. Bunin;

3) characterize the methodological aspects of the research topic, develop a lesson in high school.

The main research methods were problem - thematic, structural - typological, comparative.

The final qualifying work consists of an introduction, three chapters, a conclusion, a list of references and an appendix.

Chapter 1. Theoretical aspects of the research topic, a gallery of female images in the works of I.A. Bunin

The theme of love I.A. Bunin devoted a significant part of his works, from the earliest to the latest. He saw love everywhere, because for him this concept was very broad.

Bunin's stories are precisely philosophy. He sees love in a special light. At the same time, it reflects the feelings that each person experienced. From this point of view, love is just not a special, abstract concept, but, on the contrary, common to all.

Bunin shows human relations in all manifestations: sublime passion, quite ordinary inclinations, novels "for nothing to do", animal manifestations of passion. In his characteristic manner, Bunin always finds the right, suitable words to describe even the basest human instincts. He never descends to vulgarity, because he considers it unacceptable. But, as a true master of the Word, he always accurately conveys all shades of feelings and experiences. He does not bypass any aspect of human existence; you will not find sanctimonious reticence of any topics in him. Love for a writer is a completely earthly, real, tangible feeling. Spirituality is inseparable from the physical nature of human attraction to each other. And this is no less beautiful and attractive for Bunin.

The naked female body often appears in Bunin's stories. But even here he knows how to find the only true expressions, so as not to stoop to ordinary naturalism. And the woman appears as beautiful as a goddess, although the author is far from turning a blind eye to flaws and over-romanticizing nudity.

The image of a woman is that attractive force that constantly attracts Bunin. He creates a gallery of such images, each story has its own.

AT early years Bunin creative imagination it is not yet aimed at more or less tangibly depicting female characters. All of them are only outlined: Olya Meshcherskaya ("Easy Breath") or Klasha Smirnova ("Klasha"), who has not yet woken up for life and is innocent in her charm. Female types, in all their diversity, will come to Bunin's pages in the twenties ("Ida", "Mitina's Love", "The Case of Cornet Elagin") and further - in the thirties and forties ("Dark Alleys"). So far, the writer is almost entirely occupied with him, the hero, or rather, the character. Gallery male portraits(rather portraits than characters) is built in Bunin's stories, written, as a rule, in 1916. Not everyone has known the sweet poison of love, except perhaps the captain from "Chang's Dreams" and, perhaps, the strange Kazimir Stanislavovich in the story of the same name, who seeks to kill himself after seeing a beautiful girl down the aisle with his last glance - maybe his daughter , - who even "suspected of his existence and whom he obviously loved selflessly, like Zheltkov from " Garnet bracelet"Kuprin.

Any love is a great happiness, even if it is not shared" - these words from the book "Dark Alleys" could be repeated by all Bunin's heroes. With a huge variety of personalities, social status, etc. all, scorched by it, die. Such a concept was formed in the work of Bunin in the pre-revolutionary decade. "Dark Alleys", a book that was already published in its final, complete composition in 1946 in Paris, is the only one of its kind in Russian literature. Thirty-eight short stories this collection gives a great variety of unforgettable female types - Rusya, Antigone, Galya Ganskaya (stories of the same name), Fields ("Madrid"), the heroine " Clean Monday" .

Near this inflorescence, male characters are much more inexpressive; they are less developed, sometimes only outlined and, as a rule, static. They are characterized rather indirectly, reflected, in connection with the physical and mental appearance of the woman who is loved and who occupies a self-sufficient place. Even when only "he" is acting, for example, an officer in love who shot an absurd beautiful woman, all the same, only "she" remains in memory - "long, wavy" ("Steamboat Saratov"), V " dark alleys"There is also a rough sensuality, and just a masterfully told playful anecdote ("One Hundred Rupees"), but the theme of pure and beautiful love. The heroes of these stories are characterized by extraordinary strength and sincerity of feelings. Next to full-blooded stories breathing suffering and passion ("Tanya", "Dark Alleys", "Clean Monday", "Natalie", etc.), there are unfinished works ("Caucasus"), expositions, sketches of future short stories ("Beginning") or direct borrowings from foreign literature ("Returning to Rome", "Bernard").

"Dark Alleys" can truly be called an "encyclopedia of love." The most varied moments and shades in the relationship of the two attract the writer. These are the most poetic, sublime experiences ("Rusya", "Natalie"); controversial and strange feelings("Muse"); quite ordinary inclinations and emotions ("Kuma", "Beginning"), down to the base, animal manifestation of passion, instinct ("Lady Clara", "Guest"). But first and foremost, Bunin is attracted by true earthly love, the harmony of "earth" and "heaven."

Such love is a great happiness, but happiness is just like lightning: it flared up and disappeared. For love in the "Dark Alleys" is always very brief; moreover: the stronger, more perfect it is, the sooner it is destined to break off. To break off - but not to perish, but to illuminate the entire memory and life of a person. So, through her whole life she carried her love for "him", who once seduced her, Nadezhda, the owner of the inn "upper room" ("Dark Alleys"). "Youth passes for everyone, but love is another matter," she says. For twenty years he cannot forget Rusya "he", once a young tutor in her family. And the heroine of the story "Cold Autumn", who saw off her fiancé to the war (he was killed a month later), not only keeps love for him in her heart for thirty years, but generally believes that in her life there was only "that cold autumn evening", when she said goodbye to him, and "the rest is an unnecessary dream."

Bunin simply has nothing to do with "happy", lasting love that unites people: he never writes about it. No wonder he once excitedly and quite seriously quoted someone else's joking words: "It is often easier to die for a woman than to live with her." The union of lovers is already a completely different relationship, when there is no pain, which means there is no agonizing bliss, he is not interested. "Let there be only what is ... It won't be better,"- says a young girl in the story "Swing", rejecting the very idea of a possible marriage with the person she is in love with.

The hero of the story "Tanya" thinks with horror what he will do if he takes Tanya as his wife - and it is she who he truly loves only. If lovers seek to unite their lives, then at the last moment, when everything seems to be going to a happy conclusion, a sudden catastrophe will certainly break out; or unforeseen circumstances appear, up to the death of heroes, in order to "stop a moment" at the height of the senses. Dies from the shot of a jealous lover, the only one of the host of women who truly fell in love with the "poet", the hero of the story "Heinrich". The sudden appearance of the crazy mother Rusya during her date with her beloved forever separates the lovers. If up to last page the story everything goes well, then in the final Bunin stuns the reader with such phrases: "On the third day of Easter, he died in a subway car - while reading a newspaper, he suddenly threw his head back against the back of his chair, turned his eyes..."("In Paris"); "In December, she died on Lake Geneva in a premature birth"("Natalie").

Such a tense plot of stories does not exclude and does not contradict the utter psychological persuasiveness of characters and situations - so convincing that many claimed that Bunin wrote incidents from his own life from perfect memory. He really was not averse to recalling some of the "adventures" of his youth, but it was, as a rule, about the characters of the heroines (and even then, of course, only in part). Circumstances, situations, the writer invented completely, which gave him great creative satisfaction.

The power of influence of Bunin's letter is truly unsurpassed. He is able to speak with the utmost frankness and detail about the most intimate human relationships, but always at the limit where great art does not drop even one iota to even hints of naturalism. But this "miracle" was achieved at the cost of great creative torment, as, indeed, everything written by Bunin - a true ascetic of the Word. Here is one of the many records testifying to these "torments": "...that marvelous, indescribably beautiful, something completely special in everything earthly, which is the body of a woman, has never been written by anyone. Some other words must be found" ( February 3, 1941). And he always knew how to find these other - the only necessary, vital words. Like an "artist and sculptor," he painted and sculpted Beauty, embodied in a woman in all the grace and harmony given to her by nature of forms, lines, colors.

Women generally play a major role in Dark Alleys. Men, as a rule, are only a background that sets off the characters and actions of the heroines; there are no male characters, there are only their feelings and experiences, conveyed in an unusually acute and convincing manner. The emphasis is always placed on his aspiration to her, on the keenest desire to comprehend the magic and mystery of the irresistible female "nature". “Women seem to me something mysterious. The more I study them, the less I understand,” Bunin writes out from Flaubert’s diary on September 13, 1940.

There are a whole string of female types in the book "Dark Alleys". Here and devoted to the beloved to the grave " simple souls"- Styopa and Tanya (in the stories of the same name); and broken, extravagant, in a modern bold "daughter of the century" ("Muse", "Antigone"); early ripe, unable to cope with their own "nature" girls in the stories " Zoya and Valeria", "Natalie"; women of extraordinary spiritual beauty, capable of bestowing indescribable happiness and who themselves fell in love for life (Rusya, Heinrich, Natalie in the stories of the same name); prostitutes - impudent and vulgar ("Lady Klara"), naive and childish ("Madrid") and many other types and characters, and each is alive, immediately imprinted in the mind. And all these characters are very Russian, and the action almost always takes place in old Russia, and if outside of it ("In Paris" , "Revenge"), the homeland still remains in the souls of the heroes. "Russia, our Russian nature, we took with us, and wherever we are, we cannot but feel it," said Bunin.

The work on the book "Dark Alleys" served the writer to some extent as a way out, a salvation from the horror that is happening in the world. Moreover: creativity was the artist's opposition to the nightmare of the Second World War. In this sense, we can say that in old age Bunin became stronger and more courageous than he was in his mature years, when the first World War plunged him into a state of deep and prolonged depression, and that the work on the book was an unconditional feat of writing.

Bunin's "Dark Alleys" have become that integral part of Russian and world literature, which, while people are alive on earth, varies in different ways the "song of songs" of the human heart.

The short story "Cold Autumn" is a woman's memories of one distant September evening, in which she and her family said goodbye to her fiancé, who was leaving for the front. Bunin presents the farewell scene, the last walk of the heroes. The farewell scene is shown briefly, but very touchingly. She has a heaviness in her soul, and he reads Fet's poems to her. On this farewell evening, the heroes are united by love and the surrounding nature, "surprisingly early cold fall", cold stars, especially the windows of the house shine in autumn, winter cold air. A month later he was killed. She survived his death. The writer interestingly builds the composition of the story, it seems to consist of two parts. The first part is narrated from the point of view of the heroine in the present tense, the second - also from her point of view, only these are memories of the past since the departure of the heroine's fiancé, his death and the years that she lived without him. She, as it were, sums up her whole life and comes to the conclusion that in life there was "Only that cold autumn evening ... And that's all that was in my life - the rest is an unnecessary dream." This woman had many adversities, as if the whole world had fallen on her, but her soul did not die, love shines on her.

According to the testimony of the writer's wife, Bunin considered this book to be the most perfect in terms of craftsmanship, especially the story "Clean Monday". On one of the sleepless nights, according to V.N. Bunina, he left such a confession on a piece of paper: “I thank God that he gave me the opportunity to write Clean Monday.” This story is written with extraordinary conciseness and virtuosic imagery. Every stroke, color , details play an important role in the external movement of the plot and become a sign of some internal trends.In vague forebodings and mature thoughts, the bright changeable appearance of the heroine of the work, the author embodied his ideas about the contradictory atmosphere of the human soul, about the birth of some new moral ideal.

The short story "Clean Monday" is a story-philosophy, a story is a lesson. Here the first day of Lent is shown, she has fun on the "skit". Kapustnik at Bunin is given by her eyes. She drank and smoked a lot on it. Everything was disgusting there. According to custom, on such a day, on Monday, it was impossible to have fun. Kapustnik was supposed to be on a different day. The heroine is watching these people, who are all vulgarized "drooping their eyelids". The desire to go to the monastery, apparently, had already matured with her earlier, but the heroine seemed to want to watch it to the end, as there was a desire to finish reading the chapter, but everything was finally decided on the "skit". He realized that he had lost her. Bunin shows us through the eyes of the heroine. That in this life a lot is vulgarized. The heroine has love, only her love for God. She has an inner longing, When she sees the life and people around her. The love of God conquers all else. Everything else is dislike.

Female images dominate the book "Secret Alleys", and this is another stylistic feature cycle. Women's images are more representative, while men's are static. And this is quite justified, since a woman is depicted precisely through the eyes of a man, a man in love. Since the works of the cycle reflect not only mature love, but also its birth ("Natalie", "Rus", "Beginning"), this leaves an imprint on the image of the heroine. In particular, the portrait is never drawn by I.A. Bunin completely. As the action develops, the movement of the narrative, he again and again returns to the heroine. First, a couple of strokes, then - more and more new details. This is how the author sees a woman not so much, this is how the hero himself recognizes his beloved. An exception is made, perhaps, for the heroines of the miniatures "Camargue" and "One Hundred Rupees", where the portrait characteristics are not broken and constitute the work itself. But here the writer has another goal. In fact, this is a portrait for the sake of a portrait. Here - admiration for a woman, her beauty. This is a kind of hymn to such a perfect divine creation.

Creating their women, I.A. Bunin spares no words-colors. What does I.A. Bunin! Vivid epithets, apt comparisons, light, color, even sounds conveyed by the word create such perfect portraits that it seems that the heroines are about to come to life and leave the pages of the book. A whole gallery of female images, women different types and social strata, virtuous and dissolute, naive and sophisticated, very young and old, but all beautiful. And the heroes are aware of this, and realizing, they recede into the background, admiring them and giving the reader the opportunity to admire. And this admiration for a woman is a kind of motive among others that connect all the works of the cycle into a whole.

Thus, I.A. Bunin creates a whole gallery of female images. They all deserve our close attention. Bunin is an excellent psychologist, he notices all the features of human nature. His heroines are surprisingly harmonious, natural, cause genuine admiration and sympathy. We are imbued with their fate, and with such sorrow we observe their suffering. Bunin does not spare the reader, bringing down on him the harsh truth of life. Worthy of simple human happiness, the heroes of his works turn out to be deeply unhappy. But, having learned about this, we do not complain about the injustice of life. We understand the true wisdom of a writer who seeks to convey to us a simple truth: life is multifaceted, there is a place for everything in it. A person lives and knows that troubles, sufferings, and sometimes even death can lie in wait for him at every step. But this should not interfere with enjoying every minute of life.

Chapter 2. Analysis of female images in the stories of I.A. Bunin

Turning to the analysis of female images in specific stories by I.A. Bunin, it should be noted that the nature of love and the female essence are considered by the author within the framework of unearthly origin. Thus, Bunin in the interpretation of the female image fits into the tradition of Russian culture, which accepts the essence of a woman as a "guardian angel".

In Bunin, female nature is revealed in an irrational, mysterious sphere that goes beyond the framework of everyday life, defining the incomprehensible mystery of his heroines.

The Russian woman in "Dark Alleys" is a representative of different socio-cultural strata: a commoner - a peasant woman, a maid, the wife of a petty employee ("Tanya", "Styopa", "Fool", "Business Cards", "Madrid", "Second coffee pot"), an emancipated, independent, independent woman ("Muse", ((Zoyka and Valeria", "Heinrich"), a representative of bohemia ("Galya Ganskaya", "Steamboat" Saratov "", "Clean Monday"). Each is interesting in its own way and each dreams of happiness, love, waiting for her.Let's analyze each of the female images separately.

2.1 The image of a commoner woman

We encounter images of a woman - a commoner, peasant women in "Oaks" and "The Wall". When creating these images, I.L. Bunin focuses on their behavior, feelings, while the bodily texture is given only in separate strokes: "... black eyes and a swarthy face... a coral necklace around her neck, small breasts under a yellow print dress..."("Stepa"), "... she ... sits in a silk lilac sundress, in a muslin shirt with swinging sleeves, in a coral necklace - a resin head that would do honor to any secular beauty, smoothly combed in the middle, silver earrings hang in her ears." Dark-haired, swarthy (the favorite Bunin standard of beauty), they resemble oriental women, but at the same time are different from them. These images attract with their naturalness, immediacy, impulsiveness, but softer. Both Styopa and Anfisa surrender without hesitation hollow feelings. The only difference is that one goes towards the new with childish gullibility, the belief that this is it, her happiness in: the face of Krasilnikov ("Step") - the other - with a desperate desire, perhaps in last time in life experience the happiness of love ("Oaks"). It should be noted that in the short story "Oaks" by I.A. Bunin, without dwelling on the very appearance of the heroine, describes her outfit in some detail. Peasant woman dressed in silk. It carries a certain semantic load. Woman, most life, having lived "with an unloved husband, suddenly meets a person who awakens love in her .. Seeing his "torment", realizing that to a certain extent her feeling is mutual, she is happy. On a date with him, she puts on a festive outfit for him. Actually "For Anfisa, this date is a holiday. A holiday that eventually turned into the last. He is near, and she is already almost happy ... And the finale of the novel looks all the more tragic - the death of the heroine, who has never experienced happiness, love.

Waiting for their happy hour and a woman from " business cards", and the maid Tanya ("Tanya"). ".... thin hands.... a faded and therefore even more touching face.... plentiful and. somehow cleaned dark hair with which she shook everything; taking off his black hat and throwing it off his shoulders, off his bumazine dress. gray coat." Again I.A. Bunin does not stop at detailed description the appearance of the heroine; A few strokes - and the portrait of a woman, the wife of a petty official from a provincial town, tired of eternal need, hassle, is ready. Here she is, her dream - "unexpected acquaintance with famous writer, her short bond with him. A woman cannot miss this, most likely the last, chance for happiness. A desperate desire to use it shows through in her every gesture, in her entire appearance, in the words: "-..... You won't have time to look back, how life will pass! ... But I have not experienced anything, nothing in my life! - It's not too late to experience ... - And I will experience it!". Cheerful, broken, cheeky heroine actually turns out to be naive. And this "naivety, belated inexperience, combined with extreme courage", with which she enters into a relationship with the hero, evokes in the latter a complex feeling, pity and desire to take advantage of her gullibility. Almost at the very end of the work of I.A. Bunin again resorts to the portrait of a woman, presenting her in a situation of exposure: "she ... unbuttoned and trampled on her dress that had fallen to the floor, remained slender, like a boy, in a light shirt, with bare shoulders and arms and in white knickers, and he was painfully pierced by the innocence of all this".

And further: "She meekly and quickly stepped out of all the linen thrown on the floor, remained all naked; gray-lilac, with that peculiarity of the female body, when it nervously chills, it becomes tight and cool, covered with goose bumps ...". It is in this scene that the heroine is real, pure, naive, desperately wanting happiness at least for a short time. And having received it, he again turns into an ordinary woman, the wife of her unloved husband: "He kissed her cold hand ... and without looking back she ran down the gangplank into the rough crowd on the pier."

"… she was in her seventeenth year, she was small in stature ... her simple face was only pretty, and her gray peasant eyes were beautiful only with youth ... ". So Bunin says about Tanya. The writer is interested in the birth of a new feeling in her - love. Throughout the work, he will return to her portrait several times. And it is no coincidence: the appearance of the girl is a kind of mirror, which reflects all her experiences. She falls in love with Pyotr Alekseevich and literally blossoms when she finds out that her feeling is mutual. And changes again when he hears about separation from his beloved: "He was amazed when he saw her - she lost so much weight and faded - she was all over, her eyes were so timid and sad." For Tanya, love for Pyotr Alekseevich is the first serious feeling. With purely youthful maximalism, she gives herself to him all, hopes for happiness with her loved one. And at the same time, she does not require anything from him. She dutifully accepts her beloved as he is: And only when she comes to her closet, she desperately prays to God that her beloved does not leave: "... Give, Lord, so that it does not subside for another two days!".

Like other heroes of the cycle, Tanya is not satisfied with the "undertones" in love. Love is either there or it isn't. That's why she's tormented by doubts about new arrival of Peter Alekseevich to the estate: "... it was necessary either completely, completely the same, and not a repetition, or an inseparable life with him, without parting, without new torments ...". But, not wanting to bind a loved one, to deprive him of his freedom, Tanya is silent: "... she tried to drive this thought away from herself ...". For her fleeting short happiness turns out to be preferable to relationships "out of habit", as for Natalie ("Natalie"), a representative of yet another social type.

The daughter of impoverished nobles, she resembles Pushkin's Tatyana. This is a girl who was brought up far from the noise of the capital, in a remote estate. She is simple and natural, and just as simple, natural, pure is her view of the world, of relations between people. Like Bunin's Tanya, she surrenders to this feeling without a trace. And if for Meshchersky two are completely different love quite natural, then for Natalie such a situation is impossible: "... I am convinced of one thing: in the terrible difference between the first love of a young man and a girl." Love should be only one. And the heroine confirms this with her whole life. Like Pushkin's Tatyana, she keeps her love for Meshchersky until her death.

2.2 Female image - representatives of Bohemia

Representatives of Bohemia. They also dream of happiness, but each understand it in their own way. This is, first of all, the heroine of "Clean Monday".

"... she had some kind of Indian, Persian beauty: a swarthy amber face, magnificent and somewhat sinister in its black hair, softly shining like black sable fur, eyebrows, eyes black as velvet coal; captivating velvety with crimson lips, the mouth was shaded with a dark fluff ... ". Such exotic beauty, as it were, emphasizes its mystery: "... she was mysterious, incomprehensible...". This mystery is in everything: in actions, thoughts, lifestyle. For some reason she studies at courses, for some reason she visits theaters and taverns, for some reason she reads and listens to the Moonlight Sonata. Two completely opposite principles coexist in her: a socialite, a playgirl and a nun. She visits theatrical skits and the Novodevichy Convent with equal pleasure.

However, this is not just a fad of a bohemian beauty. This is a search for oneself, one's place in life. That is why I.A. Bunin dwells on the actions of the heroine, describing her life almost every minute. In most cases, she speaks for herself. It turns out that the woman often visits the Kremlin cathedrals, she tells the hero about the trip to the Rogozhskoye cemetery and the funeral of the archbishop. Young man the religiosity of the heroine is striking, he did not know her like that. And even more, but now the reader is struck by the fact that immediately after the monastery (and this scene takes place at the Novodevichy cemetery) she orders to go to a tavern, to Egorov for pancakes, and then to a theatrical skit.

It's like a transformation is taking place. In front of the hero, who a minute ago saw almost a nun in front of him, is again a beautiful, rich and strange secular lady in her actions: "On the skit she smoked a lot and sipped champagne all the time ...",- and the next day - again someone else's, inaccessible: "Tonight I'm leaving for Tver. For how long, only God knows...". Such metamorphoses are explained by the struggle that takes place in the heroin. She faces a choice: quiet family happiness or eternal monastic peace - and chooses the latter, because love and everyday life are incompatible. That's why she so stubbornly, "once and for all" rejects any talk of marriage with a hero.

The mystery of the heroine of "Clean Monday" has a plot-forming meaning: the hero (together with the reader) is invited to unravel her secret. The combination of bright contrasts, sometimes directly opposite, forms a special mystery of her image: on the one hand, she "do not need anything", on the other hand, the weight of what she does, the eye does thoroughly, "with the Moscow understanding of the matter." Everything is intertwined into a kind of cycle: "wild men, and here are pancakes with champagne and the Mother of God Troeruchnina"; fashion names European decadence; Hugo von Hofmannsthal (Austrian symbolist); Arthur Schnitzler (Austrian playwright and prose writer, impressionist); Tetmaier Kazimierz (Polish lyricist, author of sophisticated erotic poems) - side by side with the portrait of "barefoot Tolstoy" above her sofa.

Using the principle of the top composition of the heroine with a linearly developing event level, the author achieves a special mystery of the female image, erasing the boundaries of the real and the unreal, which is very close to the female ideal in the art of the "Silver Age".

Let's consider with what stylistic devices the author achieves a special feeling of an unearthly female essence.

The author considers the first appearance of the heroines as an event that goes beyond the ordinary world and is striking in its suddenness. This appearance of Ida at the climax immediately divides the artistic space of the episode into two planes: the world of everyday life and the fabulous world of love. Hero, drinking and eating with appetite, "suddenly heard behind his back some terribly familiar, most wonderful in the world female voice" . The semantic load of the episode of the meeting is conveyed by the author in two ways: verbally - "suddenly", and non-verbally by the hero's movement - "turned around impetuously".

In the story "Natalie" the first appearance of the triplets is associated with the image of "lightning" shining at the moment of the climactic explanation of the characters. She is "suddenly jumped up from the hallway into the dining room, looked<...>and, sparkling with this orange, golden brightness of hair and black eyes, she disappeared.. Comparison of the qualities of lightning and the feeling of the hero is a psychological parallel with the feeling of love: the suddenness and short duration of a moment, the sharpness of sensation, built on the contrast of light and darkness, are embodied in the constancy of the impression made. Natalie in the ball scene "suddenly<..,> fastand flying with light glides closer to the hero "on theinstanther black eyelashes fluttered<...>, black eyesflashedVery close..." and immediately disappears "silver flasheddress hem". In the final monologue, the hero confesses: "I'm blinded by you again."

Revealing the image of the heroine, the author uses a wide range of artistic means; a certain color scheme (orange, golden), temporal categories (suddenness, instant, speed), metaphors (dazzled by the appearance), which in their immutability form the timelessness of the image of the heroine in art space works.

The heroine of "In Paris" also suddenly appears before the hero: "suddenly his corner lit up." The dark "inside" of the carriage, where the heroes are "for a moment illuminatedflashlight", and "completely different womansat next to him" . Thus, through the contrast of light-darkness, characteristic lighting that transforms the environment, the author affirms the appearance of the heroines as an event of an unusual order.

The same technique is used by the author, revealing the unearthly beauty or iconography of female images. According to I.G. Mineralova, "the beauty of a woman, in Bunin's language, is a reflection, reflection or reflection of divine beauty, spilled in the world and shining without borders in the Garden of Eden or Heavenly Jerusalem. The beauty of earthly life is not opposed to the Divine, it captures the providence of God." The reception of the semantic proximity of sanctification/sanctification and the direction of the fall of light stylistically embody the purity and holiness of the heroines. Portrait of Natalie: "ahead of all, in mourning, with a candle in her hand, illuminating her cheek and golden hair", as if raising her to an unearthly height, when the hero " I couldn't take my eyes off her like an icon." A characteristic assessment of the author is expressed by the direction of the light: not a candle - the symbol of purification blesses Natalie, but Natalie blesses the candle - "It seemed to me that that candle by your face became a saint."

The same height of the unearthly image is achieved in the "quiet light" of the eyes of the heroics of "Clean Monday", which tells about the Russian annalistic senior, which for the author also constitutes imperishable holiness.

To define unearthly beauty, Bunin uses the traditional semantics of purity: White color, the image of a swan. So, the author, describing the heroine of "Clean Monday" on the only night of closeness and farewell to the hero "only in swan shoes" anticipates at the level of symbolism her decision to leave the sinful world. In the last appearance, the image of the heroine is symbolized by the light of a candle and "white board".

The idealization of the heroine Natalie in the aggregate of metaphors and color epithets is semantically connected with the image of a swan: " how tall is shein ball high hair, in a ball white dress ... ", her hand" in a white glove to the elbow with such a bend,<" >like a swan's neck.

The "icon-painting" of the heroine of Russia is achieved by the author in the nostalgic poeticization of her simplicity and poverty: "Worea yellow cotton sundress and bare-foot peasant chunks, woven from some kind of multi-colored wool".

According to I.G. Mineralova, the artistic idea that "within the framework of earthly, natural existence, the fate of beauty is tragic, but from the point of view of the transcendental, it is joyful: "God is not the God of the dead, but of the living" (GospelorMatthew 22:32)", is unchanged for Bunin, starting in earlier works ("Light Breath", "Aglaya", etc.) to the late prose of "Dark Alleys".

Such an interpretation of the female essence determines the main features of male heroes, who are characterized by an ambivalent perception of heroines; sensual-emotional and aesthetic.

"Pure love delight, passionatedream to look ather only..." the feeling of the hero for Natalie is filled. "Highest joy" lies in the fact that he "I didn't even think about kissing her." The timelessness of his sensations is confirmed in the final monologue: "When I just looked at this green scab and your knees under it, I felt that I was ready to die for one touch of her lips, only to her."

The feeling of unearthly awe is filled with the hero's feeling for Rusa: "Heno longer dared to touch her", "...sometimes, like something sacred, he kissed her cold chest." In "Clean Monday", the hero at dawn "timidly kissed her hair."

According to the researchers, "women generally play a leading role in Dark Alleys. Men, as a rule, are only a background that drives away the characters and actions of the heroines; there are no male characters, there are only their feelings and experiences, conveyed in an unusually acute and convincing manner.<...>The emphasis is always placed on his aspiration - to her, on the stubborn desire to comprehend the magic and secret of the irresistible female "nature". At the same time, I.P. Karpov believes that the originality of "the figurative system of "Dark Alleys" is not in the absence of characters in the characters, but in the fact that they are only poetically varied carriers of the author's perception of a woman." Such a characteristic feature allows us to speak about the monologism of the author's consciousness in "Dark Alleys", which creates "a phenomenal world of the human soul, awakened by the contemplation of female beauty, love for a woman."

Rusya, like me Natalie, a noble daughter who grew up in the countryside. The only difference is that the artist is a bohemian girl. However, she is fundamentally different from other Bunin representatives of bohemia. Rusya does not look like either the heroine of "Clean Monday" or Galya ("Galya Ganskaya"). It combines metropolitan and rural, some swagger and immediacy. She is not as shy as Natalie, but not as cynical as Musa Graf ("Muse"). Having fallen in love once, she completely surrenders to this feeling. As for Natalie, the love for Meshchersky, the love of Russia for the hero is forever. Therefore, the phrase uttered by the girl "Now we are husband and wife" Sounds like a wedding vow. It should be noted that here, as in "Business Cards", the author twice returns to the portrait of the heroine, presents her in a situation of exposure before intimacy. This is also not accidental. The heroine is depicted through the eyes of the hero. The girl is picturesque - that's his first impression. Russia seems to him inaccessible, distant, like some kind of deity. It is no coincidence that it is emphasized "iconic" the beauty. However, as the heroes get closer, Russia becomes easier and more accessible. Young people are drawn to each other: "One day she got her feet wet in the rain, ran out of the garden into the living room, and he rushed to take off her shoes and kiss her wet narrow feet - there was no such happiness in his whole life". And the peculiar culmination of their relationship is intimacy. As in "Business Cards", when she gets naked, the heroine throws off her mask of inaccessibility. Now she is open to the hero, she is real, natural: "What a completely new creature she has become for him!" However, this girl does not stay long. Once again, Rusya becomes impregnable, distant, alien to him in the scene when, for the sake of her insane mother, she renounces love.

Another representative of Bohemia is Galya ("Galya Ganskaya"). As in most works of the cycle, the image of the heroine here is given through the eyes of the hero. Growing up Gali coincides with the evolution of the artist's love for her. And to show this, Bunin, as in "Tanya", several times refers to the portrait of the heroine. “I knew her as a teenager. She grew up without a mother, with her father ... Galya was then thirteen or fourteen years old, and we admired her, of course, only as a girl: she was extremely sweet, frisky, graceful, her face with blond curls along the cheeks, like an angel, but so flirtatious ... ". Like the heroine of the short story "Zoyka and Valeria" Zoyka, she resembles Nabokov's Lolita. A sort of image of a nymphet. But, unlike Lolita and Zoya, in Gala there are still more children than women. And this childishness remains in her throughout her life. Again, the heroine appears before the hero and the reader no longer as a teenager, not as an angel, but as a fully grown young lady. it "surprisingly pretty - a thin girl in everything new, light gray, spring. Her face under a gray hat is half covered with an ashen veil, and aquamarine eyes shine through it." And yet this is still a child, naive, gullible. Suffice it to recall the scene in the hero's workshop: "... slightly dangles with hanging elegant legs, children's lips are half open, gleaming ... He lifted the veil, tilted his head, kissed ... He went up the slippery greenish stocking, up to the fasteners on it, to the elastic band, unfastened it, kissed the warm pink the body began to hips, then again into a half-open mouth - she began to bite my lips a little ... ". It is not yet a conscious desire for love, intimacy. This is a kind of vanity from the consciousness of what is interesting to a man: "She somehow mysteriously asks: do you like me?".

This is almost a childish curiosity, which the hero himself is aware of. But already here in Gala a feeling of first, passionate love for the hero is born, which later reaches its climax, which will be fatal for the heroine. So, a new meeting of heroes. and Galya "smiling and twirling an open umbrella on his shoulder ... there is no longer the former naivety in his eyes ...". Now this is an adult, self-confident woman, thirsty for love. In this sense, she is a maximalist. It is important for Galya to belong entirely, without a trace, to a loved one, and it is just as important that he belongs entirely to her. It is this maximalism that leads to tragedy. Having doubted the hero, his feelings, she passes away.

2.3 Images of independent and independent women

A peculiar variation of the representatives of Bohemia - images of emancipated, independent women. These are the heroines of the works "Muse", "Steamboat "Saratov", "Zoyka and Valeria" (Valeria), "Heinrich". They are strong, beautiful, lucky. They are independent both socially and in terms of feelings. They decide when start or end relationships. But are they always happy at the same time? Of all the heroines of this type we have named, perhaps only Muse Count is happy in her independence, emancipation. She is like a man, communicates with them on an equal footing. "... in a gray winter hat, in a gray straight coat, in gray boots, looking point-blank, eyes the color of an acorn, on long eyelashes, on the face and on the hair under the hat, raindrops glisten ...". Outwardly, a completely simple girl. And the stronger the impression of se "emancipation". She speaks directly about the purpose of her visit. Such directness surprises the hero and at the same time attracts him: "... I was worried about the combination of her masculinity with all that feminine youthfulness that was in her face, in her straight eyes, in her large and beautiful hand ...". And now he's in love. It is clear that in these relationships the dominant role belongs to the woman, while the man submits to her. Muse is strong and independent, as they say, "by itself." She herself makes decisions, acting as the initiator of the first intimacy with the hero, and their living together, and their separation. And the hero is happy with it. He gets so used to her "independence" that he does not immediately delve into the situation of her departure to Zavistovsky. And only after finding the Muse in his house, he realizes that this is the end of their relationship, his happiness. The music is calm. And what the hero perceives as "monstrous cruelty" on her part is a kind of norm for the heroine. fell out of love - left

The situation is somewhat different with other representatives of this type. Valeria ("Zoyka and Valeria"), like Muse, is a completely independent woman. This self-sufficiency, independence, shine through in all her appearance, gestures, behavior. "... strong, well-built, with thick dark hair, with velvet eyebrows, almost fused, with formidable eyes the color of black sprinkles, with a hot dark blush on a tanned face ...", it seems mysterious and inaccessible to everyone around, "incomprehensible" in its emancipation. She converges with Levitsky and immediately leaves him for Titov, without explaining anything and not trying to soften the blow. For her, such behavior is also the norm. She also lives on her own. But is she happy? Having rejected Levitsky's love, Valeria herself finds herself in the same situation of unrequited love for Dr. Titov. And what happened is perceived as a kind of punishment for Valeria.

The heroine of the short story "Steamboat" Saratov ". Beautiful, self-confident, independent. It is interesting to note that when creating this image, more precisely, when describing the appearance of the heroine; Bunin uses a comparison of her with a snake: "... she immediately entered, too, swaying on the heels of shoes without a back, on her bare feet with pink heels, - long, wavy, in a narrow and motley, like a gray snake, hood with hanging sleeves cut to the shoulder. They were long and her eyes were somewhat slanted. A cigarette in a long amber holder was smoking in a long pale hand. And this is no coincidence. As noted by N.M. Lyubimov, "the originality of Bunin as a portrait painter is in the well-aimed unusualness of definitions and comparisons of the whole appearance of a person or his individual features." These external signs are, as it were, projected onto the characters of the heroes, which also happens with the image of the heroine of the short story we are considering. Let us recall the scene of her meeting with the hero. She looks at him "from the height of her height", carries herself self-confidently, even cheekily: "... she sat down on a silk pouffe, taking her right hand under her elbow, holding a raised cigarette high, putting her foot on her foot and opening the side section of the hood above her knee ...". In all her guise, disdain for the hero is evident: she cuts him off, she herself says "boringly smiling." And as a result, he announces to the hero that their relationship is over. Like Muse, she talks about the breakup as a matter of course. Peremptory tone. It is this tone, a certain squeamishness (“a drunken actor”, as she speaks about the hero) that decides her fate, pushing the hero to commit a crime. The snake temptress is the image of the heroine in the novel.

Excessive self-confidence is the cause of the death of another heroine of "Dark Alleys" Elena ("Heinrich"). A woman, beautiful, successful, independent, held professionally (a fairly well-known translator). But still a woman, with her inherent weaknesses. Let us recall the scene in the train car when Glebov finds her crying. A woman who wants to love and be loved. Klena combines the features of all the heroines we talked about above. Like Galya Ganskaya, she is a maximalist. Loving a man, she wants him to belong to her without a trace, as evidenced by her jealousy of Glebov's former women, but she also wants to belong to him entirely. That is why Elena goes to Vienna to sort out her relationship with Arthur Spiegler. “You know, the last time I left Vienna, we had already sorted out, as they say, relations - at night, on the street; under a gas lamp. And you can’t imagine what hatred he had in his face!”. Here she looks like the heroine of "Steamship" Saratov "- a temptress who plays with fate. Having fallen out of love, just leave, informing and not explaining the reasons. And if for Elena, as well as for the Muse, this is quite acceptable, then for Arthur Spiegler - no He does not stand this test and kills his former mistress.

Thus, the unearthly female essence, organically entering the context of the ideal woman of the Silver Age, is considered by Bunin in an existential aspect, reinforcing the tragic dominant of the motive of love within the framework of the conflict of the Divine / earthly world.

Chapter 3. Methodological aspects of the research topic

3.1 Creativity I.A. Bunin in school literature programs for grades 5-11

This paragraph provides an overview of the current literature programs for secondary schools, which we analyzed from the point of view of studying the works of I.A. Bunin.

In the "Program on Literature (grades 5-11)", created by edited by Kurdyumova, in almost all sections of the course, Bunin's works are recommended for compulsory education. In the 5th grade, the authors of the program offer the poems "Childhood" and "Fairy Tale" for reading and discussion and determine the range of issues related to the study of the world of fantasy and the world of creativity.

In the 6th grade in the section "Myths of the peoples of the world" students get acquainted with an excerpt from the "Song of Hiawatha" by G. Longfellow, translated by I. A. Bunin.

In the 7th grade, the stories "Numbers" and "Bastes" are offered for study. The upbringing of children in the family, the complexity of the relationship between children and adults are the main problems of these stories.

I. Bunin's story "Clean Monday" is studied in the 9th grade. The attention of students is drawn to the features of Bunin's story, the skill of the writer-stylist. In the section "literary theory" the concept of style is developed.

In the 11th grade, Bunin's works open a literature course. For study, the stories "The Gentleman from San Francisco", "Sunstroke", "Ioan Rydalets", "Clean Monday", as well as poems of the choice of the teacher and students are offered. The range of problems that determine the study of the writer's work at the final stage of education is presented as follows: the philosophical nature of Bunin's lyrics, the subtlety of perception of the psychology of man and the natural world, the poetization of the historical past, the condemnation of the lack of spirituality of existence.

(!LANG: The female image in the works of Bunin black eyes. Female images in the stories of I.A. Bunin. List of used literature

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