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It occupies a rather significant place in his work, despite the fact that Ivan Alekseevich gained fame primarily as a prose writer. However, Ivan Bunin himself claimed that he was primarily a poet. The path in the literature of this author began precisely with poetry.

It is worth noting that Bunin's lyrics go through all his work and are characteristic not only for the early stage of development of his artistic thought. Bunin's original poems, unique in their artistic style, are difficult to confuse with the works of other authors. This individual style reflects the poet's worldview.

Bunin's first poems

When Ivan Alekseevich was 17 years old, his first poem was published in the Rodina magazine. It's called "The Village Beggar". In this work, the poet talks about the sad state in which the Russian village was at that time.

From the very beginning of the literary activity of Ivan Alekseevich, Bunin's lyrics are characterized by their special style, manner and themes. Many of his early poems reflect Ivan Alekseevich, his subtle inner world, rich in shades of feelings. Bunin's quiet clever lyrics of this period resemble a conversation with a close friend. However, she impressed her contemporaries with artistry and high technology. Many critics admired Bunin's poetic gift, the author's skill in the field of language. It should be said that Ivan Alekseevich drew many accurate comparisons and epithets from the works of folk art. Paustovsky highly appreciated Bunin. He said that each line of his is clear, like a string.

In early work, not only Bunin's landscape lyrics are found. His poems are also devoted to civil themes. He created works about the hard lot of the people, with all his soul he longed for changes for the better. For example, in a poem called "Desolation", the old house tells Ivan Alekseevich that he is waiting for "destruction", "brave voices" and "powerful hands" so that life blooms again "from the dust on the grave."

"Leaf fall"

The first collection of poetry by this author is called Falling Leaves. He appeared in 1901. This collection included a poem of the same name. Bunin says goodbye to childhood, to his inherent world of dreams. In the poems of the collection, the homeland appears in wonderful pictures of nature. It evokes a sea of emotions and feelings.

In Bunin's landscape lyrics, the image of autumn is most often found. It was with him that his work as a poet began. This image until the end of his life will illuminate the poems of Ivan Alekseevich with his golden radiance. Autumn in the poem "Falling Leaves" "comes to life": the forest smells of pine and oak, which dried up during the summer from the sun, and autumn enters its "terem" "quiet widow".

Blok noted that few people know how to know and love their native nature like Bunin. He also added that Ivan Alekseevich claims to occupy one of the central places in Russian poetry. A distinctive feature of both the lyrics and prose of Ivan Bunin was the rich artistic perception of native nature, the world, as well as the person in it. Gorky compared this poet in terms of skill in creating a landscape with Levitan himself. Yes, and many other writers and critics liked Bunin's lyrics, its philosophicism, conciseness and sophistication.

Commitment to poetic tradition

Ivan Alekseevich lived and worked at the turn of the 19th-20th centuries. At this time, various modernist movements were actively developing in poetry. Word creation was in vogue, many authors were engaged in it. To express their feelings and thoughts, they were looking for very unusual forms, which sometimes shocked readers. However, Ivan Bunin adhered to the classical traditions of Russian poetry, which Tyutchev, Fet, Polonsky, Baratynsky and others developed in their work. Ivan Alekseevich created realistic lyrical poems and did not at all strive for modernist experiments with the word. The poet was quite satisfied with the events of reality and the riches of the Russian language. The main motifs of Bunin's lyrics remain generally traditional.

"Ghosts"

Bunin is classic. This author absorbed into his work all the great wealth of Russian poetry of the 19th century. Bunin often emphasizes this continuity in form and content. So, in the poem "Ghosts" Ivan Alekseevich defiantly declares to the reader: "No, the dead have not died for us!" For the poet, vigilance for ghosts means devotion to the departed. However, the same work testifies that Bunin is sensitive to the latest phenomena in Russian poetry. In addition, he is interested in poetic interpretations of the myth, everything subconscious, irrational, sad and musical. It is from here that the images of harps, ghosts, dormant sounds, as well as a special melody akin to Balmont come from.

Transformation of landscape lyrics into philosophical

Bunin in his poems tried to find the meaning of human life, the harmony of the world. He affirmed the wisdom and eternity of nature, which he considered an inexhaustible source of beauty. These are the main motifs of Bunin's lyrics, passing through all his work. Ivan Alekseevich always shows human life in the context of nature. The poet was sure that all living things are reasonable. He argued that one cannot speak of nature separate from us. After all, any, even the most insignificant movement of air is the movement of our life.

Gradually, Bunin's landscape lyrics, the features of which we noted, turn into a philosophical one. For the author in the poem now the main thing is thought. Many of Ivan Alekseevich's works are devoted to the theme of life and death. Bunin is very diverse thematically. His poems, however, are often difficult to fit into the framework of any one theme. This is worth mentioning separately.

Thematic facets of poems

Speaking about the lyrics of Ivan Alekseevich, it is difficult to clearly define the themes of his poetry, since it is a combination of various thematic facets. The following facets can be distinguished:

poems about life
about her joy
about childhood and youth
about sadness
about loneliness.

That is, Ivan Alekseevich wrote in general about a person, about what touches him.

"Evening" and "The Sky Opened"

One of these facets are poems about the world of man and the world of nature. So, "Evening" is a work written in the form of a classic sonnet. Both Pushkin and Shakespeare have philosophical and love sonnets. Bunin, in this genre, sang the world of nature and the world of man. Ivan Alekseevich wrote that we always only remember happiness, but it is everywhere. Perhaps this is the "autumn garden behind the barn" and clean air pouring through the window.

People are not always able to look at familiar things with an unusual look. We often simply do not notice them, and happiness eludes us. However, neither bird nor cloud escapes the poet's keen eye. It is these simple things that bring happiness. Its formula is expressed in the last line of this work: "I see, I hear, I am happy. Everything is in me."

This poem is dominated by the image of the sky. This image is connected, in particular, with the assertion of the eternity of nature in Bunin's lyrics. He is the leitmotif in all the poetic work of Ivan Alekseevich. The sky represents life, because it is eternal and extraordinary. His image is depicted, for example, in the verse "The sky opened up." Here it is the center of reflection on life. However, the image of the sky is closely connected with other images - light, day, birch. All of them seem to illuminate the work, and the birch gives a satin light.

Reflection of modernity in Bunin's lyrics

It is noteworthy that when the revolution had already begun in Russia, its processes were not reflected in the poetic work of Ivan Alekseevich. He remained true to the philosophical theme. It was more important for the poet to know not what was happening, but why it was happening to a person.

Ivan Alekseevich correlated modern problems with eternal concepts - life and death, good and evil. Trying to find the truth, he turned in his work to the history of various peoples and countries. So there were poems about ancient deities, Buddha, Mohammed.

It was important for the poet to understand according to what general laws an individual and society as a whole develop. He recognized that our life on earth is only a segment of the eternal existence of the Universe. From here appear the motives of fate and loneliness. Ivan Alekseevich foresaw the coming catastrophe of the revolution. He considered it to be the greatest misfortune.

Ivan Bunin sought to look beyond reality. He was interested in the mystery of death, the breath of which can be felt in many of the poems of this author. The destruction of the nobility as a class, the impoverishment of the landowners' estates, made him feel doomed. However, despite the pessimism, Ivan Alekseevich saw a way out, which is the fusion of man with nature, in its eternal beauty and peace.

Bunin's lyrics are very versatile. Briefly, within the framework of one article, only its main features can be noted, only a few examples can be given. Let's say a few words about the love lyrics of this author. She is also very interesting.

love lyrics

In Bunin's works, the theme of love is one of the most frequently encountered. Ivan Alekseevich often sang this feeling both in verse and in prose. The poetry of love by this author anticipates the famous cycle of stories by Bunin

Poems dedicated to this theme reflect various shades of love feelings. For example, the work "The sadness of shining and black eyelashes ..." is filled with the sadness of parting with his beloved.

"The sadness of eyelashes shining and black ..."

This poem consists of two stanzas. In the first of them, the author recalls his beloved, whose image still lives in his soul, in his eyes. However, the lyrical hero bitterly realizes that his youth has passed, and his former lover can no longer be returned. His tenderness in the description of the girl is emphasized by various means of expression, such as metaphors ("sadness of eyelashes", "eye fire", "diamonds of tears") and epithets ("heavenly eyes", "rebellious tears", "shining eyelashes").

In the second stanza of the poem, the lyrical hero thinks about why his beloved still comes to him in a dream, and also recalls the delight of meeting this girl. These reflections are expressed in the work by rhetorical questions, which, as you know, should not be answered.

"What's ahead?"

Another poem on a love theme - "What lies ahead?" It is filled with an atmosphere of calm and happiness. To the question "What lies ahead?" the author replies: "Happy long journey." The lyrical hero understands that happiness awaits him with his beloved. However, he sadly thinks about the past, does not want to let him go.

Bunin's lyrics: features

In conclusion, we list the main features that are characteristic of Bunin's lyrical poetry. This is the brightness of details, the desire for descriptive detail, laconism, classical simplicity, poeticization of eternal values, especially native nature. In addition, the work of this author is characterized by a constant appeal to symbolism, a wealth of subtext, a close connection with Russian prose and poetry, and a gravitation towards the philosophical. He often echoes his own stories.

Bunin's work is characterized by an interest in ordinary life, the saturation of the narrative with details. Bunin is considered to be the successor of Chekhov's realism. His realism, however, differs from Chekhov's in its extreme sensitivity. Like Chekhov, Bunin turns to eternal themes. In his opinion, the highest judge is human memory. It is the memory that protects Bunin's heroes from the inexorable time, from death. Bunin's prose is considered a synthesis of prose and poetry. It has an unusually strong confessional beginning (“Antonov apples”). Often, Bunin's lyrics replace the plot basis - this is how a portrait-story appears (“Lirnik Rodion”).

Among Bunin's works there are stories in which the epic, romantic beginning is expanded, when the whole life of the hero falls into the writer's field of vision (“The Cup of Life”). Bunin is a fatalist, an irrationalist, pathos of tragedy and skepticism are inherent in his works, which echoes the concept of modernists about the tragedy of human passion. Like the Symbolists, Bunin's appeal to the eternal themes of love, death and nature comes to the fore. The cosmic coloring of his works brings his work closer to Buddhist ideas.

Bunin's love is tragic. Moments of love, according to Bunin, are the pinnacle of human life. Only by falling in love can a person truly feel another person, only a feeling justifies high demands on oneself and one's neighbor, only a lover is able to overcome natural egoism. The state of love is not fruitless for Bunin's heroes, it elevates souls. One example of an unusual interpretation of the theme of love is the story "Chang's Dreams" (1916).

The story is written in the form of a dog's memories. The dog feels the inner devastation of the captain, his master. In the story, the image of "distant working people" (Germans) appears. Based on a comparison with their way of life, the writer speaks skeptically about the possible ways of human happiness: to work in order to live and multiply, without knowing the fullness of life; endless love, which is hardly worth devoting yourself to, since there is always the possibility of betrayal; the path of eternal thirst, search, in which, however, according to Bunin, there is also no happiness. Reality in the story is opposed by the faithful memory of a dog, when there was peace in the soul, when the captain and the dog were happy. Moments of happiness are highlighted. Chang does not have in himself the idea of fidelity and gratitude. This, according to the writer, is the meaning of life that a person is looking for.

In the lyrical hero of Bunin, the fear of death is strong, but in the face of death, many feel inner spiritual enlightenment, reconcile, do not want to disturb their loved ones with their death (“Cricket”, “Thin Grass”).

Bunin is characterized by a special way of depicting the phenomena of the world and the spiritual experiences of a person by contrasting them with each other. So, in the story “Antonov apples”, admiration for the generosity and perfection of nature coexists with sadness over the dying of noble estates.

A number of Bunin's works are dedicated to the ruined village, in which hunger and death rule. The writer is looking for the ideal in the patriarchal past with its old world prosperity. The desolation and degeneration of noble nests, the moral and spiritual impoverishment of their owners cause Bunin to feel sadness and regret about the departed harmony of the patriarchal world, about the disappearance of entire estates (“Antonov apples”). In many stories of 1890-1900, images of "new" people appear. These stories are imbued with a premonition of imminent disturbing changes,

In the early 1900s, the lyrical style of Bunin's early prose changed. The story "The Village" (1911) reflects the writer's dramatic thoughts about Russia, about its future, about the fate of the people, about the Russian character. Bunin reveals a pessimistic view of the prospects of people's life. The story "Su-hodol" raises the theme of the doom of the noble estate world, becoming a chronicle of the slow tragic death of the Russian nobility. Both the love and the hatred of the heroes of "Dry Valley" bear the seal of decay, inferiority - everything speaks of the regularity of the end. The death of old Khrushchev, who was killed by his illegitimate son, the tragic death of Pyotr Petrovich is predetermined by fate itself. There is no limit to the inertia of Sukhodolsk life, where everyone lives only in memories of the past. The final picture of the church cemetery, "lost" graves symbolizes the loss of an entire class. In Sukhodol, Bunin repeatedly conveys the idea that the souls of a Russian nobleman and a peasant are very close, that the differences are reduced only to the material side.

Bunin the prose writer did not join any fashionable literary movements or groupings, in his words, "did not throw out any banners" and did not proclaim any slogans. Criticism noted the merits of Bunin's language, his art "to raise the everyday phenomena of life into the world of poetry." "Low" topics for the writer did not exist. The reviewer of the journal "Bulletin of Europe" wrote: "In terms of picturesque accuracy, Mr. Bunin has no rivals among Russian poets." He had a great sense of the Motherland, language, history. One of the sources of his work was folk speech. Many critics compared Bunin's prose with the works of Tolstoy and Dostoevsky, while noting that he brought new features and new colors to the realism of the last century, enriching it with the features of impressionism.

Creativity Dina Rubina

2.1 Characteristic features of I.A. Bunin

Ivan Alekseevich Bunin was born in 1870 in Voronezh, into an impoverished noble family. He spent his childhood on a farm in the Oryol province. The way of life of the future writer is rightly considered more diverse than landlord. Of course, he was unfamiliar with the need, but the circumstances were such that the young Bunin could not get a good education - it was limited to four classes of the gymnasium.

When you read his books, the impression does not leave: their author is an intelligent, highly educated person. This is revealed in many semantic details of the narrative, and is reflected in an amazing stylistic richness. It is not enough to refer to the author's natural data - the breadth of thought and speech culture always have support in the artist's enormous work on his own spiritual, intellectual perfection. Bunin went through a difficult but excellent school of self-education.

In 1897, a collection of Bunin's stories was published. Encouraged by the praise of critics, he devotes himself entirely to literary creativity. Soon, the young writer received official recognition of his literary merits: in 1903, the Academy of Sciences awarded Bunin the Pushkin Prize for the collection of poems Falling Leaves and the translation of the Song of Hiawatha by the American poet Longfellow. In 1909, the Academy elected Bunin as its honorary member.

But even more expensive for Bunin during these years was the rapprochement with the best writers of that time, especially with Gorky and Chekhov, the attention of Leo Tolstoy. The happiest time in Bunin's life has come. He is accepted in literary circles - this flatters his literary ambition, as well as many other things related to external success.

Bunin was not captured by fashionable decadent trends in literature, he remained faithful to the realistic traditions of Russian classics. His style in this sense even seemed somewhat demonstrative against the background of various aesthetic experiments of that time. But, let us note, this was the path of more than one Bunin: tradition lived in the great experience of Tolstoy, Chekhov, Kuprin, and other writers; Gorky - the artist of the new era - enriched realism. Bunin quickly entered great literature and embarked on its main, realistic path.

Time and environment dictated to the writer the right direction of his artistic searches. Bunin saw the ripening historical changes in the country and, loving a lot in his former life, contrary to the opinion of some contemporaries, did not at all idealize the passing era. On the contrary, as a realist, he exposed the cruelty and immorality of an unrighteous social order.

Bunin did not accept the revolution of 1905. The fact that shortly after the revolution of 1905 Bunin wrote his best works cannot be called an accident. The writer endured the October Revolution hard and, not approving the course of the new government, emigrated. The emigrant period of Bunin's life and work began. The artist no longer knew, as before, long periods of creative upsurge, spiritual happiness.

What was the reason for the attention of contemporaries to Bunin and what now supports an active interest in his books? First of all, attention is drawn to the versatility of the work of a great artist. Each reader finds motives close to himself in his work. There is something in Bunin's books that is dear to all spiritually developed people at all times. In the future they will also find their way to readers who are not deaf to the beautiful, to the moral, who are able to rejoice in the universe and sympathize with the unfortunate.

Bunin, as we already know, entered literature as a poet. The first poems were not original in figurative structure, they basically repeated the themes and intonations of Pushkin, Lermontov, Tyutchev, and partly Nekrasov. But already in youthful compositions there were motives that would largely determine the meaning of Bunin's later mature work. One of them is Pushkin's. The great poet saw a moral divide in human natures: some people are natural, spontaneous, others are unnatural, they prefer an artificial, false form of being. Some care, others do not care about beauty, the true purpose of man. The first in Pushkin is personified by Mozart, the second by Salieri. Tragedy gives rise to the thought: the death of a genius at the hands of an artisan is a consequence of the fragmentation of the world, where spiritual union is difficult to achieve. But ideally, according to Pushkin, it is possible - if only the world was arranged according to Mozart, and not according to Salieri.

So, obviously, Bunin also felt life. Pushkin's antithesis - bright sincerity and fatal falsehood - receives from him a specific social characteristic.

Bunin is a good poet, but prose brought him fame. However, his stories and stories can hardly be fully explained without comparison with his lyrics. Much of the legacy of Bunin the prose writer can be attributed - by analogy with Turgenev's example - to the genre of "poems in prose." His prose is characterized by important properties of poetic speech: emotional tension, rhythmic structure. Almost to the same extent as in poetry, the author is present in many stories as an eyewitness and participant in what is happening.

Bunin's prose has an almost magical effect on the reader. You can understand the reasons for this only when you read the work more than once, slowly. You will not understand one word - you will lose the meaning of the phrase.

You understand this especially when reading stories from the cycle "Dark Alleys". As the author himself wrote, these are "stories about love, about its" dark "and most often gloomy and cruel alleys."

In its entirety, this book was published in 1946 in Paris, and researchers call it the only one of its kind.

The discovery of the twentieth century was lyrical prose, which seems to blur the boundaries between epic and lyrics, when the author finds himself in the circle of his characters, shares their troubles and anxieties. Such are the short stories of the "Dark Alleys" cycle. In the story that gave the name to the cycle, there are such lines: "All love is a great happiness, even if it is not shared."

The book "Dark Alleys" is usually called the "encyclopedia of love." I. A. Bunin in this cycle of stories tried to show the relationship of two from different angles, in all its variety of manifestations. "Dark Alleys" is the favorite brainchild of the writer, created for many years. Here the author's reflections on love were embodied. This was the topic to which Bunin devoted all his creative energies. The book is as multifaceted as love itself.

The name "Dark Alleys" was taken by Bunin from N. Ogaryov's poem "An Ordinary Tale". It is about the first love, which did not end with the union of two lives. The image of "dark alleys" comes from there, but there is no story with that title in the book, as one might expect. This is just a symbol, the general mood of all the stories.

Bunin believed that a true, high feeling not only never has a successful ending, but even has the property of avoiding marriage. The writer has said this over and over again. He also quite seriously quoted Byron's words: "It is often easier to die for a woman than to live with her." Love is the intensity of feelings, passions. A person, alas, cannot always be on the rise. He will certainly begin to fall precisely when he has reached the highest point in anything. After all, you can’t rise above the highest peak!

In "Dark Alleys" we do not find a description of the irresistible attraction of two people, which would end in a wedding and a happy family life. Even if the heroes decide to bind their destinies, at the last moment a catastrophe occurs, something unforeseen that destroys both lives. Often such a catastrophe is death. It seems that it is easier for Bunin to imagine the death of a hero or heroine at the very beginning of their life path than their coexistence for many years. To live to old age and die on the same day - for Bunin, this is not at all the ideal of happiness, rather, on the contrary.

Thus, Bunin, as it were, stops time at the highest take-off of feelings. Love reaches its climax, but it knows no fall. We will never meet a story that tells of the gradual fading of passion. It breaks off at a moment when everyday life has not yet had a detrimental effect on feelings.

However, such fatal outcomes do not in the least exclude the credibility and plausibility of the stories. It was claimed that Bunin spoke about cases from his own life. But he did not agree with this - the situations are completely fictional. He often wrote the characters of the heroines from real women.

The book "Dark Alleys" is a whole gallery of female portraits. Here you can meet girls who grew up early, and self-confident young women, and respectable ladies, and prostitutes, and models, and peasant women. Each portrait, written in short strokes, is surprisingly real. One can only be surprised at the talent of the author, who was able to present us with such different women in a few words. The main thing is that all the characters are surprisingly Russian and the action almost always takes place in Russia.

Women's images play the main role in the stories, men's - auxiliary, secondary. More attention is paid to male emotions, their reactions to various situations, their feelings. The heroes of the stories themselves recede into the background, into the fog.

The stories also amaze with a huge variety of shades of love: the simple-hearted, but indestructible attachment of a peasant girl to the master who seduced her ("Tanya") fleeting dacha hobbies ("Zoyka and Valeria") a short one-day romance ("Antigone", "Business Cards") passion, leading to suicide ("Galya Ganskaya") ingenuous confession of a young prostitute ("Madrid"). In a word, love in all possible manifestations. It appears in any guise: it can be a poetic, sublime feeling, a moment of enlightenment, or, conversely, an irresistible physical attraction without spiritual intimacy. But whatever it may be, for Bunin it is only a brief moment, lightning in fate. The heroine of the story "Cold Autumn", who lost her fiancé, loves him for thirty years and believes that in her life there was only that autumn evening, and everything else is an "unnecessary dream".

In many stories of the cycle, Bunin describes the female body. This is something sacred for him, the embodiment of true Beauty. These descriptions never descend to crude naturalism. The writer knows how to find words to describe the most intimate human relationships without any vulgarity. Without a doubt, this is given only at the cost of great creative torment, but it is easy to read, in one breath.

I. A. Bunin in the cycle of stories "Dark Alleys" managed to display many facets of human relations, created a whole galaxy of female images. And all this diversity is united by the feeling to which Bunin devoted most of his work - Love.

About love and the story "Rusya". As in other short stories, there is a special, philosophical way of seeing and presenting the material.

In the epic work, there are also lyrical digressions, but everything is subordinated to the general plan and plot unity. In lyrical prose, the eventfulness gives way to the leading role in relation to what is happening.

In the story "Rusya" the sequence of events is simple. At dusk, the train "Moscow - Sevastopol" suddenly makes a stop. In the first-class carriage, a gentleman and a lady approached the window. He recalls the events that took place in the country estate a long time ago, recalls Rusya.

The story is based on the opposition of two worlds. One is familiar, the other is a bright, romantic world of memories. The description of the impoverished estate is emphatically ordinary: ("boring area"). It is interesting, as a repetition, the introductory word "of course" ("the house, of course, in the Russian style"; "And, of course, the bored country girl that you rolled through this swamp"). From that moment on, you hear the subtext motif. The ordinary world (swamp) is changing. The outwardly indifferent remarks of the narrator's wife hide a secret interest in her rival. "He" is fenced off with a joke, incomprehensible Latin. The transition to Latin, where every sign, every word, as it were, strives to become a symbol, is another confirmation of the division of the world into two and the mismatch of the world of feelings with the world of familiar joys and insults.

The novel is structured as a story within a story. The monologue of the hero testifies to the insecurity of a person from memories. Starting to tell the story, the hero does not even suspect what power the past still has over him. The words of the narrator: "Once I lived in this area" - still in the ordinary world. Author's: "He did not sleep ... and mentally looked at that summer ..." - this is already an accomplished transformation. Bunin has "sounding" words. The mysterious, rustling silence is conveyed by the rhythm of the phrase, in almost every one we hear whistling and hissing sounds (“And behind the blackness of the low forest, a greenish half-light stood and did not go out, faintly reflected in the flat whitening water in the distance”; “And somewhere something rustled , crawled ... "). The word "swamp" becomes symbolic. Youthful love was stirred up by the swamp of manor life. In the memoirs, the hero, as it were, leaves the swamp of a monotonous existence, in which he himself is immersed. The happiness of love and memories is possible only as a result of a stop, an exit from the regularity of habitual life. A train, a first-class carriage: everything is known in advance, but as soon as there was a hitch, the familiar world receded.

In lyrical prose, there is a persistent desire for the ideal. Therefore, there is no final in the usual sense. "Farewell to memories" did not work. Subtextually, the reader understands: something happened in the soul of the hero, the process of reassessment of values has just begun. When and how it will end, the reader will have to decide for himself.

Interestingly, the short stories "Rusya" and "Clean Monday" have something in common: the echo of a number of words with the meaning "strange" ("strange love", "strange city" in "Clean Monday"; "strange demi-light" in "Ruse") . Not only love seems strange, but the whole world, Bunin wrote that life passes quickly, and we begin to appreciate it only when everything is left behind.

When you're nineteen, it's still not entirely clear, but the fact that the stories of the Dark Alleys series sound piercing, like stretched strings, is significant. The tragic inconsistency of lovers appears in Bunin as a pattern of human existence.

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Bunin's first prose works appeared in the early 1990s. Many of them by genre are lyrical miniatures, reminiscent of poetry in prose. Poetry, as it were, leads the writer's prose, which acquires a peculiar lyrical character from him, contains a special sense of rhythm.

In 1897, the first book of stories was published, which included the stories “News from the Motherland”, “To the End of the World”, “Tanka” and others. The main theme of these works is impoverished, devastated peasant Russia. He writes about new capitalist relations, about the countryside, in which hunger and death reign, about the physical and spiritual withering of the nobility. The fate of the local nobility, impoverished under the pressure of a cruel civilization, is hopeless and sad. Bunin sees the ideal of life in the patriarchal past with its old world prosperity. The feeling of hopeless sadness and regret causes in the author the desolation and degeneration of noble nests, the moral and spiritual impoverishment of their owners. The story “Antonov apples” sounds like a lyrical epitaph to the past.

The rejection of decadence, focused on the renewal of art, generated by the capitalist city, makes the figure of Bunin on the verge of a new century rather lonely. Attempts to respond to the topic of the day are unsuccessful. He aestheticizes loneliness, the isolation of experiences. With all Bunin's early self-determination, a stable range of interests, his views as a kind of system took shape only in the middle of 1910. In his early work, we find democratic tendencies that continue until the end of the 90s. (The story "Dreams" testifies to Bunin's closeness to the democratic wing of literature and conveys a sense of imminent change).

Bunin showed conservatism of thinking and remoteness from what is called "requests of the time."

Observation, tenacious memory, asceticism led not only to artistic purity and perfection, but also to the well-known limitations of his work in the 1890s and early 1900s, which was focused on moral, spiritual, purely aesthetic tasks.

It was during this period that many features of the writer's peculiar talent came to light, and, according to him, from that moment begins his "more or less mature life, complex internally and externally."

After the publication in the collection of short stories "To the End of the World", the young writer, in his own words, "suddenly disappeared from St. Petersburg for a long time, and not only disappeared, but fell silent for several years." The last statement, however, is not entirely accurate. Bunin writes a lot in poetry and prose, placing his works in metropolitan and provincial publications.

So, in 1898-1900. in the magazines for children "Shootings" and "Children's Reading" his stories "In the Village", "Cuckoo", an essay "by the Cossack move" appear. But the author himself was critical of them.

The path of finding oneself in prose was difficult and long. The "impressions of being" of the young Bunin were easier to express in lyrics.

For a long time, Bunin was perceived by the reading public as a poet. The most independent among the early prose experiments is the story "First Love" with the characteristic subtitle "From Childhood Memories" that these are experiments in the field of other people's styles, a kind of creativity "according to the style model.

The more independent essays "Dementyevna" and "Sudorozhny" anticipated Bunin's characteristic beginning in the genre of plotless story-episode, where the entire narrative is cemented by a mood of unsurpassed artistic perfection and skill.

In the late 90s. Bunin translates a lot, in his words, "it was easier to convey what was alien."8 Bunin's translation of "The Song of Hiawatha" by Henry Longfellow, awarded the Pushkin Prize, is out of print.

In 1899, in Moscow, Bunin met the writer N.D. Teleshov, who introduces him to the association of realist writers "Sreda", which had arisen shortly before. Bunin becomes an ardent participant in this association, and the realistic method will be strengthened in his work. It is no coincidence that researchers believe that Bunin the artist "began" during this period. Not the feverish beating of the pulse of the capitalist city - "iron agonizing thunder" - so tangible in the verses of V. Bryusov, K. Balmont, I. Annensky, the mature A. Blok or in the prose of A Kuprin, P. Shmelev, but the mute "sadness of the fields" fascinated Bunin. The movement of Bunin the prose writer from the mid-90s. by the early 900s it. manifests itself primarily in the expansion of the horizons, in the transition from observations of the individual fates of peasants or small estate nobles to generalizing reflections (example: sketches of inert life into which "Chugunka" broke into, develop into thoughts about the whole country and its "dull forest people" ( "New Road")). Bunin's formation took place at a time when the classical era of Russian realism was ending and the monocracy of realism was replaced by an unprecedented diversity of schools and trends that negated each other, the writer was convinced that in his time "there was an incredible impoverishment and necrosis of Russian literature" (Bunin I.A. Collected works in 9 volumes, vol. 9, p. 529). He experienced a sense of loneliness in literature. Bunin saw the cause of the crisis and the disunity of the writers' forces in "the general shaking and instability of public opinion." (9,530)

In the first independent prose works of Bunin, a characteristic beginning for him later appeared, where the narration is cemented by the mood of the author of the narrator.

Ivan Alekseevich Bunin ascended the Olympus of Russian classical literature as a talented prose writer and no less talented poet. His work stood out among the works of his contemporaries, thanks to the unique style, unique manner of writing, as well as special topics touched upon by the author.

Special attention should be paid to the poetry of Ivan Alekseevich. An incredible sense of language and skillful use of words is what literary critics, Bunin's colleagues and ordinary lovers of poetry unanimously admired. And, until now, his poems are popular with people of all ages.

The central theme of I. Bunin's poetry, which went hand in hand with him throughout his entire career, is the theme of nature. Like a skilled artist, the poet skillfully described the landscapes that inspired him. In each of his words, an all-consuming love for nature can be traced. Bunin's landscape lyrics seem to tell the reader: "Look how beautiful the world around is, enjoy the moment."

The image of autumn is the golden decoration of the poet's series of landscape lyrics. The most striking example is the poem "Falling Leaves", written in 1900. A series of colorful comparisons, epithets, personifications and other literary tropes turns an ordinary autumn forest into a real motley tower, and Autumn becomes its rightful mistress.

In addition to the theme of nature, Ivan Alekseevich also touched upon other issues in his work. The theme of man and his inner world, as well as the search for the meaning of human existence, is reflected in Bunin's philosophical poetry. In it, he tried to explore the problems of good and evil, questions of life and death, and talked about the subject of human existence.

The extraordinary artistic originality of Bunin's poetic works lies in the masterful use of literary tropes and various artistic techniques, which he inserted with surgical precision into the general outline of poems. Bunin paid special attention to epithets, through which he accurately conveyed colors, moods, weather phenomena, even smells and tastes to the reader. With a stroke of the pen, the poet created unforgettable images of both nature and man.

Thus, Ivan Alekseevich Bunin, for a long creative life, managed to develop his easily recognizable Bunin style. And also, not without the help of an excellent command of the word, he masterfully created a separate literary universe with its own special aesthetics.

Originality and features for grade 11