Bunin light breath reason and feelings arguments. The composition "The theme of love and death (based on the story of I

The argument of reason and feeling by work Bunina Light breath

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Easy breath- this is the talent to live, to enjoy life, to accept it as a light gift. This love of life, the audacity of beauty, courage, originality, femininity and sensuality of Olya Meshcherskaya. What she understood in herself, and the faceless inhabitants of the gray boring city could not understand.

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In many of his works, Bunin turns to eternal themes: love and tragedy, life and death. These themes become the main ones in the story "Light Breath", which amazes with the light breath of Bunin's prose, its special flavor.

The meaning of the title of the story is primarily associated with the main character. The first detail of the description of Olya Meshcherskaya's appearance, revealing her personal individuality, is noteworthy - “lively, joyful eyes”. Liveliness, simplicity, naturalness, spontaneity, beauty, naivety, femininity, lightness constitute Olya's endless charm, her attractiveness, seductiveness, "seductiveness". The "light breath" of her femininity joyfully and all-conquering triumphs in the smallest details of appearance and behavior. All this was given to her by nature, came to her without the slightest effort of hers - "easily." The motive of lightness is the main one in describing Olya's appearance, behavior and life itself. Only death was heavy - "a cross made of oak" on Olya's grave, "strong, heavy, smooth." The principle of antithesis will remain throughout the story, reflected in the system of images and in the composition.

The heroine Bunina freely and joyfully walked through life, not thinking about its dark, muddy streams, the meaning of life for her is in life itself. On the way of her easy flight were the love of the students elementary grades, dancing at balls, fun, ice skating, the schoolboy Shenshin's love for him, but there was also a fifty-six-year-old "womanizer" Malyutin, there was a Cossack officer, "ugly and plebeian in appearance." Olya, again, easily took a step towards a moral decline, because in her attitude towards Malyutin there was not even a shadow of love, she easily admitted this to the gymnasium boss, easily played with the feelings of a Cossack officer. It is no accident that Malyutin mentions Faust with Margarita: in the story of the temptation of Margarita in Faust, the carnal triumphs over the spiritual; Malyutin does not even hide the “Mephistophelean” beginning in her carnal desire to possess the young charm of Olya, and Olya is unaware of the necessary moral boundaries of her life's flight - only lightness, only freedom, only a fun game.

About the death of Olya at the station is said dryly, abruptly, as in the chronicle of a criminal case. The flight through life - without awareness and responsibility - involves Bunin's heroine into the dangerous sphere of "plebeian" feelings, one-line and cruel decisions: the Cossack officer saw in Meshcherskaya only a mockery of himself, of his, so to speak, principles, of his "morality", he punished Olya as a frivolous, immoral seductress - and considered himself right. Olya's life was easy, and death also easily took away this fragile, "moth" life.

However, the author's task has nothing to do with the melodramatic and moralizing description of the life and death of a charming but confused schoolgirl. The work has an unusual composition: it begins and ends with a description of the cemetery, the chronology of events was changed by the writer, the plot does not coincide with the plot. There are episodes that seem to have no connection with Olya's story - her story to her friend about "light breathing" and a cool lady who comes to the grave.

The image of the main character is included in the system of antitheses, one of which is Olya Meshcherskaya and a classy lady. A classy lady lives with fiction that replaces her real life. Olya's life was full of energy, impetuous and festive - the life of a cool lady is lonely, meager in events, devoid of love and happiness. This "middle-aged girl" is smart, but she does not have that "light breath" that Olya was endowed with, life passes by the classy lady, giving her only fragile illusions, hence her attraction even to the memory of "light breath".

"Light breath" is the energy of femininity, forever living in the world, capable of driving you crazy, bestowing either the highest happiness or tragedy. This energy is not connected (or least of all connected) with beauty as a harmony of external features - it is no coincidence that Olya, speaking to her friend about beauty, rejected everything that was externally decorative: “black eyes boiling with resin”, “shell-colored knees”, “softly playing blush "And so on - and chose only" light breathing. " This is a great mystery, which can be amazed, but which cannot be fully solved.

"Light breath" is also the energy of creativity, inspiration, which is also inexplicable and indivisible into formulas and definitions. It is the "light breath" of creativity that is felt in the cohesion of the events of Bunin's story. Vygotsky, an art critic and psychologist of the last century, spoke about this most accurately: “The life of the schoolgirl Olya Meshcherskaya is dark, muddy, confused, but the events are connected and linked so that they lose their everyday burdens and opaque haze; they melodiously are linked to each other, and in their growths, resolutions and transitions, they seem to untie the threads that are pulling them together, they renounce reality. So everyday history about a dissolute schoolgirl is transformed here into the light breath of Bunin's story. "

Essay on the theme "Reason and feelings in the works of Bunin and Kuprin"

The theme of feelings and reason was raised by many poets and writers, as it is always close and interesting to readers. This is what the works of Kuprin and Bunin tell us about. They show how complex and multifaceted feelings can be. And the mind is not always a priority, because if there is love, then the heroes take its side and they do not think what will happen to them later.

Of course, the heroes of the stories of these writers are full of conventions, they obey the calculation, their ambitions are largely incomprehensible, and sometimes they are so fake that it is sometimes very difficult to see real feelings, since they are heavily disguised. Despite this, in the stories of both Kuprin and Bunin there is a lot of life-affirming and beautiful, because they devoted many lines to this sublime feeling like love. But at the same time, it should be understood that the works of these two writers, although they often unite common topic, but they convey it in different ways.

So, it should be noted that the heroes in the stories of these writers really love, and this is so rare in life. This feeling pulls characters out of the cycle of routine, boredom. Of course, this does not last long, sometimes just a moment, and even some heroes have to pay with their lives for this short-term happiness, but still it's worth it.

The works of Bunin and Kuprin are so realistic that they display everyday details down to the smallest detail with amazing truthfulness. For example, in “ Light breathing", Which was written by Bunin, the author sharpens his attention to seemingly insignificant details, like the diary of one of the heroines of the story, but this very moment betrays the truth of this story.

It should be noted, however, that writers have different attitudes towards feelings. Kuprin is more prone to tragedy, so if his characters experience love, then they fail to be happy to the end. His lines are filled with suffering and pain. At the same time, Kuprin believes that love should be given completely, and his characters experience torment and happiness at the same time. Since he raises love to the ideal, therefore, reason in the actions of the heroes is often absent, therefore their fate is always very tragic. For example, Romashkov, who is clean and kind person, sacrifices himself, and all for the sake of Shurochka, who was distinguished by her prudence.

Feelings and reason in the works of Bunin often have controversial character... If this author talks about love, then it is frantic, if about happiness, then it is unrestrained. But all this quickly ends, after which awareness and understanding comes. This is how he shows the meeting between the lieutenant and the beautiful stranger, which can be read about in “ Sunstroke". This moment was saturated with happiness, but it cannot be resurrected. When the stranger leaves, the lieutenant is devastated, he seemed to have aged for many years, and all because the happiness was so sudden and thus left only pain in his soul.

Therefore, it seems to me that the feelings that Bunin writes about are in many ways more realistic, they are not ideal, like Kuprin's, but at the same time they are beautiful and real. Both writers often write about love, this topic is one of the most important for them. But few of the heroes know it, only truly sensual and open people... Thus, the writers show that love can arise only in those people who, above all, are strong, who are not afraid to sacrifice themselves for love. Therefore, feelings are stronger than reason, they absorb the hero entirely, even if after nothing remains, they are still happy that they managed to experience love.

The story "Light Breathing" was written by I. Bunin in 1916. It reflects the philosophical motives of life and death, beautiful and ugly, which were the focus of the writer. In this story, Bunin develops one of the leading problems in his work: love and death. In artistic skill, "Light Breath" is considered the pearl of Bunin's prose.

The narrative moves in the opposite direction, from the present to the past, the beginning of the story is its ending. From the first lines, the author plunges the reader into the sad atmosphere of the cemetery, describes the grave of a beautiful girl, whose life was absurdly and terribly interrupted in the prime of her life: “At the cemetery, over her clay mound, there is a new cross of oak, strong, heavy, smooth.

April, the days are gray; the monuments of the cemetery, a spacious county one, can still be seen far away through the bare trees, and the cold wind is ringing and ringing at the foot of the cross.

A rather large, convex porcelain medallion is embedded in the cross itself, and in the medallion is a photographic portrait of a schoolgirl with joyful, amazingly lively eyes.

This is Olya Meshcherskaya. "

Bunin makes us feel grief at the sight of the grave of a fifteen-year-old girl, bright and beautiful, who died at the very beginning of spring. It was the spring of her life, and she is in her - like an unblown bud of a beautiful flower in the future. But the fabulous summer will never come for her. The young life, beauty has disappeared, now there is eternity over Olya: “ringing, ringing”, without stopping, “cold wind with a porcelain wreath” on her grave.

The author introduces us to the life of the heroine of the story, schoolgirl Olya Meshcherskaya, at her fourteen and fifteen years. In all her appearance there is an admiring surprise at the extraordinary changes that are taking place with her. She quickly became prettier, turning into a girl, her soul was filled with energy and happiness. The heroine is stunned, she still does not know what to do with herself, new and so beautiful, so she simply gives herself up to the outbursts of youth and carefree fun. Nature presented her with an unexpected gift, making her easy, cheerful, happy. The author writes that the heroine was distinguished "in the last two years from the entire gymnasium - grace, elegance, dexterity, a clear gleam of eyes." Life is delightfully bubbling in her, and she gladly settles in her new beautiful guise, tries his possibilities.

One involuntarily recalls the story "Violets" written by Bunin's friend and talented Russian prose writer A. I. Kuprin. It talentedly depicts the explosive awakening of the youth of the seventh-grader cadet Dmitry Kazakov, who from surging feelings cannot prepare for the exam, with emotion he collects violets outside the walls of the educational building. The young man does not understand what is happening to him, but out of happiness he is ready to hug the whole world and fall in love with the first girl he met.

Bunin's Olya Meshcherskaya is a kind, sincere and direct person. With her happiness and positive energy, the girl charges everything around, attracts people to her. Girls from the elementary grades of the gymnasium run after her in a crowd, for them she is an ideal. The last winter of Olya's life seemed to be so beautiful on purpose: “The winter was snowy, sunny, frosty, the sun went down early behind the high spruce forest of the snowy gymnasium garden, invariably fine, radiant promising frost and sun for tomorrow, a walk on Cathedral Street; a skating rink in the city garden, a pink evening, music and this crowd sliding in all directions on the skating rink, in which Olya Meshcherskaya seemed the most carefree, the happiest. " But only it seemed. This psychological detail indicates the inherent awakening of every person's youth first. natural forces when the mind is still asleep and does not control the senses. Inexperienced, inexperienced Olya easily flies through life, like a butterfly on fire. And misfortune is already following in her footsteps. Bunin was able to fully convey the tragedy of this dizzying flight.

Freedom of judgment, the absence of fear, the manifestation of violent joy, the demonstration of happiness are considered defiant behavior in society. Olya does not understand how annoying others are. Beauty, as a rule, causes envy, misunderstanding, does not know how to defend itself in a world where everything exclusive is persecuted.

except the main character four more characters appear in the story, one way or another connected with the young schoolgirl. This is the headmaster of the gymnasium, the class lady Oli, the acquaintance of Olya's father, Alexei Mikhailovich Milyutin, and a certain Cossack officer.

None of them treats the girl humanly, does not even make an attempt to understand her. inner world... The boss, on duty, reproaches Meshcherskaya for a woman's hairstyle and shoes. Already an elderly man, Milyutin took advantage of Olya's inexperience and seduced her. Apparently, a casual admirer, a Cossack officer, mistook Meshcherskaya's behavior for frivolity and licentiousness. He shoots a girl at the train station and kills her. A fifteen-year-old girl is far from a fatal seductress. She, a naive schoolgirl, shows him a leaf from a diary notebook. As a child, she does not know a way out of a love situation and tries to isolate herself from the annoying admirer with her own childish and confused notes, presenting them as a kind of document. How could you not understand this? But, having committed a crime, an ugly, plebeian-looking officer blames the girl he killed for everything.

Bunin understood love primarily only as a sudden outbreak of passion. And passion is always destructive. Bunin's love walks alongside death. The story "Light Breathing" is no exception. This was the concept of love of the great writer. But Bunin claims: death is not omnipotent. Short but bright life Oli Meshcherskaya left a mark on many souls. “The little woman in mourning,” the classy lady Olya, often comes to the grave, recalls her “pale face in the coffin” and the conversation she once unwittingly overheard. Olya told her friend that the main thing in a woman is “light breathing”: “But I have it, - you listen to how I breathe in - isn't it really?”