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Loneliness is one of the leading problems of I. Bunin's creativity. It is interestingly interpreted in the poem of the same name, which is studied in grade 11. We offer to learn more about it using a brief analysis of "Loneliness" according to the plan.

Brief analysis

History of creation- the work was written in 1903 in the summer, when the poet was in Constantinople, dedicated to Peter Nilus.

Theme of the poem- breakup and loneliness.

Composition- The monologue of the lyrical hero, this is the form the author chose to reveal the topic, can be divided into three semantic parts: a landscape sketch, a story about the departure of a beloved woman, descriptions of the inner state of a lyrical hero experiencing a spiritual drama.

Genre- an elegy with elements of a message.

Poetic size- three-foot anapaest, rhyming parallel AABB and cross ABAB.

Metaphors – “desert of water”, “life died until spring”, “the same clouds go on endlessly”.

epithets – "cold desert", "rainy day", "afternoon gray darkness".

History of creation

The history of creation is connected with the life of not only I. Bunin, but also his friend. It is known that the poem is dedicated to Pyotr Nilus, a friend-artist of Ivan Alekseevich. This explains why the easel is mentioned in the first stanza. Nilus, like Bunin, suffered from loneliness.

It is also worth noting that at the time of writing the work, Ivan Alekseevich’s relationship with his wife had deteriorated greatly. The poet suffered from the fact that his wife did not share his views. Anna reproached him for callousness. After a year of marriage, Tsakni left her husband and left for Odessa. Bunin experienced these events very hard. Apparently, they were also reflected in the analyzed poem, which appeared in 1903 in Constantinople.

Subject

In the poem, the author develops interrelated themes of loneliness and breakup. To do this, he uses landscape and psychological sketches, and also succinctly reproduces the parting scene. At the center of the poem lyrical hero and his beloved.

The work begins with a landscape that creates a sad atmosphere of a lonely stay in the country. The lyrical hero sadly looks at the deserted garden, the weather is not happy either: “and the wind, and the rain, and the haze.”

The landscape reflects the inner state of the hero. The man says that he was left alone in the country, where it is dark and windy. This detail also suggests what is going on in his soul.

In the following stanzas, the reader will learn about the reason for the sadness of the lyrical hero. It turns out that he was abandoned by the woman who became his wife. The man knows that it is useless to try to return his beloved, so he lets her go, saying: "I will live alone - without a wife ...".

The next day after the woman left, it also turned out to be overcast. Seems like nature is crying over a broken heart. The lyrical hero peers into the darkness to the last, keeping the hope that the "wife" will return.

In the last stanza, A. Bunin demonstrates his knowledge of female nature. His lyrical hero believes that women easily break with the past, former lovers quickly become strangers to them. The man does not see a way out of this situation. His hands drop, so the only thing he can do tonight is light the fire and drink. Irony emanates from the last verse. A man, desperate to find a faithful life partner, dreams of a dog.

In the context of the stated topic, the idea is developed that it is necessary to protect feelings, not to give a person hopes, if you know that the relationship has no future.

Composition

To develop the theme, the author chose the form of a lyrical hero's monologue. It can be divided into three semantic parts: a landscape sketch, a story about the departure of a beloved woman, descriptions of the inner state of a lyrical hero experiencing a spiritual drama. Formally, the work consists of four six-verse lines.

Genre

The genre of the work is an elegy with elements of a message: the lyrical hero sadly talks about what torments his soul, and in the second stanza he turns to his beloved. The poetic size is a three-foot anapaest. The text uses cross ABAB and parallel AABB rhyming. Rhymes are masculine.

means of expression

The poem by I. Bunin is not rich in means of expression, but they help the author to convey the feelings of the lyrical hero, to interpret the theme of loneliness in an original way. The text has metaphors- “desert of water”, “life died until spring”, “the same clouds go on endlessly” and epithets- “cold desert”, “rainy day”, “afternoon gray darkness”.

Expressiveness of the emotions of the lyrical hero gives intonation. The author uses broken syntactic constructions and exclamatory sentences. A gloomy mood is also conveyed with the help of alliteration: “r”, “z”, “g”, “w”: “But for a woman there is no past: she fell out of love - and became a stranger to her.”

Poem Test

Analysis Rating

Average rating: 4.5. Total ratings received: 36.

I. A. Bunin worked on the Dark Alleys cycle for many years and considered this book to be his most modern creation. Indeed, all the stories included in the collection are an example of the greatest talent of the writer.

The writer made an attempt in this book that was unprecedented in terms of artistic courage: he wrote thirty-eight times (such is the number of stories in the book) “about the same thing”. The main theme that unites the entire cycle of stories is the theme of love. But this is not just love, but love that reveals the most secret corners of the human soul, being both the basis of life and the eternal dream of happiness, the desire for it. And which, alas, we so often miss.

For Bunin, love is an unsolved mystery. Love experiences in the image of the writer are associated with an unprecedented rise in all the emotional abilities of a person, allowing a person to see and perceive life in a special dimension that contrasts with the everyday perception of life. This special vision and perception of life is not given to everyone, but only to the elect, to those who are given a happy (and always the only) opportunity to experience the painful joy of love.

Love in the works of Bunin allows a person to accept life as greatest gift, to sharply feel the joy of earthly existence, but this joy for the writer is not a blissful and serene state, but a tragic feeling, colored with anxiety. In this feeling, joy and torment, sadness and jubilation are fused into a single, indissoluble whole. "Tragic major" - this is how the pathos of Bunin's stories about love was defined by the critic of the Russian abroad Georgy Adamovich: places, the sun is the sun, love is love, good is good.

Each hero of Bunin's works has his own individual traits and qualities of character. And Bunin, as a true artist and master, achieves perfection in depicting the individual characters of his heroes.

What artistic means does the author use to create these characters? To answer this question, let us turn to the works themselves and try to analyze them.

For analysis, let's take the works included in the cycle "Dark Alleys". These are the stories "Natalie" and "Clean Monday".

The story "Natalie" is included in the book "Dark Alleys", which Bunin considered the best book of all that he had created.

The idea of ​​the story and its prototypes are interesting. Many believed, and even close acquaintances of Bunin were inclined to think that this story was autobiographical. But the author himself wrote about it this way: “It somehow occurred to me ... should I invent young man who went in search of love adventures? And at first I thought it was going to be a series of pretty funny stories. But it turned out completely, completely different.”

The story tells about the sublime, poetic experiences of young people, taken by surprise by love. The writer is concerned not just with "unexpected" love, but first and foremost, true, human, earthly love, the harmony of bodily and spiritual unity. Such Love is a great happiness, but happiness is just like lightning: it flared up and disappeared. The story is told in the first person. The main character is a student who came to his uncle during the summer holidays. Thus, all events in the story are perceived by the reader through the prism of the main character's gaze.

The main plot lines of the story are intertwined:

Vitaly - Natalie

Vitalia - Sonya

Sonya - Natalie.

How does the author succeed in such "intricacies" of the main characters? What secrets did he possess to give what vivid characteristics to such people with different content? Let's try to analyze. Bunin, as you know, rewards his heroes with some specific detail that accompanies them throughout the story.

So Natalie's "golden hair" and her "black eyes" constantly haunt us until the last chapter, and we, regardless of our desire, already create a certain image in our minds. It seems to be the author's luck. In addition, the characteristics of the heroes are given by the heroes themselves. And this creates a certain credibility to the characterization. The author, through this detail, wants to suggest the essence of the character, his main feature.

1. Vitaly is characterized by Sonya, who immediately noticed that he “generally changed a lot, became light, pleasant. That's just the eyes run. We emphasize here the two words “eyes run”, and it will immediately become clear that this is also an unstable character, and the inability to find oneself, and “search for love meetings” - it was for this purpose that our hero came to the village to his uncle.

2. Sonya also gives a description of Natalie: “Golden” hair and black eyes. These "golden" hair and black eyes "will accompany Natalie throughout the story.

3. Sonya herself characterizes herself: “My character is not at all as cute as you might think!”

In general, each character is revealed in its interaction with other characters. And Bunin so combines phenomena with each other that they complement each other: a phenomenon, a character become clear to us precisely in movement in development, in connection with other phenomena. It is easy to see that in this story all the characters, all the details do not immediately come into play. The author gradually introduces either character or individual properties of the character. So the figurative composition of the story no longer indirectly participates in the depiction of the character, but directly “finishes” the portrait.

All chapters are arranged in the following order and have the following content:

1 - Arrival of Vitaly, Sonya and Vitaly.

2 - Meeting with Uncle Vitaly. Meeting Natalie.

3 - First dialogue with Natalie. Natalie's insight.

4 - Sony's disease. Vitaly's monologue. Explanation with Natalie.

5 - "Earth and sky light up" (climax).

6 - A year later ... in the Noble Assembly "And another year and a half passed" Meshchersky's funeral

7 - Meeting with Natalie after 3 years. Hopelessness. Death.

The main character of the story, Natalie, appears only in the second chapter and does not leave the pages until the end of the story. And Sonya appears at the very beginning of the first chapter, but in the sixth chapter and the seventh chapter - not a word is said about her.

So Natalie comes to the fore among all the heroes of the story. And although she does not speak so often and not so much, we know that she becomes the main character precisely because all Vitaly's thoughts and heart are occupied with her, and Natalie bears the main load of the story. So the composition of the parts of the story helps us understand the depth of the character of the characters.

What guides the actions of our heroes? What is the basis of their behavior? What thoughts? Feelings? That is, what motivates each of the actions. Let's take a concrete example: Sonya and Vitaly's secret meeting in his room. Sonya not only goes to this act. Moreover, she herself came up with this idea, and now embodies it. What makes Sonya do this? The motive of her soul is explained by the fact that Sonya, growing up without a mother, matured very quickly. And she can't cope with her adulthood. And there is no one to help.

Therefore, using the circumstances, Sonya chooses this path. But at the same time, she reserves the right to decide the main issue of her life: she needs to find ... Sonya needs to “find such a groom as soon as possible. That he would come to us "in the yard", - she herself says. And we understand that before us is a prudent, adventurous girl, prone to intrigue, which was not such a rare occurrence in Russia at that time. Bunin, of course, knew well the customs of the nobles of the late 19th century, early 20th century, knew life in all its details, and it was not difficult for him to imagine and create such a character as Sonya.

Dexterous and courageous in her actions, she immediately determined: “Natalie will not interfere with our romance with you. You will go crazy with love for her, and you will kiss with me. You will cry on my chest from her cruelty, and I will console you. ” Of course, the reader immediately guessed that the last phrase was uttered by Sonya rather for greater effect than for real action, and yet Sonya acts as a clearly defined female type that takes place not only in Bunin's prose, but also in life.

Sonya continues her "game" in the second chapter. She finds a place, a time to whisper to her chosen one: “From now on, please pretend that you fell in love with Natalie. And watch out if it does. You don't have to pretend." And what prompted our young man to this double game? Why did he get involved so easily? Is it always the same? Or changing position?

Our main character student Vitaly "was happy with that special happiness of the beginning of a young free life, which happens only at this time." He longed for adventure when he realized that life is not limited only to dreams of love, “that it is time to be like everyone else, violate your purity, seek love without romance”, but the real one, with adventure. He boldly obeyed the suggestion of Sonya, who herself did not assume a romance "in her actions:" this would have managed us a lot of love pleasures ... if not for Natalie, with whom you will fall in love to the grave tomorrow morning.

And what did the student answer: “Here you are talking to Natalie ... No Natalie can compare with you ...”

And then both agree that "Natalie still won't hurt our romance." And Natalie? And here we meet with the type of women who are just as characteristic of Rus', without them, such saints. Neither romance nor life is conceivable. Bunin achieves great success in depicting the image of Natalie thanks not only to the contrast technique he uses.

All the motives for her actions are strictness towards herself, developed over the years, the same strict analysis of the thoughts, words and actions of other people. She does not commit any such acts, except for one, when she saw Sonya and Vitaly in his room, “unconsciously shouted:“ Sonya, where are you? I'm terribly afraid ... "And immediately disappeared."

Here - the entire Natalie. She saw them, of course, by chance, but the nobility of the soul did not allow her to sort things out.

She leaves Sonya, breaks with this house, taking with her the holy feeling of first love. The only thing that drives Natalie's actions is the nobility of her nature. This is also a character, a type.

Can it be argued that the young lover is duplicitous? Or does he act according to his conscience in both cases? And the answer to this question is time. It is not for nothing that Bunin does not interrupt the story at chapter 5, but gives the reader the opportunity to see with his own eyes who is who.

The meeting (if you can call it that) Vitaly and Natalie in the Noble Assembly made such an impression on him that he was "terribly pale" and began to drink cognac "in tea cups, in the hope that ... his heart would break." And this is not the end of the romance of two young people.

And here is the last meeting between Vitaly and Natalie. Memories. Explanations. Here is what he says: “As for my terrible guilt before you, I am sure that it has long since become indifferent to you and is much more understandable, forgivable than before: my guilt was still not entirely free and even at that time I deserved indulgence due to my extreme youth and due to the amazing combination of circumstances in which I found myself. In these words, of course, sincerity and nobility are felt. He did not blame Sonya - it would not be in his rules, he did not make excuses. But he regretted his arrival to Natalie at one of the moments of the meeting: ... in vain I did this stupid, sudden act, in vain I stopped by, relied on my peace of mind.

1. So love ...

2. So, there was no love for Sonya. Just a rush. Only obedience to her will!

Not the last role in the story is played by the landscape, pictures of nature, natural phenomena. It can be considered common, characteristic of Bunin, that nature is a mood companion, or a phenomenon that precedes an expected event. On the first day of Vitaly Meshchersky's arrival, the unexpected happened in the house of Ulan Cherkasov: when Vitaly entered dark room, a bat rushed at him. The epithets that the author endows with this creature, he wants to show that “ominous omen”, which, in essence, came true: “vile dark velvety and eared, snub-nosed, death-like, predatory muzzle, then with nasty trembling, breaking, dived into blackness open window."

Throughout the story, we do not often see the landscape, and it does not play a dominant role in the story. But Bunin emphasizes certain points. At least such a moment in chapter 4, when Vitaly Petrovich suggests rain, a change in the weather.

And the reader is already alert: “Something will happen!” And this is how the author anticipates the conflict situation in the relationship between his characters: “... the room suddenly lit up to an incredible visibility, I was carried by a fresh wind and such a noise from the garden, as if he was seized with horror: here it is, the earth and sky are on fire! I jumped...

In this description, the excitement is transmitted from nature to the reader: both the "darkness from the clouds" and the "noise of the garden", which "as if filled with horror," are alarming.

This is the climax of the story. Dotted all i ... Natalie witnessed the love scene of Sonya and Vitaly.

The development of the action reaches its climax. Sonya is clear that Natalie is convinced of her relationship with Vitaly, Natalie is clear that Vitaly loves not only her, but also Sonya: And in Natalie's view, two cannot be loved at once. It is clear to Vitaly that he has fallen into Natalie's trap. If everything is clear to everyone, then there is another question: who will do what? But the fifth, shortest and most powerful chapter ends at the most interesting place.

The author finds the right tone. He saves the reader from scenes of indecent explanations with each other, omits the description of further events in the story after the unpleasant collision of our heroes. And he takes the reader and his characters to Voronezh to a noble assembly.

About Sony - not a word. Natalie married Meshchersky. The reader guessed: Natalie, this whole and proud nature, with a well-developed sense of dignity, not a minute will remain in the house where she was betrayed.

That's when we find out which side the author's sympathies are on. He defends the spiritual purity and integrity of Natalie's nature. That is why the story is named after her.

And now the reader will certainly turn over a few pages back and note that the author awarded his main character Natalie with such qualities as observation and the ability to analyze events, actions, circumstances.

Ch. 3. “... she began to either suffer, or be indignant, to feel that there was something secret between me and Sonya. Natalie".

Ch. 3. “But you love Sonya! ... I blushed like a caught swindler ...”

Ch. 4. Natalie: “But, thank God, Sonya is already healthy, she won’t be bored soon ...”

That is, we have before us not just an image, but a type of woman of the late 19th century, who made up a certain galaxy of Russian women who know how to love selflessly.

The main way to reveal the character is contrast.

Bunin is a connoisseur and master of creating characters and skillfully uses all the richness of the language to characterize them. He not only endows his heroes with any language, but by subjecting the language to a generalizing treatment, which in general is necessary condition figurative reflection of life, rejects in it the characteristic, typical. Individual forms of speech are an expression of the writer's generalizations about a certain type of people.

So, people like Sonya are characterized by speech with elements of cynicism: "... Over the two years that I have not seen you, you have turned from a boy who is always flashing from shyness into a very interesting impudent one."

Natalie is characterized by a certain restraint, the absence of pronounced emotions, and laconicism. It is also characteristic of her speech that she only says aloud what she has thought over well: “I am convinced of one thing: in the terrible difference between the first love of a young man and a girl.”

Vitaly Petrovich: “Natalie, you don’t need to be socially amiable with me ... and don’t feel embarrassed - after all, everything that was was overgrown with past and passed without return.”

Let's comment on this piece from two sides.

First: Vitaly Petrovich "calls" Natalie to behave freely. Why? What, Natalie is embarrassed by his presence? But she is strong enough and knows how to control herself! She has always been like this! It's a character type.

Second: the speech of the protagonist. And he, too, is still the same well-mannered, addresses Natalie to “you”, as is customary in secular society.

Epithets are also striking, which play a large role as artistic expressions. figurative means and words used with meanings far beyond their original meaning.

Examples: “Black eyes” and not even eyes, but “black suns”, “golden complexion”, “golden hair”, “ominous omen”, “wonderful old man”, “wonderful house”, “secret accomplice”, “secret date”, “the brilliant blackness of the eyes”, “thin, strong, thoroughbred ankles”, “the dark red velvet of a rose”, “the monastic harmony of her black dress”. All epithets are expressive.

Almost all the examples given refer to the main person of the story - Natalie. Here Bunin sets off two colors to emphasize the unusual nature of Natalie: golden and black. Black is like an "ominous omen" leading to tragedy.

The tragic sound of the story is enhanced by its peculiar ending: Natalie dies.

"Natalie" is one of Bunin's stories, but not the only one that ends tragically.

The action of the story "Clean Monday" takes place in old Russia. The main character is a woman, restless, suffering, charming, who ruined her life by going to a monastery: this is a living, authentic and very Russian character. Compositionally, the story is simple and consistent. And like all Bunin's stories, before the very ending, it has a climax - the highest point of a love story, and then, as a denouement - the tragedy of the main character's soul. But even at the beginning of the story there is a small touch that is so characteristic of Bunin: the ability to tie a “beginning”, to interest the reader: “How it all should end, I didn’t know and tried not to think, not to think: it was useless ... she once and for all diverted the conversation about our future…”

The action of the story is built on the contrast of two characters. How does the author manage to convey in the main character of the story the incompatibility of habitual life with the inner state of her soul? Even outwardly, despite the fact that “both were rich, healthy, young and so good-looking that they were“ seen off with their eyes ”, Bunin did not avoid the opportunity to set off the beauty and appearance of the main character with features.

"And her beauty was some kind of Indian, Persian." And then her appearance is also built on color contrasts: "Black hair", "black sable fur", "black as velvet coal eyes" and "velvety crimson lips", pomegranate velvet dress. The word "velvet" is used very often. And this gives its flavor to our friend, who has already managed to please us.

The contrast is that he is talkative, she is silent, which the author also emphasizes more than once. Her tastes and views are also contrasting: either she “learned the slow, somnambulistically beautiful beginning of the Moonlight Sonata”, then suddenly we see her on the “skit” of the art theater.

The landscape in the story plays a definitely special role. And the story begins with a landscape. Here, the main load is borne by color: “a gray day was getting dark”, “it was visible in the dusk ...”, “green stars”, “dimly blackening passers-by”, and the verbs: “blackening, flared up; rushed ", etc. - these are all imperfective verbs. They seem to repeat all these actions from day to day - this is how the author conveys the periodicity, incompleteness of the action and, finally, the rhythm. But back to the landscape: not in vain, it means that she rented an apartment with a view of Moscow from the window: “a huge picture of the snowy-gray Moscow beyond the river lay in the distance: ... part of the Kremlin was visible ... the too new bulk of Christ the Savior was whitening ... "And immediately there was a breath of antiquity, that familiar Russia, which each of us knows from childhood from Russian legends and epics, and so the "tour" of our heroes to the cemetery is combined with this antiquity: "The evening was peaceful, sunny, with frost on the trees, on the brick -On the bloody walls of the monastery, jackdaws, like nuns, chatted ... ”This whole landscape conveys Her mood. And a premonition of something unusual seizes the reader.

And the silent question of the reader: “What is this? Bunin falls into mysticism? Religion? already noticed by the author, and he immediately answers through the lips of the heroine.

“This is not religiosity... All the time this is a feeling of the Motherland, its antiquity...” and thanks to the author's desire to pay tribute to antiquity. He seems to be leading us along the road, where you also feel the old days in the language.

From this, the story is saturated with archaisms and Church Slavonic terms from church books: a monastery, an archbishop, a face, deacons with rapids and trikiriyas, cathedrals, kliros, the Mother of God with three hands.

And here is a moment that one cannot help but admire: “And she spoke with a quiet light in her eyes:

I love Russian chronicles, I love Russian legends so much that until then I re-read what I especially like until I memorize it.

Here she is all Russian and so simple, and so mysterious: “she was mysterious, incomprehensible to me, our relationship with her was strange”

It has already been said above that Bunin is a master of the detail. The detail in this story performs very different functions.

The detail reflects the views of the hero: “barefoot Tolstoy’s porter was hanging.”

Detail - conveys a premonition, mood: "Everything is black!" “After all, tomorrow is a clean Monday,” she said, taking it out of her astrakhan muff and giving me her hand in a black kid glove.

Although we cannot say that the person who narrates in the first person is frivolous, however, he is the complete opposite of Her. And thus, the author manages to better shade all Her virtues. Especially when they are philosophically-life conversations.

When he asked, "Why?" She shrugged her shoulders: “Why is everything done in the world? Do we understand anything in our actions?

Or: “Happiness, happiness ... Our happiness, my friend, is like water in a delusion: you pull - you pout, but you don’t have anything to pull out.”

As you can see, a woman knows how to think philosophically no worse than how to dress with taste. The author, talking about this interesting personality, considers it unnecessary to give the motives for the heroine's act (leaving for a monastery). He leaves that up to the reader. And what does He experience after her departure to the monastery? Is it possible to consider that some kind of fracture occurred in His soul?

Some believe that in the book "Dark Alleys" there are only female characters - types, and there are no male characters, there are only their feelings and experiences. In my opinion, it is in this story that the character is bred. Firstly, this male image reflected in itself all the features of a Russian person - loving and powerless to do anything for her beloved, and she, being stronger than him by nature, acts as she planned, because she could not find an answer to the questions: “ ... what is love”, “what is happiness”, but he did not help her. And, of course, a turning point came in his soul. He “disappeared for a long time in the dirtiest taverns, drinking himself. In every possible way sinking to the "bottom" of life... The story ends with a question. Especially the second part of it is significant: "... how could she feel my presence?"

What gives such an open ending for the perception of the story by the reader? The lack of an answer in the story is artistically justified. It emphasizes that She is a pure, loving nature, with her heart feels the approach of a loved one. These types of women are found in Rus': she loves, and suffers, and suffers alone. And the author? What position does he take in relation to his heroine? The author clearly loves his creation. And he wrote about it in his diary.

In all these stories, Bunin drew two female types and one male character: each of them is strong with its love and character, which the author endowed him with. To the book "Dark Alleys", which can be called an "encyclopedia of love", you can add another story " Sunstroke that preceded this book. In them, the author explores the most diverse degrees and states of a person, starting with sublime, poetic experiences (“Natalie”), up to “ordinary” elementary emotions. With "happy" love, when there is no more pain, flour, Bunin simply has nothing to do. He never writes about her.

“Let there be only what is ... it won’t be better ...”

The stories of the cycle are an example of Russian psychological prose, in which the author made an attempt to reveal one of the eternal secrets of life - the secret of love. Many artists attempted to solve it, but Bunin came closest to unraveling this mystery.

Used Books

1. N. Lyubimov "Image Memory" (The Art of Bunin).

2. V. Geydeko “A. Chekhov and I. Bunin.

3. O. Mikhailov I. A. Bunin. "Life and creativity".4.

4. Bunin's stories "Natalie", "Clean Monday"

Answered by: Guest

Windy, windy, windy, windy

Answered by: Guest

The lyrical poem is rich in artistic and expressive means depicting the essence of true beauty. Poetic epithets create an atmosphere of quiet mystery: “under the sweet shadow”, “rosy evening”, “in some kind of vague dream”, “mysterious saga”. Artistic personifications make it possible to make the described picture alive: “the yellowing field is agitated”, “the fresh forest rustles at the sound of the breeze”, “the raspberry plum is hiding in the garden”, “the silver lily of the valley shakes its head affably”, “the icy key ... babbles to me a mysterious saga about a peaceful land from where he rushes. Nature, as it were, plays with the lyrical hero, revealing her unknown facets to him. Lermontov's poem is filled with a sense of peace, serene happiness, which is poured into nature. And only, realizing this, the lyrical hero says:

Then the anxiety of my soul humbles itself,

Then the wrinkles on the forehead diverge, -

And I can comprehend happiness on earth,

And in the sky I see God...

Answered by: Guest

1. Where did the writer live
2. Father N.V. Gogol
3. The beginning of a writing career
4. Study

Answered by: Guest

The images of the storm in the literal and figurative sense were used by the great poet more than once in his works, for example, in the poem "Storm", "Winter Evening", "Cloud" and others. The principles of reflecting nature in Pushkin's lyrics are constantly changing depending on the evolution of the artistic method. This means that each period of the poet's work is characterized by its own peculiarities of perception and methods of translating the landscape into a lyrical poem. The philosophical meaning of A. S. Pushkin's poem "The Cloud" is that the author shows that nature and man are inextricably linked. In late poetry, the ecstasy of the rebellious beauty of sensual passions disappears, dark clouds and blizzards of vain earthly anxieties disappear. Nature is cleansed and renewed in a thunderstorm - the soul is resurrected in admiring the beauty and harmony of the surrounding world. In the poem "The Cloud" (1835), Pushkin joyfully welcomes this harmony, this spiritual enlightenment. Epithets do not denote color (namely, this is what we are used to in poems about nature) - but the internal state of a dull shadow, a jubilant day, calmed heaven, greedy earth. The animation of the cloud comes through not only in the clear landscape-symbolic nature of the poem, but also in the presence of personifications you grieve, the wind drives you, you watered the earth, introducing an element of philosophical reflection on life into the landscape miniature

Tradition and innovation combine. Using the best achievements of poets - classicists, novelists, at the beginning of the twentieth century, he creates his own, unique, poetry. Bunin's prose is as lyrical as his poetry.

A large place in the work of Bunin-pret is occupied by landscape. The poet's favorite time of day is night. It is at night that nature freezes, it seems magical, mysterious. Bunin has many lyrical poems that convey precisely nightly impressions.

The poem "Epiphany Night" is filled with vivid epithets, metaphors-personifications. By using means of expression Bunin manages to draw a frozen picture of a frosty winter night.

Nature in his image is alive, the poet often uses personifications to emphasize this:

Dark spruce forest with snow, like fur,

Gray frosts have sprung,

In sequins and nei, as if in diamonds,

Dozed off, bowed, birches.

Their branches froze motionless,

And between them pas a snowy bosom,

Just through the lace silver,

A full moon looks from the sky.

Lesnaya froze, froze, comparisons emphasize the beauty and airiness of this night landscape. The moon, like a living being, like a deity, is watching this frozen picture.

Verbs with the meaning of action here are units: “noisy”, “running”, “running away”, basically they emphasize not dynamics, but static: “lulled”, “fell asleep”, “sleep”:

Mysteriously slender thickets sleep,

Sleep dressed in deep snow,

And glades, a plow, and ravines,

Where once the streams roared.

The state of calm, sleep that enveloped the forest is emphasized by the repetition: "Silence - even a branch does not crackle! ... Silence"

And, perhaps, behind this ravine, the wolf makes his way through the snowdrifts With a cautious and insinuating step.

And an antithesis arises: "Silence - maybe it's close?" Disturbing images and dreams do not leave the lyrical hero, repetitions emphasize this:

Everything seems to me something alive, Everything seems to be running through the animals.

The silence is alarming, because this is not an ordinary night, but an Epiphany night. Miracles are possible on a night like this. The frozen picture of the night for Bunin is as if alive, and a star illuminates it:

In the east, at the throne of the Lord, A star quietly shines, as if alive.

The star is a symbol of eternity, the unity of man with God. On this night, the lyrical hero seems to be asking the Almighty: “What is Fate preparing for me?”. The last quatrain again brings him back to the frozen winter forest:

And above the forest, higher and higher The moon rises - and in wondrous peace Frozen midnight freezes And the crystal kingdom of the forest!

The exclamatory sentence emphasizes the mood: the lyrical hero is delighted with both the “wonderful peace” and the “crystal forest kingdom”. This is the main idea of ​​the poem, and determines the title.

The poem is written in three-foot anapaest. The three-syllable size always gives special expressiveness, musicality.

In depicting nature, Bunin is close to such poets as Fet and Zhukovsky. Both Feta and Bunin are closer to night nature, with the help of bright expressive means they depict it alive and at the same time frozen, shriveled. And mystery, understatement, bizarre images make Bunin's poetry related to romantic poets of the 19th century.

In addition to the abundance of expressive and visual means, one can also note the special phonetic design of the poem - alliteration. For example, the repetition of hissing sounds: “pubescent”, “motionless”, “bending”, “snowy”, “lace” and whistling: “snowy”, “frozen”, “sky”, etc. Such a combination of “w”, "g" and "h", "s" conveys silence, calmness. The mood of anxiety emphasizes the sound:

The wolf makes his way through the snowdrifts With a cautious and insinuating step.

In some lines you can also find assonance. For example, "He rose high above the forest." The sound "o" gives smoothness, melodiousness, majesty. The song of the blizzard is emphasized by the vowel "u" ​​("yu"): "The gray-haired blizzard lulled."

Phonetics, combined with the rhythm of three-syllable meter, makes Bunin's style unique.

I really liked it. The rich use of expressive means helps the reader vividly imagine the beauty of the winter night. The poet does this so picturesquely that the poem resembles an artist's canvas. “Art is a reality ordered by the artist, bearing the stamp of his temperament, which manifests itself in style,” this statement by A. Morois, I think, is quite applicable in relation to the work of I. A. Bunin.

Need a cheat sheet? Then save - "Technical and visual techniques of Bunin. Literary writings!