Analysis of cold autumn bunin with quotes. Ivan Bunin

What a cold autumn!
Put on your shawl and hood ...

Look - among the blackening pines
As if a fire is rising ...

Sections: Literature

Ivan Alekseevich Bunin is an outstanding Russian writer who has won special worldwide fame. Bunin's poetry and prose come from a common verbal and psychological source, his richest and unique plastic language is one without the division into literary types and genres. In it, according to K. Paustovsky, there was everything "from the ringing copper of solemnity to the transparency of pouring spring water, from measured chasing to intonations of amazing softness, from light melodies to slow peals of thunder."

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

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

What a cold autumn
Put on your shawl and hood ...
Look among the blackening pines
As if a fire is rising.

These lines by Fet, uttered by the hero of the story "Cold Autumn", most vividly reflect the time when I. Bunin in emigration wrote the cycle "Dark Alleys". A time of change, a time of struggle, a time of contradictions. It is noteworthy that in the story "Cold Autumn" contradictions appear constantly. If we trace the creative activity of Bunin, we will see that its "distinguishing 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 Y. Eichenwald's definition, Bunin's work "... stood out against their background as a good old thing."

But for Bunin himself, this was not just an opposition of views, principles, worldview - it was a stubborn and consistent struggle against symbolism. And this fight was so heroic that Bunin found himself alone and was not afraid of the deep wounds she inflicted on him. “To the extremes of the Symbolists, he opposed too much balance of feeling: their whimsicality was too complete sequence of thought, their desire for unusualness was too deliberately emphasized simplicity, their paradoxes - the obvious irrefutability of statements. The more the subject of symbolist poetry wants to be exceptional, the more the subject of Bunin's poetry tries to be normal. " An interesting fact is that while in Italy or in Capri, Bunin wrote stories about the Russian village, and while in Russia - about India, Ceylon. Even in this example, one can see the contradictory feelings of the artist. When looking at Russia, Bunin always needed a distance - chronological, and even geographic.

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 accidental? It seems that behind both is a struggle - the struggle of the new against the old, truth against untruth, justice against injustice - and inevitable loneliness.

"Cold" Bunin. He strove to rip out of his work everything that could be in it in common with symbolism. Bunin especially persisted against the Symbolists in the field of depicting reality. “The Symbolist is the creator of his landscape, which is always located around him. Bunin, on the other hand, steps aside, making every effort to reproduce the reality he adored in the most objective way. But the Symbolist, depicting not the world, but in essence himself, in each work achieves the goal immediately and completely. Bunin, on the other hand, complicates the achievement of his goal, he portrays the landscape as accurate, truthful, alive, which leads to the fact that more often than not there is no place for the artist's personality. " But it is precisely with this that he opposed himself to the Symbolists.

"Cold autumn". In this story, Bunin, with the help of awakening a system of associative links in the reader's mind, seeks to say about what has been left in the past - simplicity, goodness, purity of thoughts and the inevitability of an impending 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 several days of the past are perceived more fully than the 30 years that have flown after him. The dissonance between good and evil, peace and war, harmony and chaos can be traced throughout this short story. And in the finale - loneliness, disappointment in life, although it is brightened up with a dream and belief in happiness "there". The story is a tragedy of love in a time of troubles, a tragedy of reason in the mad flame of revolutionary upheavals.

Contrasting the worldview and creativity of Bunin with the rest, contrasting 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 aim of the work is to determine the ideological and artistic role of the antithesis technique in the story "Cold Autumn" at the level:

• plot
• compositions
• chronotope
• space
• image systems
• artistic and visual means.

The story "Cold Autumn" begins with an event that sets the stage for historical accuracy - the First World War. Events are given in fragments: "In June he was a guest", "On Peter's day he was announced by the groom." The whole piece is built on contrast. So in the exposition we read: “In September I came to say goodbye" and "Our wedding was postponed until spring." The cold autumn can be interpreted as the end of an ordinary peaceful life along with the dying of nature. But the wedding of the heroes has been postponed until spring. After all, spring appears not only as the time of 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 capaciously conveys the atmosphere "Goodbye evening" reapplying one antithesis after another. On the one hand, the 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 the father's prophecy to his child: amazingly, terribly early you will lose Him, you will know the cold of loneliness. On the other side, "Window fogged up with steam". With this phrase, Bunin emphasizes the warmth of the house, comfort, tranquility - "Sat quietly", "exchanged insignificant words, exaggeratedly calm, hiding their secret thoughts and feelings", "with feigned simplicity." And again the antithesis in the manifestation of external calmness and internal anxiety. Bunin masterfully contrasts this state of all 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 "heat", external "ice stars" and internal "hot lamp" - someone else's and your own.

Subsequent actions take place in the garden. "Let's go to the garden" Bunin uses this particular verb so that the reader immediately has a single association: descended into hell (take the "s" from the word garden). From the world of warmth, family - into autumn, war. “It was so dark at first. Then black branches began to appear in the brightening sky, showered with shiny mineral stars "... And from hell "The windows of the house shine very especially in the autumn way." House-paradise, into which autumn, war, hell will soon burst. There and then a strange dialogue between "her" and "him". The author aggravates the state of impending disaster. The words quoted by "him" are deeply symbolic: "Look between the blackening pines as if a fire is rising ..." Misunderstanding of the symbol by her: “What fire? "Moonrise, of course." The moon symbolizes death, 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 story culminates in a scene of wires that is built in contrast. Heroes are 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, glittering frost on the grass in the morning around us." The climactic phrase: “They killed him - what a terrible word! - In a month in Galicia "- Bunin capaciously recreated the feeling of erased emotional perception over the years. That descent has already happened: "I lived in a basement in Moscow." This is from home where "After supper, a samovar was served as usual!" "I became a woman in bast shoes." It's from "Swiss cape!" Aptly and meaningfully, the author uses here details that characterize better than lengthy descriptions: sold "Some ring, then a cross, then a fur collar ..." That is, she sold the past, renouncing it: "The times of our grandmothers and grandfathers", "Oh, my God, my God." The beauty and slowness of life before the death of the hero are opposed to the frantic pace of life, an abundance of misfortunes, failures after. Paradise-house has turned into a hell-foreign land. The descent is over. There is no life here - it is just an unnecessary dream.

There is another climax in the work - “I always ask myself: yes, but what happened after all in my life? And I answer myself: only that cold evening "... Bunin gives the heroine the last chance to realize that that evening was a celebration of the spirit, the meaning of life, life itself.

It is in this contradiction that the basis of the tragic plot is expressed. Now the heroine has only faith in expectation of a meeting, faith in happiness “there”. Thus, the storyline can be constructed like this:

The composition is in the form of a ring: "You live, rejoice in the world ..."- life - "... I lived and rejoiced ...". The compositional construction is explained by Bunin as follows: “What happened in my life after all? Only that cold autumn evening ... the rest is unnecessary sleep. " The work begins with a description of an autumn evening, and ends with a recollection of it. In an episode of a conversation in the park, the heroine says: "I will not survive your death." And his words: "You live, rejoice in the world, then come to me." And she admits that she did not survive him, she just forgot herself in a terrible nightmare. And it becomes clear why in such a dry, hurried, indifferent tone she talked about everything that happened after. The soul died with that evening. The ring composition is used to show the closed circle of the heroine's life: it is time for her to “go”, 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 the tragic calmness, regularity in life, on the estate against the background of a distant, seemingly unrealistic war.

Part 2 ... From the words: "In my heart ..." to the words: "... or 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 has become for me"- Acceleration of action: on one page - the rest of life. The depiction of the wanderings and hardships of the heroine, 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 by the exclamation: "Well, my friends, war!" The words "friends" and "war" are the main links in a chain of contradictions: parting with a loved one - and talking about the weather, the sun - and parting. Contradictions of the absurd.

But there are also contradictions associated with human psychology, accurately conveying mental confusion: "... sob me or sing at the top of my voice." And then the beauty and slowness of life before "his" death is contrasted with a frantic pace and an abundance of failures, misfortunes after.

The chronotope of the work is very expanded. In the first sentence, immediately the season: "in June". Summer, blossoming of the soul, feelings. There is no exact date for "that year": the numbers are not important - this is the past, the past. The past, one's own, dear, blood, organic. The official date is a foreign concept, so someone else's date is indicated exactly: "Killed on the fifteenth of July" "On the nineteenth of July Germany declared war on Russia", to emphasize rejection even in time. A vivid illustration of Bunin's antithesis "ours or theirs".

The time limits of the entire story are open. Bunin states only facts. Mentioning 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”, “in a hurricane in winter”, “they killed him a month later”. Enumeration of the number of years: “As many as 30 years have passed since then”, “we spent two years in the Don and Kuban”, “in 1912”. And the words by which you can determine the passage of time: "She lived for a long time", "the girl grew up", "that cold autumn evening", "the rest is unnecessary sleep." Undoubtedly, there is a feeling of vanity, mobility of time. In the episode of the farewell evening, Bunin uses only words by which one can determine the time, feel it: "After supper," "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 - evening. But it does not burden, but evokes a feeling of concreteness, reliability, warm sadness. The concreteness and abstractness of time is the antithesis of “her” time and “someone else's”: in “hers” the heroine lives, in “someone else's” she lives as if in a dream.

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

The contrast of the narrative is felt in the work immediately. The space of the story seems to expand with the appearance of stars. They appear in two forms: 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 - eternity and injustice of life. In the second part of the story, when the heroine talks about her wanderings, the space is extended 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 think in those happy days what she would once become for me”.

One of the main tools in the formation of the author's position is the system of images. Bunin's principle of presenting heroes is remarkable for its brightness and originality. So none of the characters has a name, the name of the "guest" and "groom" has never been named - this is too sacred to trust the paper with the sacred letters, the sounds of your beloved name. The name of a dear person "He" akin to Blok's name of the Beautiful Lady in verse - "She". But the name of not his own, a stranger is called - "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. In these images Bunin's antithesis “ours and others” was embodied.

Bunin introduces a new layer of images into the work: "family - people". The family is in comfort, kindness, happiness, and the people are strangers "like destroyers", thieves of harmony, "like many", “On Peter's day a lot of people came to us”, “Germany declared war on Russia”, “I too(as mass ) was engaged in trade, sold "," sailed with an innumerable crowd of refugees. The author seems to emphasize, using these images, that his story is not only about what happened personally for everyone, but also about what happened to a whole generation. Bunin shows the tragedy of the generation most vividly, using the fate of the woman - the main character. The image of a woman has always been associated with the image of the keeper of the hearth, and the 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 fell to the lot of the heroine - a blooming girl when she first met her and the old woman was close to death - at the end of the story with her memories, similar to life's outcome. In her character, the pride of the emigrant coexists with rebelliousness to fate - are not the traits of the author himself? In life, a lot coincides: he had 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 "Frenchwoman". The heroine describes "Sleek hands", "silver nails" and "golden laces" his pupil with bitter irony, but without any malice. "Sunbeam" among the dull colors of "her" narrative, but we do not feel the warmth - an icy sheen. 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 a soldier also appears in the story "In folders and unbuttoned overcoats." This is obvious, the Red Army men to whom people who did not fit the new time sold their things. The image of the heroine's husband is interesting. He is also not named by name, but the contrast between the place of their (heroine and future husband) meeting (at the corner of Arbat and the market) and a very laconic, but capacious characterization of the husband himself is emphasized. "A man of a rare, beautiful soul." This probably symbolizes the chaotic nature of the history of Russia at that time. By choosing several characters, Bunin reflected the great tragedy of Russia. Again contrast - what was and what was. Thousands of elegant ladies who turned into "Women in bast shoes" and "People, a rare, beautiful soul", dressed "Worn out Cossack zipuns" and letting go "Black beards". So gradually, following " ringlet, cross stitch, fur collar " people were losing the country, and the country was losing its color and pride. The contrast of the Bunin system of images is obvious.

Bunin, as a master of the word, brilliantly, masterly uses the antithesis at all levels of the 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 pretentious metaphors and epithets. In the first part of the novella (for the boundaries of the parts, see above), the author uses simple, rare sentences. This creates the impression of leafing through photos in a family album, just a statement of facts. The proposal is a frame. Fifteen lines - ten sentences - frames. Leafing through the past. "Ferdinand was killed on the fifteenth of June in Sarajevo." "On the morning of the sixteenth they brought newspapers 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 freeze time, stretch the space, filling it with events, and the sentences become complex, each of their parts is widespread. In this part, there are many secondary members of the sentence, contrasting in meaning: « fogged up from window steam "and" surprisingly early and cold autumn "," on black the sky brightly and keenly sparkled clean icy stars "and" hanging over the table hot lamp". Numerically, it is expressed like this: there are five sentences in fourteen lines. "We sat quiet that evening, only occasionally exchanging insignificant words, exaggeratedly calm, hiding our secret thoughts and feelings." “Then black branches began to appear in the brightening sky, showered with minerally shining stars.” “Left alone, we spent a little more time in the dining room, - 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 heroes using dialogue. Conversations in this part play a particularly important role. Behind all the phrases on duty, remarks about the weather, about "autumn", there is a second meaning, subtext, unspoken pain. They say one thing - they think about something else, they speak only for the sake of a word, a conversation. The so-called "undercurrent". And the fact that the absent-mindedness of the father, the diligence of the mother, the indifference of the heroine are feigned, the reader understands even without a direct explanation from the author: "Only occasionally exchanged insignificant words, exaggeratedly calm, hiding their secret thoughts and feelings." “While dressing in the hallway, he continued to think something, with a sweet smile he recalled Fet's verses:

What a cold autumn

Put on your shawl and hood ...

- I do not remember. It seems so:

Look among 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 grandmothers and grandfathers ... Oh, my God, my God!

- What you?

- Nothing, dear friend. Still sad. Sad and good. I very, very much you I love".

The final part of the story is dominated by narrative sentences, complicated by homogeneous members of the sentence. An unusual sense of rhythm, overflowing with life events is created: “Now some kind of ring, now a cross, now a fur collar”, “Bulgaria, Serbia, Czech Republic, Belgium, Paris, Nice ...”, “studied ..., sold ..., met ..., left. .. "," sleek hands with silver nails ... golden laces. " All this Bunin opposes to the inner emptiness, fatigue of the heroine. She states her unhappiness without any emotion. Overflowing with events, life turns into the fact that there is no life. At the level of syntax, the antithesis is expressed clearly: simple - complex sentences, prevalence, saturation with 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. The syntax tools help with this.

Attention is also drawn to the masterful use of the morphological means of the language. So in the first part of the work, the verbs are put in the past tense. Memories ... The heroine seems to make her way through the windbreak of the past to the present, lives her life, grows old, is disappointed: “Got up”, “crossed”, “passed”, “looked”, “lived”, “wandered”. In the last part of the story, the narration is carried out using the forms of the present tense: I ask, I answer, I believe, I wait. The heroine seems to be awakening. And life is over.

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

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

The title of the collection "Dark Alleys" recalls images of dilapidated gardens of old estates, overgrown alleys of Moscow parks. Russia, receding into the past, into oblivion.

Bunin is a master who knows how to be unique in the most banal situations, to remain always chaste and pure, for 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 from everything, that is, memories that are especially cruel and painful if you remember something happy." Perhaps, in the melancholy of the "Dark Alley" short stories, the old pain from the once-experienced happiness finds its voice.

Bunin is not a philosopher, not a moralist or a psychologist. For him, it is more important what the sunset was, when the heroes said goodbye and drove somewhere, than the purpose of their trip. "He was always alien to both God-seeking and God-fighting." Therefore, it makes no sense to look for a deep meaning in the actions of the heroes. "Cold Autumn" is a story that doesn't really talk about love. This work is the only one with a documentary accurate chronology. The language of the narrative is emphatically dry ... An elderly woman sits somewhere in a coastal restaurant, neatly dressed and nervously fiddling with a handkerchief, tells her story to a casual interlocutor. Emotions are gone - everything has been experienced for a long time. She speaks equally routinely about the death of the groom and about the indifference of her adopted daughter. As a rule, Bunin's action is concentrated in a short time interval. "Cold Autumn" is not just a segment of life, it is a chronicle of the whole life. Earthly love, cut off by death, but, thanks to this death, became 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, 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 outbursts of this unearthly fire is the light that illuminates the path of mankind. " As one of the heroines of "Dark Alley" said: "All love is great happiness, even if it is not shared."

List of used literature

1. Adamovich G.V. Loneliness and freedom. New York, 1985.
2. Alexandrova V.A. "Dark alleys" // New magazine, 1947 №15.
3. Afanasyev V.O. On some features of Bunin's late lyric prose // Izvestiya AN SSSR. Dept. Literature and language, 1979, v. 29, issue 6.
4. Baboreko A.K. Bunin during the war 1943-1944 // Daugava, 1980 №10.
5. Dolgopolov L.O. On some features of the late Bunin's realism // Russian Literature, 1973 №2.
6. Muromtseva - Bunina V.N. Bunin's Life, Paris, 1958.
7. School of classics. Criticism and comments. Silver Age. 1998.

Meshcheryakova Nadezhda.

Classic.

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Analysis of the story of I. A. Bunin "Cold Autumn".

Before us is the story of I. A. Bunin, which became, among his other works, classical Russian literature.

The writer turns to seemingly ordinary types of human characters in order to reveal the tragedy of an entire era through them, their experiences. The comprehensiveness and accuracy of each word, phrase (characteristic features of the Bunin stories) manifested themselves especially clearly in the story "Cold Autumn". The name is ambiguous: on the one hand, it is quite specifically called the season when the events of the story unfolded, but in a figurative sense, “cold autumn”, like “clean Monday”, is the most important period of time in the life of the heroes, it is also a state of mind.

The story is told from the perspective of the protagonist.

The historical framework of the story is wide: they cover the events of the First World War, and the revolution that followed, and the post-revolutionary years. All this fell to the lot of the heroine - a blooming girl at the beginning of the story and an old woman close to death at the end. Before us are her memories, similar to a generalizing life outcome. From the very beginning, events of global importance are closely related to the personal fate of the characters: “the war breaks into the sphere of“ peace ”. “… At dinner he was declared my fiance. But on July 19, Germany declared war on Russia ... ". The heroes, anticipating trouble, but not realizing its true scale, still live according to a peaceful regime - calm both internally and externally. “Father left the office and cheerfully announced:“ Well, my friends, war! The Austrian Crown Prince has been killed in Sarajevo! This is war! " - so the war entered the life of Russian families in the hot summer of 1914. But here comes the "cold autumn" - and we see as if the same, but in fact, already different people. Bunin talks about their inner world with the help of dialogues that play a particularly important role in the first part of the work. Behind all the phrases on duty, remarks about the weather, about "autumn", there is a second meaning, subtext, unspoken pain. They say one thing - think about another, speak only for the sake of maintaining a conversation. A completely Chekhovian technique - the so-called "undercurrent". And the fact that the absentmindedness of the father, the diligence of the mother (like a drowning man grasps at a straw), the heroine's indifference are feigned, the reader understands even without the author's direct explanation: the senses". Over tea, anxiety grows in the souls of people, an already clear and inevitable premonition of a thunderstorm; the same "fire is rising" - the ghost of war looms ahead. In the face of adversity, secrecy increases tenfold: "It was getting harder and harder in my soul, I responded indifferently." The heavier the inside, the more indifferent the heroes become outwardly, avoiding explanations, as if it’s easier for all of them, until the fatal words are spoken, then the danger is foggy, the hope is brighter. It is no coincidence that the hero turns to the past, the nostalgic notes of "The Times of Our Grandfathers and Grandmothers" sound. The heroes yearn for a time of peace, when you can put on a "shawl and a hood" and, embracing, calmly walk after tea. Now this everyday life is crumbling, and the heroes are desperately trying to retain at least the impression, the memory of him, quoting Fet. They notice how the windows "shine" in a completely autumnal way, how the stars "shine minerally" (these expressions acquire a metaphorical coloration). And we see what a huge role the spoken word plays. Until the groom performed the fatal "If they kill me." The heroine did not fully understand the horror of what was coming. “And the stone word fell” (A. Akhmatova). But, frightened, even thought, she chases her away - after all, her beloved is still nearby. Bunin, with the precision of a psychologist, reveals the souls of the heroes with the help of remarks.

As always, nature plays an important role for Bunin. Starting with the name "Cold Autumn" dominates the narrative, it sounds like a refrain in the words of the characters. Contrasts with the inner state of people "joyful, sunny, sparkling with frost" morning. Mercilessly "bright and sharp" sparkle "ice stars". As the stars "shine eyes". Nature helps to feel more deeply the drama of human hearts. From the very beginning, the reader already knows that the hero will die, because everything around points to this - and above all the cold is a harbinger of death. "Are you cold?" - asks the hero, and immediately, without any transition: "If they kill me, you ... will not immediately forget me?" He is still alive, and the cold is already blowing on the bride. Premonitions - from there, from another world. “I will be alive, I will forever remember this evening,” he says, and the heroine, as if already knows that she will have to remember, and that is why she remembers the smallest details: “Swiss cape”, “black branches”, head tilt ...

The fact that the main character traits of the hero are generosity, disinterestedness and courage is evidenced by his remark, similar to a poetic line, sounding heartfelt and touching, but without any pathos: "You live, rejoice in the world."

And the heroine? Without any emotion, sentimental lamentations and sobs, she tells her story. But not callousness, but steadfastness, courage and nobility are hidden behind this secrecy. We see the subtlety of feelings from the scene of parting - something that makes her akin to Natasha Rostova, when she was waiting for Prince Andrei. In her story, narrative sentences predominate, she scrupulously, to the smallest detail, describes the main evening of her life. Doesn't say "I was crying", but notes that a friend said: "How bright your eyes are." Speaks of misfortune without self-pity. Describes "sleek hands", "silver nails", "golden laces" of his pupil with bitter irony, but without any malice. In her character, the pride of the emigrant coexists with resignation to fate - is it not the traits of the author himself? Much overlaps in their lives: both the revolution, which he could not accept, and Nice, which could never replace Russia, fell to his lot. The French girl shows the features of the younger generation, a generation without a homeland. By choosing several characters, Bunin reflected the great tragedy of Russia. Thousands of elegant ladies who have turned into "women in bast shoes". And “people of a rare, beautiful soul”, who put on “worn Cossack zipuns” and lowered their “black beards”. So gradually, following the "ring, cross, fur collar" people lost their country, and the country lost its color and pride. The ring composition of the story closes the circle of the heroine's life: it is time for her to "go", to return. The story begins with a description of the "autumn evening", ends with a recollection of it, and the sad phrase sounds as a refrain: "You live, enjoy the world, then come to me." We suddenly learn that the heroine lived only one evening in her life - that very cold autumn evening. And it becomes clear why in such, in essence, dry, hurry, indifferent tone she talked about everything that happened after - after all, only "unnecessary sleep" all this. The soul died at the same time in the evening, and the woman looks at the remaining years as at someone else's life, "as the soul looks from a height at their abandoned body" (F. Tyutchev). True love according to Bunin - love - a flash, love - a moment - triumphs in this story too. Bunin's love constantly breaks off on the most seemingly bright and joyful note. She is hindered by circumstances - sometimes tragic, as in the story "Cold Autumn". I remember the story "Rus", where the hero really lived, too, for only one summer. And circumstances interfere not by accident - they “stop the moment” until love has vulgarized, not perished, so that “not a slab, not a crucifix,” but the same “shining gaze” full of “love and youth” would be preserved in the heroine's memory. life-affirming beginning, “fervent faith” has been preserved.

Fet's poem runs through the entire story - the same technique as in the story "Dark Alleys".

Before us is the story "Cold Autumn" by Bunin. After reading it, you understand once again: only a genius can convey so deeply and penetratingly that which is beyond the limits of human reason and perception. It would seem a simple story, where he, she, mutual feelings, then war, death, wanderings. Russia in the twentieth century has gone through more than one war, and millions of people have known such tragedies, but ... There is always a word "but", which is not something that denies, but rather reminds of the uniqueness of feelings and experiences of each person. It is not for nothing that the work "Cold Autumn" is included in IA Bunin's cycle of stories "Dark Alleys", in which the author repeated more than thirty times: he wrote, in fact, about the same thing - about love, but each time in different ways.

An eternal theme in the writer's work

Contains the story "Cold Autumn" (Bunin), an analysis of the eternal theme: the fate of each individual person is the answer to the question, A man lives his own love story from birth to death, and gives his answer. This is true, because he paid the greatest price for it - his life. Can this experience be useful to us? Yes and no ... He can give us strength, inspiration, strengthen our faith in love, but the Universe expects from us something absolutely new, unique, incomprehensible, so that subsequent generations will be inspired by our stories. It turns out that love is the infinity of life, where there was no beginning and there will be no end.

"Cold Autumn", Bunin: content

“In June of that year, he was staying with us at our estate ...” - with these words the story begins, and the reader involuntarily gets the impression that he has in front of him a certain passage from the diary, torn out somewhere in the middle. This is one of the features of this work. The main character, on whose behalf the story is told, begins her story with a farewell meeting with her lover. We do not know anything about their past relationship, about when and how their love began. Before us, in fact, there is already a denouement: the lovers and their parents agreed on an imminent wedding, and the future is seen in bright colors, but ... But the heroine's father brings a newspaper with sad news: Ferdinand, the Austrian crown prince, has been killed in Sarajevo, which means war is inevitable, the parting of young people is inevitable, and it is still far from the outcome.

September. He came for just one evening to say goodbye before leaving for the front. The evening passed surprisingly quietly, without unnecessary phrases, without special feelings and emotions. Everyone tried to hide what was happening inside: fear, longing and endless sadness. She absentmindedly walked to the window and looked out into the garden. There, in the black sky, icy stars glittered coldly and sharply. Mother diligently sewed up the silk bag. Everyone knew that there was a golden icon inside, which once served as a talisman at the front for grandfather and great-grandfather. It was touching and eerie. Soon the parents went to bed.

Left alone, they sat in the dining room for a while, and then decided to take a walk. It became cold outside. My soul was getting heavier ... The air was completely winter. This evening, this cold autumn will forever remain in their memory. He did not know how his fate would turn out, but he hoped that she would not immediately forget him if he died. The most important thing is that she should live, be happy, and live a happy life, and he will definitely wait for her there ... She wept bitterly. She was afraid both for him and for herself: what if he really doesn’t become, and one day she will forget him, because everything has its end ...

He left early in the morning. They stood for a long time and looked after him. “They killed him - what a strange word! - in a month, in Galicia "- here it is the denouement, which fit in one single sentence. The epilogue is the next thirty years - an endless series of events that, on the one hand, were important, significant, and on the other ... Death of parents, revolution, poverty, marriage with an elderly retired military man, escape from Russia, another death - the death of her husband , and then his nephew and his wife, wandering all over Europe with their little daughter. What was it all about? The main character sums up and answers herself: only that distant, already barely discernible cold autumn evening, and everything else is an unnecessary dream.

Analysis of "Cold Autumn" Bunin I.А.

Time. What it is? We are used to giving designations to everything: hours, minutes, days. We divide life into the past and the future, trying to do everything in time and not miss the main thing. And what is the main thing? Analysis of the "Cold Autumn" Bunin I.А. showed how the author conveyed the conventionality of the existing world order. Space and time take on different forms and are painted in completely different tones in the human soul. The description of the last autumn evening in their life takes up most of the work, while thirty years of life is only one paragraph. During dinner in the dining room, together with the main character, we feel subtle sighs, notice every tilt of the head, see the endlessly changing everyone present, and imperceptibly we come to an understanding that all these at first glance insignificant details are the most important.

The detailed description of the dining room with the windows fogging up from the samovar, the hot lamp over the table in the first part of the story is contrasted with the endless list of cities and countries that our heroine had to visit: the Czech Republic, Turkey, Bulgaria, Belgium, Serbia, Paris, Nice ... a cozy and tender home breathes with warmth and happiness, while glorified Europe with "boxes from a chocolate shop in satin paper with gold laces" - dullness and indifference.

Continuing the analysis of IA Bunin's "Cold Autumn", I would like to dwell on the "secret psychologism", which is used by the writer to convey the inner experiences of the main characters. The farewell meeting has its own face and inside out: external indifference, feigned simplicity and absent-mindedness of the main characters hide their inner confusion and fear of the future. Insignificant phrases are pronounced aloud, exaggeratedly calm words, notes of indifference sound in the voice, but behind all this one can feel the increasing excitement and depth of feelings. From this it becomes "touching and creepy", "sad and good" ...

Finishing the analysis of IA Bunin's "Cold Autumn", let us pay attention to one more important detail. There are not so many characters in the story: the hero and heroine, parents, husband, his nephew with his wife and little daughter ... But who are they? Not a single name has been named. Although at the very beginning the name of the crown prince sounds - Ferdinad, whose murder became a pretext for and led to the described tragedy. Thus, the author tries to convey that the tragic fate of the protagonists is both exceptional and typical, because war is a general tragedy that rarely bypasses anyone.

IA Bunin's story "Cold Autumn" was written on May 3, 1944. In this work, the author writes about the theme of love and the theme of time. At first glance, it may seem that the work is written on a historical theme, but in fact, the story in the story acts only as a background, and most importantly, these are the feelings of the heroine and her tragic love.

The work poses the problem of memory, personal reflection of events in the mind of the heroine. Her memory turns out to be stronger than all historical catastrophes, and, despite the fact that she lived a stormy life, in which there were a lot of events and many wanderings, the only thing that happened in her life was that cold autumn evening that she recalls.

Bunin's characters are given in dotted lines. These are not even actually bright characters, individualities, but silhouettes of people, types of that era. The story is narrated in the first person - from the perspective of the main character. The world, history in the work is shown through her eyes. The whole story is essentially her confession. Therefore, everything in the story is imbued with her personal feeling and perception of the world, her assessments.

During the farewell, the heroine's fiancé with a feeling of love says to her the words: "You live, rejoice in the world, then come to me." And at the end of the work, the heroine repeats these words, but with bitter irony and as if with an unexpressed reproach: “I have lived, I was glad, now I’ll come soon”.

The image of the time is very important in the story. The whole story can be divided into two parts, each of which has its own way of temporarily organizing. The first part is a description of the cold evening and the heroine's farewell to the groom. The second part is the rest of the heroine's life after the death of her fiancé. At the same time, the second part fit into one paragraph, despite its volume of events described in it. In the first part of the story, the time has a specific character, and in the text of the work you can find the exact dates and hours of events: "June fifteenth," "in a day," "on Peter's day," etc. The heroine remembers exactly the sequence of events, and she remembers the smallest the details that happened to her then, what she did, what her parents and fiance did. In the second part of the story, time is abstract. These are no longer specific hours and minutes, but 30 years that have passed unnoticed. If in the first part of the story the volume of captured time is small - only one evening, then in the second it is a huge period of time. If in the first part of the story time passes very slowly, then in the second it accordingly flies by, like one instant. The intensity of the heroine's living, her feelings is higher in the first part of the story. About the second part of the story, according to the opinion of the heroine herself, we can say that this is an "unnecessary dream."

Both parts are unequal in terms of the scope of reality. Objectively, more time has passed in the second part, but the heroine subjectively thinks that in the first one. Also in the story are opposed two spatial macroimages - "home" and "foreign land".

The space of the house is a concrete, narrow limited space, and a foreign land is an abstract, wide and open space: “Bulgaria, Serbia, Czech Republic, Belgium, Paris, Nice ...”. The house is described exaggeratedly concretely, with many details that emphasize its comfort and warmth: "samovar", "hot lamp", "small silk bag", "golden icon". The image of a foreign land, on the contrary, is imbued with a feeling of cold: "in winter, in a hurricane", "hard black labor".

The landscape is very important in the text. This is a description of a cold evening: "What a cold autumn! .. Put on your shawl and hood ... Look - between the blackening pines. As if a fire is rising ..." their experiences. This landscape also foreshadows the tragic events that will happen to the heroes. It is imbued with contrasts: red ("fire") and black ("pines"). It creates in the heroes and the reader a feeling of burden, longing, sorrow. This landscape can also symbolize a global and personal catastrophe that will occur a little later. Time and space in the story are closely intertwined. Local, closed and specific time in the first part corresponds to a local, closed space - the image of a house. And the same image of a foreign land corresponds to the abstract and broad time in the second part. Therefore, the reader may come to the conclusion that Bunin draws two opposed chronotopes in his story.

The main conflict in the story is the conflict between the tragic time and the feelings of the individual.

The plot in the story develops linearly: first there is the plot of the action, then its development, the culmination is the death of the hero. And at the end of the story - the denouement, the approach of the heroine to death. The entire plot of Bunin's work could be deployed on a wide novel canvas. However, the writer chooses the small form of the story. The plot is organized rather according to the principles of a lyrical, rather than an epic work: attention is focused on the feelings of the heroine, the intensity of her inner experiences, and not on external events.

The image of "cold autumn" is the leitmotif of the story. This is a very multifaceted image. It stands in the center of the work and is included in the title. On the one hand, this is a specific image of autumn, on the other, it is a symbol of a tragic life, an impending thunderstorm, and, finally, it is a symbol of the heroine's old age, her approaching death.

The genre of a work can be defined as the genre of a lyric story, because the main thing here is not just a chain of historical events, as in an epic work, but their reflection in the human mind, as is typical of lyrics.

Bunin's story "Cold Autumn" expresses the tragic concept of love and human life. Bunin speaks of the fleeting nature of happiness and love in life, that they easily collapse under the influence of external circumstances. These external circumstances, history even turn out to be unimportant. The heroine managed to survive the death of her fiancé, but she still believes that he is waiting for her and they will see each other someday. The main idea is expressed in the last words of the heroine: “But what happened in my life? And I answer myself: only that cold autumn evening. Did he ever exist? It was all the same. And this is all that was in my life - the rest is an unnecessary dream. "