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Cold autumn love is stronger than death. Story I

LITERATURE LESSON IN 11TH GRADE

Morozova Elena Ivanovna, MOAU Secondary School No. 5

Linguistic means of expression in a literary text (using the example of I.A. Bunin’s story “Cold Autumn”)

Goals:

Improve analysis skills work of art, paying attention to the features of Bunin’s style;

Develop the ability to compare, generalize, draw conclusions, and argue your point of view;

Find out how speech means work to express the author's idea.

Methods: analytical conversation; analysis.

Epigraphs:

The better, the deeper a person knows the language, the richer, deeper and more accurate

his thoughts will be expressed. The richness of language is the richness of thoughts.

M. Isakovsky.

There is no word that is so sweeping

smartly, it would burst out from under the very heart, it would boil and vibrate, like an aptly spoken Russian word.

N.V.Gogol.

“...elusive artistic precision, amazing figurativeness...how can one manage in music without sounds, in painting without colors, images...of objects, and in literature without words, things, as we know, but completely ethereal »

I.A. Bunin

1.. Against the background of “music by P. I. Tchaikovsky “Sweet Dream” (the student reads the 1st part of the story.)

Teacher.The opinion of Bunin as one of the greatest stylists in Russian literature has long been firmly established. His work clearly revealed those features of Russian literature that the writer himself considered “the most precious” - elusive artistic precision, amazing figurativeness... how can one manage in music without sounds, in painting without paints and without images, and in literature without a word, things, as we know, are not entirely incorporeal.

It was figurativeness that Bunin considered to be the hallmark of a truly artistic work.

It is about the expressiveness of Bunin’s word, about linguistic means that will be discussed in today’s lesson.

4.0let's turn to the epigraphs.Let's read the epigraphs.

- What is the main idea of these statements?Write down the topic of the lesson, choose an epigraph.

- What a story?(0 love.)

- What do you know about the history of writing, time?

( The story was written in 1944. Part of the “Dark Alleys” cycle. This cycle

is central to Bunin’s work. It is noteworthy that all the stories in this series are about love. All 38 short stories are united by one theme - the themelove. Love makes the life of Bunin's heroes significant.

- Let's look at the title of the story.

( This is an inaccurate reproduction of a line from Fetov's poem without

names.)

A student reads a poem.

What a cold autumn!

Put on your shawl and hood;

Look: because of the slumbering pines

It's like a fire is rising.

Northern night glow

I remember always being near you,

And the phosphorescent eyes shine,

They just don’t keep me warm.

- If the story is about love, then why didn’t Bunin call it differently?

title with the word "love"?

( The title of the story is a metaphor for the loneliness of the middle-aged heroine (“autumn

life"), but at the same time - this is the time she desired, the ideal situation:

return to the autumn of 1914, departure toeternity.

Find in the textconfirmation of this... .yes, but what happened in my life after all? And I answerto myself: just that cold evening.

.. . And that’s all that happened in my life - the rest is an unnecessary dream.)

- Now prove in your own words thatAllthe rest is an unnecessary dream.

The words of the heroine’s fiancé sound like a sad refrain, a repeated phrase. “Just live, enjoy...” And we see that the heroine lives only one evening.

- What is the composition of the story?

Exposition about one and a half months: first half of June until19 July 1913. The events leading up to the beginning are shown.

Main Part Evening in September, the morning of the hero’s departure (pause-me-

syats). The death of the hero is his departure from life and the “interruption” of the heroine’s life.

The final thirty years of the heroine’s painful existence.

Return from the plot present (1944) to the “beginning” - a memory of Nice 1912.

Let's turn to the exhibition.

- What did you find strange at the beginning of the story?

( Bunin deliberately does not name the names of the heroes.)

- In the first part of the story, too,Howand throughout the story the author uses

realities. Findtheir.

( The beginning of the war, ... lived in Moscow, went to Ekaterinodar, sailed from

Novorossiysk to Turkey...Bulgaria, Serbia, Czech Republic, Belgium, Paris,

Nice...)

-You can draw a parallel between the heroine and the writer himself, on

whose share was a lot of hardships: wanderings, loss of homeland, melancholy.

- Find more realities.(War with Germany, assassination of Ferdinand...)

Student. The word in the storywar brings anxiety. Although we don't see the military

actions, but events dictate another topic for us - the topic of world war.

There is no scale of war, but its destructive power is palpable.

Confirm with text. (... arrived for just a day - to say goodbye to

leaving forfront, our time has comefarewell evening; If mewill kill...,

Killed him in a month...)

Name the linguistic means in the 1st part of the story.

Students find expressive means and draw conclusions.

( Bunin's language is characterized by the stable nature of paths. Crystal ringing, candy face, mourning. In the story, this is the fatal bag, secret thoughts, a farewell party, a chocolate shop. Based on the use of precious stones and gems, the words silver, gold - sprinkled with shining stars, how the eyes sparkle! A golden icon, sparkling frost, handles with silver nails, gold laces.)

This story is characterized by the use of figurative means to designate the “material world”, the world of sensations that create the eternal plan.(Confirm this with text.)

(That evening we sat quietly..., hiding oursecret thoughts and feelings; Well, what if they kill you?I'll be waiting for you there... ...somewhere there he is waiting for me with the same love and youth.

-Yes, these images interact with images of the eternal world, existence, incomprehensible to man.

In order to make sure that many of Bunin’s works are characterized by the image of the eternal world, let’s compare the poem “Through the Window from a Dark Cabin...” and the story “Cold Autumn.”

Only one starry sky,

One firmament is motionless,

Calm and blissful, alien to Everything that is so dark beneath him.

“...In the garden, in the black sky, bright...

“Then they began to appear in the light

in the glowing sky, black branches sprinkled with mineral glitter

stars."

In the story, the divine splendor of the world is contrasted with chaos, the merciless power of fate. Repetitions are used (If Iwill kill. . .What if it’s true?will kill? Well what ifwill kill...

-What is the connection between parts 1 and 2 of the story?

(2- I part begins with the wordkilled. Those. the power of rock is merciless.)

-Name epithets that confirm this. (cold, black, indifferent)

1. Analyzing nature and man, we say that the landscape repeats the state of the lyrical hero. Confirm this with text.

(Surprisingly early andcold autumn. - Younot cold? Cold, a cold evening is associated with coldness in the souls of the heroes, a premonition of trouble. Winter evening- death of a lover.

The variety of shades is fixed using epithets, a combination of adverbs and adjectives(color adverbs). Find them.

Pure icy stars, hot lamp, autumn beauty, minerally shining stars, autumn-like.

Teacher. The story is built on associative connections between the present and the past, therefore, it has a space-time perspective. Its peculiarity is that in emotional and evaluative terms, the present and past are colored by a general tone of excitement.(Could I think in those happy Days what she (Nice) will once become for me!). The heroine is immersed in herself - in her inner world the past and the present coexist equally, equally vividly experienced now and then.The idea of Bunin’s style would be far from complete if we limited ourselves to only characterizing figurative means. After all, Bunin is one of the finest Russian stylists.

- So, let's draw a conclusion about what expressive means of language, what techniques uses I.A.Bunin.

The arsenal of figurative and expressive language in the story “Cold Autumn” is extremely rich and varied. Here are both tropes and stylistic figures designed to embellish speech, make it precise, clear, expressive, containing untold treasures and values. But he reveals his wealth only to those who have a true love for language, for words.

Music is playing. "Sweet Dream"

Homework. Write a review of the story “Cold Autumn.”

Approximate review plan:

1. Date of publication of the work (when it was written or published). 2. History of creation, concept of the work. 3. Genre originality works. 4. The plot and composition of the work (what is this work about, name its main events, note the plot, climax, denouement, the role of the epilogue and epigraph (if any). 5. Topic (what is said in the work), what topics are touched upon in the work. 6. Issues (what problems, issues) are addressed in the work, are they important, why are they considered by the author. 7. Characteristics of the main artistic images(names, striking features of appearance, social status, life philosophy, views on the world, relationships with other characters, experiences, emotions, what problem/problems are associated with this hero). 8. The idea and pathos of the work (what the author wanted to say, the author’s view of the issues raised, what he calls for). 9. The place of the work in the writer’s work (is this work important for understanding the writer’s work, does it reflect the main themes and problems in his work, is it possible to judge the writer’s style and worldview from this work). 10. The place of the work in the history of literature (is this work significant for Russian literature and world literature, why). 11. Your impression of the work (liked/disliked, why).

Sections: Literature

Ivan Alekseevich Bunin is an outstanding Russian writer who has gained special worldwide fame. Bunin’s poetry and prose come from a common verbal and psychological source; his rich language, full of unique plasticity, is united beyond the division into literary types and genres. In it, according to K. Paustovsky, there was everything “from ringing copper solemnity to the transparency of flowing spring water, from measured precision to intonations of amazing softness, from a light tune to slow rolls of thunder.”

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

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

What a cold autumn
Put on your shawl and hood...
Look between the blackening pines
It's like a fire is rising.

These lines of Fet, spoken by the hero of the story “Cold Autumn,” most clearly reflect the time when I. Bunin wrote the cycle “ Dark alleys" A time of change, a time of struggle, a time of contradiction. It is noteworthy that in the story “Cold Autumn” contradictions appear constantly. If you follow creative activity Bunin, we will see that her " distinctive feature is the opposition of the poetic traditions of the Russian muse of the “golden age” to the innovative searches of the symbolists.”

According to Yu. Aikhenvald’s definition, Bunin’s work “... stood out against their background as good old stuff.”

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

"Cold" Bunin. He sought to tear out from his work everything that could be in common with symbolism. Bunin was especially persistent against the symbolists in the field of depicting reality. “A symbolist is the creator of his own landscape, which is always located around him. Bunin steps aside, making every effort to reproduce the reality he idolizes as objectively as possible. But the symbolist, depicting not the world, but the essence of himself, in each work achieves his goal immediately and completely. Bunin complicates the achievement of his goal; he depicts the landscape as accurate, truthful, and alive, which leads to the fact that most often there is no place left for the artist’s personality.” But this is precisely why he contrasted himself with the Symbolists.

"Cold autumn". In this story, Bunin, by awakening in the reader’s mind a system of associative connections, seeks to talk about what is left in the past - simplicity, goodness, purity of thoughts and the inevitability of the coming tragedy.

In it, the fate of the Russian intelligentsia is shown through the fate of a woman, and her fate is revealed not so much through a detailed biography as through a story about love, in which a few days of the past are perceived more fully than the 30 years that have flown by after it. The dissonance between good and evil, peace and war, harmony and chaos can be traced throughout the entire short story. And in the end - loneliness, disappointment in life, although it is brightened up by a dream and faith in happiness “out there”. The story is a tragedy of love in troubled times, a tragedy of reason in the mad flame of revolutionary upheavals.

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

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

plot
compositions
chronotope
space
image systems
artistic and visual media.

The story “Cold Autumn” begins with an event that gives an indication of historical authenticity - First World War. Events are given in fragments: “He was visiting in June”, “On Peter’s Day he was declared a groom.” The entire work is built on contrast. So in the exhibition we read: “I came in September to say goodbye" And “Our wedding was postponed until spring.” Cold autumn can be interpreted as the end of ordinary peaceful life along with the dying of nature. But the wedding of the heroes was postponed until spring. After all, spring appears not only as a time for the rebirth of nature, but also as the beginning of a new peaceful life.

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

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

The culmination of the story is the farewell scene, which is built on contrast. The heroes become in opposition to nature. “They crossed themselves with impetuous despair and, after standing, entered the empty house.” and felt “only an amazing incompatibility between us and the joyful, sunny, sparkling frost on the grass in the morning around us.” Climax phrase: “They killed him - what a terrible word! - In a month in Galicia"- Bunin succinctly recreated the feeling of erased emotional perception over the years. That descent has already happened: “I lived in Moscow in a basement.” This is from the house where “after dinner they served a samovar as usual!”, “she became a woman in bast shoes.” It's from "Swiss cape!" Here the author aptly and meaningfully uses details that characterize better than lengthy descriptions: sold “some kind of ring, or a cross, or a fur collar...” That is, she sold the past, renouncing it: “The times of our grandparents,” “Oh, my God, my God.” The beauty and slowness of life before the death of the hero are contrasted with the frantic pace of life, the abundance of misfortunes, and failures after. Paradise-home turned into hell-foreign land. The descent is over. There is no life here - it's just an unnecessary dream.

There is another culminating wave in the work - “I always ask myself: yes, what happened in my life? And I answer myself: only that cold evening.”. Bunin gives the heroine one last chance to realize that that evening was the triumph of the spirit, the meaning of life, life itself.

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



			Life

The composition has the shape of a ring: “Just live and enjoy the world...”- life - “...I lived and was happy...” Explained compositional structure Bunin as follows: “What happened in my life anyway? Only that cold autumn evening... the rest is an unnecessary dream.” The work begins with a description of an autumn evening and ends with a memory of it. In a conversation in the park, the heroine says: "I won't survive your death." And his words: “You live, enjoy the world, then come to me.” And she admits that she did not survive it, she simply forgot herself in a terrible nightmare. And it becomes clear why she spoke in such an essentially dry, hasty, indifferent tone about everything that happened after. The soul died along with that evening. Ring composition is used to show the closed circle of the heroine’s life: It’s time for her to “go,” to return to “him.” Compositionally, the work can be divided into parts that are contrasting in relation to each other.

Part 1. From the beginning of the story to the words: “...do you want to walk a little?”- an almost absurd picture of tragic calm, regularity in life, on the estate against the backdrop of a distant, seemingly unreal war.

Part 2 . From the words: “It’s in my soul...” to the words: “...or should I sing at the top of my voice?”- He and she, goodbye. Against the background of a joyful, sunny morning, the heroine has emptiness and powerlessness in her soul.

Part 3. From the words: “They killed him...” to the words: “what she became for me”-acceleration of action: on one page - the rest of your life. A depiction of the heroine’s wanderings and hardships, which begin with the climactic phrase about “his” death. The heroine impartially describes her future life, stating the facts.

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

So, the narrative is built on an antithesis. This principle is proclaimed with the exclamation: “Well, my friends, it’s war!” The words “friends” and “war” are the main links in a chain of contradictions: saying goodbye to your beloved - and talking about the weather, the sun - and separation. Absurd contradictions.

But there are also contradictions associated with human psychology that accurately convey mental confusion: “...cry for me or sing at the top of my voice.” And then the beauty and leisurely life before “his” death is contrasted with the frantic pace and abundance of failures and misfortunes after.

The chronotope of the work is very detailed. In the first sentence there is a time of year: "in June". Summer, the blossoming of the soul and feelings. There is no exact date of “that year”: the numbers are not important - this is the past, gone. The past, our own, dear, blood, organic. The official date is a foreign concept, so the foreign date is indicated precisely: “they killed on the fifteenth of July” “On the nineteenth of July Germany announced Russia war», to emphasize rejection even over time. A vivid illustration of Bunin’s antithesis “friend or foe”.

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

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

Words of time throughout the story		Words of farewell time
specific dates:		After dinner
		it's time to sleep
on the morning of the 16th		that evening
in the spring of '18		stay a little longer
seasons and months:		it was so dark at first
in June of that year		he left in the morning
in September postpone until spring in winter in a hurricane
listing the number of years:
a whole 30 years have passed; we spent more than 2 years in 1912
Words by which time can be determined:
lived just a day long

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

One of the main means in the formation author's position is a system of images. Bunin's principle of presenting heroes is distinguished by its brightness and unusualness. So none of the characters has a name, the name of the “guest” and “groom” is never mentioned - it is too sacred to trust the sacred letters, the sounds of a favorite name on paper. Name of dear person "He" akin to Blok's name Beautiful Lady in verse - “She”. But the name of someone else’s, not your own, is named - “Ferdinand was killed in Sarajevo.” In a surreal sense, it can be considered a source of trouble. Evil is “more expressive” than good - here it has a specific name. These images embodied Bunin's antithesis “one's own - someone else's.”

Bunin introduces a new layer of images into the work: “family - people.” The family is comfortable, kind, happy, and the people are strangers “like destroyers,” thieves of harmony, “like many,” “A lot of people came to us on Peter’s Day”, “Germany declared war on Russia”, “Me too(like mass ) was engaged in trade, sold”, “sailed with a countless crowd of refugees.” The author seems to emphasize, using these images, that his story is not only about what happened to each person personally, but also about what happened to an entire generation. Bunin shows the tragedy of the generation most clearly using the fate of a woman - main character. The image of a woman has always been associated with the image of a homemaker, and family and home are the main values of the time. The events of the First World War, the revolution that followed it, the post-revolutionary years - all this befell the heroine - a blooming girl when she first met her and was close to death old woman- at the end of the story with her memories, similar to the outcome of her life. Her character combines the pride of an emigrant with defiance of fate - isn’t this a trait of the author himself? A lot of things coincide in life: he experienced a revolution, which he could not accept, and Nice, which could not replace Russia.

An important touch in the “girl” image system. She is indifferent to her past: she has become "French". The heroine describes “sleek hands”, “silver marigolds” and “golden laces” his pupil with bitter irony, but without any malice. “A sunny bunny” among the dull colors of “her” narrative, but we don’t feel the warmth - an icy shine. The greatest tragedy of the intelligentsia is shown by Bunin through its image: the loss of the future, lack of demand, the death of Russia in the souls of the children of emigrants.

The metonymic image of soldiers also appears in the story “in folders and unbuttoned overcoats.” This is obvious, the Red Army, to whom people who did not suit the new time sold their things. The image of the heroine's husband is interesting. He is also not named, but the contrast between the place where they (the heroine and her future husband) met (on the corner of Arbat and the market) and the very laconic but capacious characterization of the husband himself is emphasized "a man of rare, beautiful soul." This perhaps symbolizes the chaotic nature of Russian history at that time. By choosing several characters, Bunin reflected great tragedy Russia. Again the contrast - what was and what has become. Thousands of elegant ladies who have turned into "women in bast shoes" And "people, rare, beautiful souls" dressed “worn Cossack zipuns” and those who released "black beards" So gradually, following " ring, cross, fur collar" people were losing their country, and the country was losing its color and pride. The contrast of Bunin's system of images is obvious.

Bunin, as a master of words, brilliantly and masterfully uses antithesis at all levels of language. The most interesting is Bunin's syntax. The language of this work of art is characteristic of the author: it is simple, not replete with elaborate metaphors and epithets. In the first part of the novella (see the boundaries of the parts above), the author uses simple, less common sentences. This gives the impression of flipping through photographs in a family album, just a statement of facts. Offer - frame. Fifteen lines - ten sentences - frames. Let's look through the past. “On the fifteenth of June, Ferdinand was killed in Sarajevo.” “On the morning of the sixteenth, newspapers were brought from the post office.” "This is war!" “And now our farewell evening has come.” "Surprisingly early and cold autumn." In the episode of the farewell evening, the author seems to stop time, stretch the space, filling it with events, and the sentences become complex, each of their parts is widespread. This part contains many secondary members of the sentence, contrasting in meaning: « fogged up from the steam window" and "surprisingly early and cold autumn", "on black sky bright And acute sparkled clean icy stars" and "hanging over the table hot lamp". Numerically, this is expressed as follows: there are five sentences in fourteen lines. “That evening we sat quietly, only occasionally exchanging insignificant words, exaggeratedly calm, hiding our secret thoughts and feelings.” “Then black branches, sprinkled with mineral-shining stars, began to appear in the brightening sky.” “Left alone, we stayed in the dining room for a little while,” I decided to play solitaire, “he silently walked from corner to corner, then asked: “Do you want to walk a little?” In the next part, Bunin reveals the inner world of the characters using dialogue. The dialogues in this part are especially important. important role. Behind all the stock phrases, remarks about the weather, about “autumn,” there is a second meaning, subtext, unspoken pain. They say one thing and think about something else, they speak only for the sake of words, conversation. The so-called “undercurrent”. And the reader understands that the father’s absent-mindedness, the mother’s diligence, and the heroine’s indifference are feigned even without the author’s direct explanation: “only occasionally they exchanged insignificant words, exaggeratedly calm, hiding their secret thoughts and feelings.” “While getting dressed in the hallway, he continued to think about something, with a sweet smile he remembered Fet’s poems:

What a cold autumn

Put on your shawl and hood...

- I do not remember. It seems so:

Look between the blackening pines as if a fire is rising...

- What fire?

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

- What you?

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

The final part of the story is dominated by narrative sentences, complicated by homogeneous sentence parts. An unusual feeling of rhythm and overflowing with life events is created: “some kind of ring, then a cross, then a fur collar”, “Bulgaria, Serbia, Czech Republic, Belgium, Paris, Nice...”, “worked..., sold..., met..., went out. ..”, “sleek hands with silver nails... gold laces.” Bunin contrasts all this with the heroine’s inner emptiness and fatigue. She states her misfortunes without any emotion. Life overcrowded with events turns into the fact that there is no life. At the level of syntax, the antithesis is clearly expressed: simple - complex sentences, prevalence, saturation of homogeneous members of the sentence and their absence, dialogicity - the heroine’s monologue. Consciousness splits: there is yesterday and now, the past and all life. Syntax tools help with this.

The masterful use of morphological means of language is also noteworthy. So in the first part of the work the verbs are put in the past tense. Memories... The heroine seems to be making her way through the windfall of the past to the present, living her life, growing old, and becoming disillusioned: “got up”, “crossed”, “passed”, “looked”, “lived”, “wandered”. In the last part of the story, the narration is told using present tense forms: “I ask”, “I answer”, “I believe”, “Waiting”. The heroine seems to be awakening. And life ended.

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

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

The title of the collection “Dark Alleys” evokes images of dilapidated gardens of old estates and overgrown alleys of Moscow parks. Russia, fading into the past, into oblivion.

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

Bunin is not a philosopher, not a moralist or a psychologist. For him, what the sunset was like when the heroes said goodbye and went somewhere is more important than the purpose of their trip. “He was always alien to both God-seeking and God-fighting.” Therefore there is no point in looking deep meaning in the actions of the heroes. “Cold Autumn” is a story where, in fact, love is not talked about. This work is the only one with a documented precise chronology. The language of the narration is emphatically dry... Sitting somewhere in a coastal restaurant elderly woman, neatly dressed and, nervously fiddling with her scarf, tells her story to a random interlocutor. There are no emotions anymore - everything has been experienced a long time ago. She speaks equally casually about the death of the groom and about indifference adopted daughter. As a rule, in Bunin the action is concentrated in a short time interval. “Cold Autumn” is not just a segment of life, it is a chronicle of a whole life. Earthly love, cut short by death, but thanks to this death becoming unearthly. And at the end of my hectic life the heroine suddenly realizes that she had nothing but this love. “Bunin at the time of his joyless “cold autumn”, having survived the revolution and exile, in the days of one of the most terrible wars writes a story about love, just as Boccaccio wrote the Decameron during the plague. For the flashes of this unearthly fire are the light that illuminates the path of humanity.” As one of the heroines of “Dark Alleys” said:

“All love is great happiness, even if it is not shared.”

List of used literature
Adamovich G.V. Loneliness and freedom. New York, 1985. Alexandrova V.A. "Dark alleys" //, 1947 №15.
New magazine
Afanasyev V.O. On some features of Bunin’s late lyrical prose // News of the USSR Academy of Sciences. Dept. Literature and Language, 1979, v. 29 issue 6.
Baboreko A.K. Bunin during the war of 1943-1944 // Daugava, 1980 No. 10.
Dolgopolov L.O. On some features of the realism of late Bunin // Russian literature, 1973 No. 2.
Muromtseva - Bunina V.N. Life of Bunin, Paris, 1958. School of classics. Criticism and comments.. 1998.

silver Age He did not recognize the division of literature into prose and lyrics, and created a collection of stories, “Dark Alleys,” that is amazing in its beauty and tragic attitude. The seemingly simple life story of the heroine of the story “Cold Autumn”, presented in dry language, is insightful and poetic. As in the entire collection, here two are tightly intertwined with each other..

themes: love and death Love is perceived by Bunin as the highest gift of human destiny. But the purer, more perfect, the more beautiful the feeling, the shorter-lived it is. True love

always ends in tragedy; for moments of happiness, the heroes pay with melancholy and pain. High love experience is associated with the idea of infinity and mystery, which a person can only touch. There is no traditional in the story plot

The heroine remembers her youthful love with tenderness; the feeling of aching sadness, longing for unfulfilled, unfulfilled happiness is hidden behind her every word. But the death of a lover is spoken of as something ordinary; the most terrible event in life is presented as a moment in a series of events.

Bunin is a very subtle psychologist. There is no bright expression in the text, no open emotions, but behind the external calm lies a carefully suppressed desire to once again enjoy that breath of happiness that the cold autumn once gave. The woman speaks callously about a series of ridicule of fate. What was her life like? All of it is concentrated only in that cold autumn evening when happiness was so possible. And then just a string of events and faces. The heroine speaks about the hunger that knows no mercy, the death of her husband, the flight of her relatives, the distance of her named daughter, as if something uninteresting and unimportant is happening. The driest mention is the words about the death of a loved one. The stronger the pain, the more emotions it absorbs, burning out the soul. The unique, lively intonation is associated only with the description of that moment, the “lightning of happiness” that the heroine was lucky enough to know.

Hidden in the text of the story oxymoron. The hottest, most exciting, tender time is the cold evening. And autumn is a symbol, a time when winter is near, death, oblivion during life. Only the hope of meeting there, somewhere outside of existence and space, is all that supported the heroine’s existence.

Analysis of the story “Easy Breathing”
“Dark Alleys”, analysis of Bunin’s story
Brief summary of Bunin’s work “Caucasus”
“Sunstroke”, analysis of Bunin’s story

The story “Cold Autumn” can be divided into two parts: before the war and after the death of the hero. Moreover, the evening that the young people spent together in the garden is described to the smallest detail, so this fragment forces the reader to focus on it, which again proves the main character’s idea that in her life “there was only that cold autumn evening.” Bunin wrote: “There is no happiness in life, there are only lightnings of it, appreciate them, live by them.” So the heroine’s life is an “unnecessary dream”, only one ray of sunshine was in it - this is an evening that will forever remain in the memory of the lyrical heroine.
Main character in the garden he was very lyrical, he remembered a poem that supposedly predicts the future, as if a “fire” is war, a red and bloody war... he also says that “the windows of the houses shine very specially, like autumn,” because This is truly a “special” autumn, the last in his life and the last in the world of the heroine’s happiness.
When the mother sewed up the “little silk bag,” everyone felt a touch of touching within themselves, because such a quick separation of young people pricks the hearts of all family members very unpleasantly.
The girl drives away dark thoughts from herself, is afraid of them, but says with confidence that without him life will lose meaning. After all, indeed, this will be the case later, she will no longer find her happiness, she will be left alone, a useless elderly woman who has lost her entire family, who has lost him...
She says that she “survived his death,” but this is not so, she waits for him all her life, but “love does not understand death, love is life,” and this keeps her in peace. But she is waiting for her death to meet him there, to plunge back into the past, so that that autumn evening will return the colors to her feelings...

Essay on literature on the topic: The theme of love in the story “Cold Autumn” by Bunin

Other writings:

Review of Bunin’s story “Cold Autumn” from the series “Dark Alleys”. Ivan Bunin wrote this cycle in exile when he was seventy years old. Despite the fact that Bunin spent a long time in exile, the writer did not lose the sharpness of the Russian language. This can be seen from Read More......
The general meaning of all I. A. Bunin’s works about love can be conveyed rhetorical question: “Is love ever private?” Thus, in his cycle of stories “Dark Alleys” (1943) there is probably not a single work dedicated to happy love. One way or another, this feeling is short-lived and Read More......
I. A. Bunin’s cycle “Dark Alleys” represents the author’s thoughts about the most important thing in human life - about love in the broad sense of the word. In the stories of the series, the writer tried to illuminate this feeling from all sides, to express his understanding of love, its meaning Read More ......
Ivan Bunin wrote this cycle in exile when he was seventy years old. Despite the fact that Bunin spent a long time in exile, the writer did not lose the sharpness of the Russian language. This can be seen in this series of stories. All stories are dedicated to love, only in Read More......
Cold Autumn The story begins at the beginning of the First World War and is divided into two parts: before the hero leaves for the front and after his death. The evening spent in the garden by the lovers is described in great detail. The young man is lyrical, he remembers poems where the image Read More ......
Bunin considered the collection of stories “Dark Alleys”, created during the Second World War in exile, to be the best thing he wrote in his life. He was a pure source of spiritual inspiration for the writer during this difficult time. The theme of love unites all the short stories in the cycle. Often this is Read More......
The theme of love occupies perhaps the main place in Bunin’s work. This topic allows the writer to correlate what is happening in a person’s soul with the phenomena of external life, with the requirements of a society that is based on the relationship of purchase and sale and in which Read More ......
In exile, where Bunin went after the famous October events, during the years of loneliness and slow oblivion, works on the themes of love, death and human memory appeared in his work. The creations of this cycle, marked by an extraordinary poeticization of human feeling, revealed the wonderful talent of the writer, his Read More ......

The theme of love in the story “Cold Autumn” by Bunin

Sections: Literature

Ivan Alekseevich Bunin is an outstanding Russian writer who has gained special worldwide fame. Bunin's poetry and prose come from a common verbal and psychological source; his rich language, full of unique plasticity, is unified beyond the division into literary types and genres. In it, according to K. Paustovsky, there was everything “from ringing copper solemnity to the transparency of flowing spring water, from measured precision to intonations of amazing softness, from a light tune to slow rolls of thunder.”

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

What a cold autumn
Put on your shawl and hood...
Look between the blackening pines
It's like a fire is rising.

These lines of Fet, uttered by the hero of the story “Cold Autumn,” most clearly reflect the time when I. Bunin, in exile, wrote the cycle “Dark Alleys”. A time of change, a time of struggle, a time of contradiction. It is noteworthy that in the story “Cold Autumn” contradictions appear constantly. If we trace Bunin’s creative activity, we will see that its “distinctive feature is the opposition of the poetic traditions of the Russian muse of the “golden age” to the innovative searches of the symbolists.”

According to Yu. Aikhenvald’s definition, Bunin’s work “... stood out against their background as good old stuff.”

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

plot
compositions
chronotope
space
image systems
artistic and visual media.

According to Yu. Aikhenvald’s definition, Bunin’s work “... stood out against their background as good old stuff.” “He was visiting in June”, “On Peter’s Day he was declared a groom.” The entire work is built on contrast. So in the exhibition we read: “I came in September to say goodbye" And “Our wedding was postponed until spring.” Cold autumn can be interpreted as the end of ordinary peaceful life along with the dying of nature. But the wedding of the heroes was postponed until spring. After all, spring appears not only as a time for the rebirth of nature, but also as the beginning of a new peaceful life.

The story “Cold Autumn” begins with an event that gives an indication of historical authenticity - the First World War. Events are given in fragments:



			Life

The composition has the shape of a ring: “Just live and enjoy the world...”- life - “...I lived and was happy...” The basis of the tragic plot is expressed in this contradiction. Now the heroine only has faith in waiting for the meeting, faith in happiness “there.” Thus, the storyline can be built like this: “What happened in my life anyway? Only that cold autumn evening... the rest is an unnecessary dream.” The work begins with a description of an autumn evening and ends with a memory of it. In a conversation in the park, the heroine says: "I won't survive your death." And his words: “You live, enjoy the world, then come to me.” And she admits that she did not survive it, she simply forgot herself in a terrible nightmare. And it becomes clear why she spoke in such an essentially dry, hasty, indifferent tone about everything that happened after. The soul died along with that evening. The ring composition is used to show the closed circle of the heroine’s life: It’s time for her to “go,” to return to “him.” Compositionally, the work can be divided into parts that are contrasting in relation to each other.

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

The chronotope of the work is very detailed. In the first sentence there is a time of year: "in June". Summer, the blossoming of the soul and feelings. There is no exact date of “that year”: the numbers are not important - this is the past, gone. The past, our own, dear, blood, organic. The official date is a foreign concept, so the foreign date is indicated precisely: “they killed on the fifteenth of July” “On the nineteenth of July, Germany declared war on Russia,” to emphasize rejection even over time. A vivid illustration of Bunin’s antithesis “friend or foe”.

Words of time throughout the story		Words of farewell time
specific dates:		After dinner
		it's time to sleep
on the morning of the 16th		that evening
in the spring of '18		stay a little longer
seasons and months:		it was so dark at first
in June of that year		he left in the morning
in September postpone until spring in winter in a hurricane
listing the number of years:
a whole 30 years have passed; we spent more than 2 years in 1912
Words by which time can be determined:
lived just a day long

One of the main means in forming the author’s position is a system of images. Bunin's principle of presenting heroes is distinguished by its brightness and unusualness. So none of the characters has a name, the name of the “guest” and “groom” is never mentioned - it is too sacred to trust the sacred letters, the sounds of a favorite name on paper. Name of dear person "He" akin to Blok’s name for the Beautiful Lady in verse - “She”. But the name of someone else’s, not your own, is named - “Ferdinand was killed in Sarajevo.” In a surreal sense, it can be considered a source of trouble. Evil is “more expressive” than good - here it has a specific name. These images embodied Bunin's antithesis “one's own - someone else's.”

Bunin introduces a new layer of images into the work: “family - people.” The family is comfortable, kind, happy, and the people are strangers “like destroyers,” thieves of harmony, “like many,” “A lot of people came to us on Peter’s Day”, “Germany declared war on Russia”, “Me too(like mass ) was engaged in trade, sold”, “sailed with a countless crowd of refugees.” The author seems to emphasize, using these images, that his story is not only about what happened to each person personally, but also about what happened to an entire generation. Bunin shows the tragedy of a generation most clearly using the fate of a woman - the main character. The image of a woman has always been associated with the image of a homemaker, and family and home are the main values of the time. The events of the First World War, the revolution that followed, the post-revolutionary years - all this fell to the lot of the heroine - a blooming girl when she first met her and an old woman close to death - at the end of the story with her memories, similar to the outcome of her life. Her character combines the pride of an emigrant with defiance of fate - isn’t this a trait of the author himself? A lot of things coincide in life: he experienced a revolution, which he could not accept, and Nice, which could not replace Russia.

The metonymic image of soldiers also appears in the story “in folders and unbuttoned overcoats.” This is obvious, the Red Army, to whom people who did not suit the new time sold their things. The image of the heroine's husband is interesting. He is also not named, but the contrast between the place where they (the heroine and her future husband) met (on the corner of Arbat and the market) and the very laconic but capacious characterization of the husband himself is emphasized "a man of rare, beautiful soul." This perhaps symbolizes the chaotic nature of Russian history at that time. By choosing several characters, Bunin reflected the great tragedy of Russia. Again the contrast - what was and what has become. Thousands of elegant ladies who have turned into "women in bast shoes" And "people, rare, beautiful souls" dressed “worn Cossack zipuns” and those who released "black beards" So gradually, following " ring, cross, fur collar" people were losing their country, and the country was losing its color and pride. The contrast of Bunin's system of images is obvious.

Bunin, as a master of words, brilliantly and masterfully uses antithesis at all levels of language. The most interesting is Bunin's syntax. The language of this work of art is characteristic of the author: it is simple, not replete with elaborate metaphors and epithets. In the first part of the novella (see the boundaries of the parts above), the author uses simple, less common sentences. This gives the impression of flipping through photographs in a family album, just a statement of facts. Offer - frame. Fifteen lines - ten sentences - frames. Let's look through the past. “On the fifteenth of June, Ferdinand was killed in Sarajevo.” “On the morning of the sixteenth, newspapers were brought from the post office.” "This is war!" “And now our farewell evening has come.” "Surprisingly early and cold autumn." In the episode of the farewell evening, the author seems to stop time, stretch the space, filling it with events, and the sentences become complex, each of their parts is widespread. This part contains many secondary members of the sentence, contrasting in meaning: « fogged up from the steam window" and "surprisingly early and cold autumn", "on black sky bright And acute sparkled clean icy stars" and "hanging over the table hot lamp". Numerically, this is expressed as follows: there are five sentences in fourteen lines. “That evening we sat quietly, only occasionally exchanging insignificant words, exaggeratedly calm, hiding our secret thoughts and feelings.” “Then black branches, sprinkled with mineral-shining stars, began to appear in the brightening sky.” “Left alone, we stayed in the dining room for a little while,” I decided to play solitaire, “he silently walked from corner to corner, then asked: “Do you want to walk a little?” In the next part, Bunin reveals the inner world of the characters using dialogue. Dialogues play a particularly important role in this part. Behind all the stock phrases, remarks about the weather, about “autumn,” there is a second meaning, subtext, unspoken pain. They say one thing and think about something else, they speak only for the sake of words, conversation. The so-called “undercurrent”. And the reader understands that the father’s absent-mindedness, the mother’s diligence, and the heroine’s indifference are feigned even without the author’s direct explanation: “only occasionally they exchanged insignificant words, exaggeratedly calm, hiding their secret thoughts and feelings.” “While getting dressed in the hallway, he continued to think about something, with a sweet smile he remembered Fet’s poems:

What a cold autumn

Put on your shawl and hood...

- I do not remember. It seems so:

Look between the blackening pines as if a fire is rising...

- What fire?

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

- What you?

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

The final part of the story is dominated by narrative sentences, complicated by homogeneous sentence parts. An unusual feeling of rhythm and overflowing with life events is created: “some kind of ring, then a cross, then a fur collar”, “Bulgaria, Serbia, Czech Republic, Belgium, Paris, Nice...”, “worked..., sold..., met..., went out. ..”, “sleek hands with silver nails... gold laces.” Bunin contrasts all this with the heroine’s inner emptiness and fatigue. She states her misfortunes without any emotion. Life overcrowded with events turns into the fact that there is no life. At the level of syntax, the antithesis is clearly expressed: simple - complex sentences, prevalence, saturation of homogeneous members of the sentence and their absence, dialogic - the heroine's monologue. Consciousness splits: there is yesterday and now, the past and all life. Syntax tools help with this.

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

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

The title of the collection “Dark Alleys” evokes images of dilapidated gardens of old estates and overgrown alleys of Moscow parks. Russia, fading into the past, into oblivion.

Bunin is not a philosopher, not a moralist or a psychologist. For him, what the sunset was like when the heroes said goodbye and went somewhere is more important than the purpose of their trip. “He was always alien to both God-seeking and God-fighting.” Therefore, it is pointless to look for deep meaning in the actions of the heroes. “Cold Autumn” is a story where, in fact, love is not talked about. This work is the only one with a documented precise chronology. The language of the narrative is emphatically dry... An elderly woman, neatly dressed, sits somewhere in a coastal restaurant and, nervously fiddling with her scarf, tells her story to a random interlocutor. There are no emotions anymore - everything has been experienced a long time ago. She speaks equally casually about the death of the groom and about the indifference of her adopted daughter. As a rule, in Bunin the action is concentrated in a short time interval. “Cold Autumn” is not just a segment of life, it is a chronicle of a whole life. Earthly love, cut short by death, but thanks to this death becoming unearthly. And at the end of her stormy life, the heroine suddenly realizes that she had nothing but this love. “Bunin, at the time of his joyless “cold autumn”, having survived the revolution and exile, during the days of one of the most terrible wars, writes a story about love, just as Boccaccio wrote “The Decameron” during the plague. For the flashes of this unearthly fire are the light that illuminates the path of humanity.” As one of the heroines of “Dark Alleys” said:

“All love is great happiness, even if it is not shared.”

List of used literature
Alexandrova V.A. “Dark Alleys” // New Journal, 1947 No. 15.
New magazine
Afanasyev V.O. On some features of Bunin’s late lyrical prose // News of the USSR Academy of Sciences. Dept. Literature and Language, 1979, v. 29 issue 6.
Baboreko A.K. Bunin during the war of 1943-1944 // Daugava, 1980 No. 10.
Dolgopolov L.O. On some features of the realism of late Bunin // Russian literature, 1973 No. 2.
School of classics. Criticism and comments. Silver Age. 1998.

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