Ivan Alekseevich Bunin. Biographical reference

Ivan Alekseevich Bunin (October 10, 1870, Voronezh - November 8, 1953, Paris) - Russian Writer, Poet, Honorary Academician of St. Petersburg Academy of Sciences (1909), First Russian Laureate of the Nobel Prize in Literature (1933).

Ivan Alekseevich Bunin - the last Russian classic, which captured Russia of the late XIX - early XX century. "... One of the last rays of a wonderful Russian day," wrote about the Bunin critic G. V. Adamovich.
Ivan Bunin Born in the ancient noble family in Voronezh. In the future, the family moved to the estate in the Oryol province (now the Lipetsk region). Until 11 years, he was brought up at home, in 1881 he enters the Yeletic county gymnasium, in 1886 he returned home and continues to education under the leadership of Senior Brother Julia. He was engaged in self-education, fond of reading the world and domestic literary classics. At the age of 17 begins to write poems, in 1887 - debut in print. In 1889 he moved to Orel and goes to work as a corrector to the local newspaper "Orlovsky Bulletin". By this time, its continuous connection with the employee of this newspaper Barbara Paschenko, with which they, contrary to the desire of the relatives, are moving to Poltava (1892).
Collections of "Poems" (Eagle, 1891), "Open-air" (1898), "Listopad" (1901).
1895 - personally met A. P. Chekhov, before this was rewriting. By the same time it includes his acquaintance with Mirry Lohvitsky, K. D. Balmont, V. Bryusov.
In 1890 he traveled on a steamer "Chaika" ("Bark with Firwood") on the Dnieper and visited the grave of Taras Shevchenko, whom he loved and moved a lot later. A few years later, he wrote an essay "on the" Seagull ", which was published in the children's illustrated magazine" Shoot "(1898, No. 21, November 1).
On September 23, 1898, marriage with Anna Nikolaevna Tsakni, a daughter of the revolutionary population, the rich Odessa Greek Nikolai Petrovich Tsakni. The marriage was a short, the only child died at 5 years of age (1905). Since 1906, Bunin coincises (civil marriage was issued in 1922) with the faith of Nikolaevna Muromseva, the niece S. A. Muromtsev, Chairman of the State Duma of the Russian Empire of the 1st convocation.
In the lyrics, Bunin continued the classical traditions (the collection "Listfall", 1901).
In stories and poses showed (sometimes with a nostalgic mood), the custody of the noble estates ("Antonovsky apples", 1900), a cruel village of the village ("Village", 1910, Sukhodol, 1911), the disastrous oblivion of the moral foundation of life ("Mr. San -Francisco ", 1915), a sharp rejection of the October Revolution and the authorities of the Bolsheviks in the Diary Book" The Okayan Days "(1918, published in 1925); In the autobiographical novel "The Life of Arsenyev" (1930) - Recreation of the past of Russia, childhood and youth of the writer; The tragity of human existence in the story "Mitina Love", 1924, a collection of stories "Dark alleys", 1943, as well as in other works, wonderful samples of Russian small prose.
Translated the "Song of the Gayavate" of the American poet of Longfello. For the first time, he was published in the newspaper "Orlovsky Bulletin" in 1896. At the end of the same year, the newspaper published "Song of Gayavate" by a separate book.
In April-May 1907 visited Palestine, Syria and Egypt.
Bunin twice (1903, 1909) was awarded Pushkin Prize. On November 1, 1909, he was elected an honorary academician of the St. Petersburg Academy of Sciences on the category of elegant literature. In the summer of 1918, Bunin moves from the Bolshevik Moscow to the occupied by the Austrian troops of Odessa. With the approach in April 1919, I do not emigrate to the city of the Red Army, and remains in Odessa.
Greetings to the capture of the city of the Volunteer Army in August 1919, I personally thanked the arrived on October 7 in Odessa General A. I. Denikin, actively collaborated with Osvag under the Armed Forces of the South of Russia. In February 1920, during the approach, Bolshevik left Russia. Emigrated to France. During these years, there was a diary "The Okayan Days", partially lost, struck contemporaries with the accuracy of language and passionate hatred for the Bolsheviks.
In the emigration, there were active social and political activities: he spoke with lectures, collaborated with Russian political organizations of the nationalist and monarchical direction, regularly published journalistic articles. In 1924, he made a famous manifesto about the tasks of Russian abroad regarding Russia and Bolshevism: "The Mission of Russian Emigration", which gave an assessment with Russia and leader Bolsheviks V. I. Lenin.
The laureate of the Nobel Prize in literature in 1933 for "strict skill with which he develops the traditions of Russian classical prose."
The Second World War (from October 1939 to 1945) spent on a removable villa "Jeannet" in Grass (Department of the Seaside Alps). Much and fruitfully engaged in literary activities, becoming one of the main figures of Russian abroad. In Emigration, Bunin wrote his best works, such as: "Mitina Love" (1924), "Sunflow" (1925), "Correnet Elagina" (1925), and finally "Arsenyev's life" (1927-1929, 1933 ) and the cycle of the story "Dark Alleys" (1938-40). These works have become a new word in the Buninsky work, and in Russian literature as a whole. According to K. G. Powest, "The Life of Arsenyev" is not only a vertex work of Russian literature, but also "one of the wonderful phenomena of world literature."
According to the "Publishing House of Chekhov", in recent months, Bunin worked on a literary portrait of A. P. Chekhov, the work remained unfinished (in the book: "Petish ears and other stories", New York, 1953). He died in a dream at two o'clock in the morning from 7 to 8 November 1953 in Paris. According to eyewitnesses, Tom Roman L. N. Tolstoy "Resurrection" lay on the bed of the writer. He was buried in the Cemetery of St. Geneva-de-Bois in France.
In 1929-1954 The works of Bunin in the USSR were not published. Since 1955, the most published in the USSR writer of the first wave of Russian emigration (several collections of works, many monophonists). Some works ("casty days" and others) in the USSR are printed only with the beginning of perestroika.

russian writer and poet, laureate of the Nobel Prize in Literature

Ivan Bunin

short biography

Being a representative of the impoverished noble family, Bunin early began his own life. In the youth years, he worked in newspapers, office, a lot wandaped. The first of the published works of Bunin was the poem "Above the Mogile S. Ya. Nadon" (1887); The first poetic collection was published in 1891 in Orel. In 1903 he received the Pushkin Prize for the Book "Listopad" and the translation of the "Song about Gayavate"; In 1909, he was re-awarded this award for the 3rd and 4th volume of the collected works. In 1909, he was elected an honorable academician on the category of an elegant literature of the Imperial St. Petersburg Academy of Sciences. Since 1920, lived in France. The author of the novel "LIFE ARSENEVA", ABODE "Sukhodol", "Village", "Mitina Love", stories "Mr. from San Francisco", "Easy breath", "Antonovskiy apples", diary records "Therapy days" and other works. In 1933, Ivan Bunin became the laureate of the Nobel Prize in literature for "Strict skill, with whom he develops the traditions of Russian classical prose." Died in 1953, buried at the Saint Geneviev de-boa cemetery. The works of Bunin were repeatedly fused. The image of the writer is embodied in the film Alexey Teacher "Diary of his wife."

Origin, family

The representative of the nobleman, who left the roots in the XV century and had the coat of arms included in the "General Hercobnik of the noble childbirth of the All-Russian Empire" (1797). Among the relatives of the writer were poetess Anna Bunin, the writer Vasily Zhukovsky and other figures of Russian culture and science. Prapraded Ivan Alekseevich - Semen Afanasyevich - held the post of Secretary of the State Voted College. Praded - Dmitry Semenovich - resigned in the rank of the titular advisor. Grandfather - Nikolai Dmitrievich - a short time served in the Voronezh Chamber of the Civil Court, then she was engaged in the economy in those villages that he got after the property section.

The Father of the Writer is a landowner Alexey Nikolaevich Bunin (1827-1906) - did not receive a good education: he graduated from the first class of the Orlovsk gymnasium, he left his studies, and at the age of sixth, she got a job in the office of the provincial nobility assembly. As part of Yeletsky, he participated in the Crimean campaign. Ivan Alekseevich recalled his father as a person who had a non-Ravy physical strength, hot and generous at the same time: "All his being was ... I was impregnated with the feeling of his boric origin." Despite the disadvantaged disgraceed with the adolescent years, he read everything to her old age, with a big hunt. "

Returning home from the campaign in 1856, Alexey Nikolaevich married his cousin Lyudmila Alexandrovna Chubarova (1835 (?) - 1910). Unlike an energetic, temperamental husband (who, according to the writer's testimony, "sometimes drank, although it didn't have a single typical alcoholic trait"), she was a woman with a gentle, soft, devout; It is not excluded that Ivan Alekseevich was transferred to Ivan. In 1857, the firstborn family appeared in the family - the son of Julius, in the 1858th Son of Eugene. Total Lyudmila Alexandrovna gave birth to nine children, five of whom they died in early childhood.

Childhood and youth

Ivan Alekseevich was born on October 10, 1870 in Voronezh, in the house number 3 at a large noble street, belonging to the provincial secretary Anne Germanovskaya, who surrendered the rooms of the room. The Bunin family moved from the village in 1867 to give a gymnasium education to the eldest sons Julia and Eugene. As the writer subsequently recalled, his children's memories were associated with Pushkin, whose verses were read aloud in the house - both parents and brothers. In a four-year-old, Bunin, along with his parents, moved to the family estate on the Bydrochka County farmers. Thanks to Goverr - a student of Moscow University, Nikolay Osipovich Romashkov - the boy was addicted to reading; Home education also included learning languages \u200b\u200b(among which Latin paid special attention to) and drawing. Among the first books read by Bunin on their own, Homerovskaya "Odyssey" and a collection of English poetry.

In the summer of 1881, Alexey Nikolaevich brings the youngest son in the Yeletic men's gymnasium. Late in the name of the director, the Father wrote: "I wish to educate the son of my Ivan Bunin in the educational institution entrusted to you"; In an additional document, he promised to make a fee for "the right of teaching" in a timely manner and notify about the change in the residence of the boy. After passing the entrance exams, Bunin was enrolled in the 1st grade. At first, Ivan Alekseevich, together with his comrade - Yegor Zakharov, lived in the house of Yeetsky Beachnina Biakina, who brave from each of the tenants for 15 rubles a month. Later, the gymnasiste moved to a certain cemetery sculptor, then twice changed housing. In the training course, the riunin was heavier than everything was given - in one of the letters, he mentioned the older brother that the exam on this subject is "the most terrible" exam.

Study in the gymnasium ended for Ivan Alekseevich in the winter of 1886. Having left for the holidays to the parents, who collapsed in their estate, he decided not to return to Elets. At the beginning of the spring, the pedsoves excluded the rioon from the gymnasium for the failure to appear "from Christmas leave." From this time, Julius became his housework teacher, referred to the police supervision. The elder brother, realizing that mathematics causes the younger rejection, focused the main teaching efforts on humanitarian disciplines.

This period also includes the first literary experiments of the Bunin - he wrote poems from the gymnasic years, and at the age of fifteenth, the novel "Passion", who did not accept any edition. In winter, 1887, having learned that one of his literary idols died - Poet Semyon Naddon, Ivan Alekseevich sent several poems to the magazine "Motherland". One of them, entitled "Over the Mogile S. Ya. Nadson, was published in the February issue. Other - "Rustic Beggar" - appeared in the May issue. Later, the writer recalled: "The morning, when I walked with this number from the post office in the lakes, ripped on the forests of Rosistal valley and remembered his work, never forget."

"Orlovsky Bulletin." Wearing

In January 1889, the publisher of the Oryol Bulletin, Nadezhda Semenova, suggested Bunin to take the position of assistant editor in her newspaper. Before giving consent or respond to refusal, Ivan Alekseevich decided to consult with Julia, who, who left the lake, moved to Kharkov. So in the life of the writer, a period of wanderings began. In Kharkov, Bunin settled at his brother, who helped him find a simple job in the Zemstvo administration. After receiving a salary, Ivan Alekseevich went to the Crimea, visited Yalta, Sevastopol. In the editorial office of the Oryol newspaper, he returned only in the fall.

In the "Oryol Gazette", at that time he worked as a proofreader of Varvara Paschenko (1870-1918), which researchers call the first - "unforeseen" writer's wife. She graduated from seven classes of Yeetska Women's Gymnasium, then entered the additional course "for a special study of the Russian language." In a letter, Brother Ivan Alekseevich told that at the first acquaintance of Barbara - "High, with very beautiful features, in Pensne" - it seemed to him very arrogant and emancipated by the girl; Later he described her as a smart, interesting interlocutor.

Relationships between the beloved were difficult: the father of Barbara refused to see the Bunin with his future son-in-law, and in turn, the life of the world's vigor. The financial situation of his family at that time was shaky, the parents of Ivan Alekseevich, who sold the botyrs and who had passed the son of his son Evgenia, actually reached; According to the testimony of the younger sister Bunin Mary, they sometimes "sat completely without bread." Ivan Alekseevich wrote Julia that he was constantly thinking about money: "I don't have a penny, make money, write something - I can not, I do not want."

In 1892, Ivan Alekseevich moved to Poltava, where, with the assistance of Julia, I got a job in the statistical department of the provincial government. Soon there arrived and barbarian. The attempt to create a family in a new place failed: Bunin has given a lot of time meeting with representatives of the people's clubs, communicated with the Tolstov, traveled. In November 1894, Pashchenko left Poltava, leaving a note: "I'm leaving, Vanya, do not remember me with a lich." Ivan Alekseevich so hard moved parting with the beloved that the older brothers seriously feared for his life. Returning together with them to Elets, Bunin came to the house of Barbara, but the girl who came down on the porch reported that her address was not known to anyone. Paschenko, who became a writer's wife and actor Arseny Bibikova, died in 1918 from tuberculosis. According to the researchers, relations with her are imprinted in the artistic autobiographies of Bunin - in particular, in the novel "The Life of Arsenyev".

Entry into the literary environment. First marriage

People who knew the young Bunin characterized him as a person in which there was a lot of "life strength, thirst for life." Perhaps these qualities were helped by a novice poet, the author of the only one at the time of the poetic collection (released in the Orel in 1891 by a circulation of 1250 copies and the subscribers of the "Orlovsky Bulletin" subscribers) quite quickly enter into literary circles of Russia in the late XIX century. In January 1895, Ivan Alekseevich, leaving the service in Poltava, first arrived in St. Petersburg. For an incomplete two weeks held in the capital, he met with Critics Nikolai Mikhailovsky, Publicist Sergey Krivenko, Poet Konstantin Balmont, visited the editorial office of the magazine "New Word", met in the bookstore of the writer Dmitry Grigorovich (Seventy-tonsumnaya author "Anton-Gormyki" struck his liveliness View and raccoon coat to fifth), visited Alexei Phemchuzhnikov at home and received an invitation for lunch from him.

A series of meetings was continued in Moscow and other cities. Having come to Tolstoy to his house in Khamovniki, the young writer talked to the writer about the newly released Lion's story Nikolayevich "Host and Worker". Later, his acquaintance with Chekhov, who surprised Bunin's friendly and simplicity: "I, - then a young man who is not accustomed to such a tone at the first meetings," took this simplicity for the coldness. " The first conversation with Valery Bryusov was remembered by revolutionary arts about art, loudly proclaimed by a poet symbolist: "Long live only new and all old!". Quite quickly, Bunin got close to Alexander Cookin - they were peers, together began to enter the literary community and, according to Ivan Alekseevich, "Wheellessly wandered and sat on the cliffs over the pale lethargic sea."

In those years, Bunin became a member of the literary circle "Wednesday", whose members, going to Nicholas TV, read and discussed the works of each other. The atmosphere at their meetings was informal, and each of the circles had nicknames associated with the names of Moscow streets, for example, Maxim Gorky, who loved to talk about the life of Bosia, was informed by cunning; Leonid Andreev for commitment to the topic of death was called Vagankov; Bunin for the hoodurope and the irony "got" lodge. Writer Boris Zaitsev, remembering the Buninsky speeches in the circle, wrote about the charm of Ivan Alekseevich and the easiest of which he moved through the light. Nikolay Teshov called Bunin's fidget - he did not know how to stay in one place for a long time, and letters from Ivan Alekseevich came from the eagle, then from Odessa, then from Yalta. Bunin knew that he had a reputation for a person sociable, greedily stretched to new impressions, organically inscribed in his bohemian-artistic time. He himself believed that he was constantly interior among people in his desire:

In 1898, Bunin met the editor of the "Southern Review" edition - Odessa Nikolai Tsakney. His daughter - nineteen-year-old Anna - became the first official wife of Ivan Alekseevich. In a letter to Julia, telling about the upcoming marriage, Bunin reported that his chosen was "Beauty, but the girl is amazingly clean and simple." In September of the same year, a wedding took place, after which the newlyweds went on a tour of the steamer. Despite the entry into the family of wealthy Greeks, the financial situation of the writer remained heavy - so, in the summer of 1899 he addressed the eldest brother with a request to send "immediately at least ten rubles", while noting: "I will not ask the Zacni, even die." After two years of collaboration, the spouse broke up; Their only son Nikolai died from Scarlantine in 1905. Subsequently, already living in France, Ivan Alekseevich confessed that he had no "special love" to Anna Nikolaevna, although she was a very pleasant lady: "But this friend consisted of this Langeron, big waves on the shore and the fact that Every day the dinner was an excellent trout with white wine, after which we often went with her in the opera. "

First recognition. Pushkin Prize (1903)

Bunin did not hide the annoyance due to the weak attention of critics to his early works; In many of his letters, the phrase "Praise, please praise!". Not having literary agents capable of organizing reviews in the press, he sent his books to friends and acquaintances, accompanying the newsletter requests to write reviews. The debut collection of poems of the Bunin, published in Orel, almost did not cause interest in the literary environment - the reason marked one of the authors of the Journal "Observer" (1892, No. 3), which was noted that the "verse of Bunin Iron and was correct, but who now He writes non-smooth verses? ". In 1897, the second book of the writer was published in St. Petersburg - "on the edge of light and other stories." No less than twenty reviewers responded to it, but the overall intonation was "complacently indulgent." In addition, two dozen feedback looked, according to Kornea Chukovsky, "microscopically small" against the background of the resonance, which caused the exit of any of the works of Maxim Gorky, Leonid Andreeva and other "pets of the public" of the stroke of centuries.

A certain recognition came to the Bunin after the release of the Pharmaceutical Collection of "Listopad", issued by the Summalist Publishing House "Scorpio" in 1901 and became, according to the observation of Vladislav Khodasevich, "the first book, which he owes the beginning of his fame." Somewhat earlier - in 1896 - the Buninsky translation of the "Song about Guyavate" Henry Longfello appeared, very approvingly encountered by the literary community. In the spring of 1901, Ivan Alekseevich asked Chekhov to submit a "leaf fall" and "Song of Guyavate" for the competition of Pushkin Prize. Chekhov fulfilled this request, pre-consulted with a lawyer Anatoly Koni: "Be kind, teach me how to do it, at what address to send. I once received a prize, but I did not send my books. "

In February 1903, it became known that the award Commission was appointed Graph of Arsenius of the Golenchev-Kutuzov Review of the works of Bunin. Almost immediately after this news, the writer Platon Krasnov published the "literary characteristic of the IV. Bunin "(" Literary evenings of the New World ", 1903, No. 2), which noted that the verses of the candidate for the award differ in the" extreme monotony ", and his poem" Listopad "represents" only a number of paintings of the forest in autumn. " Comparing the poems of Ivan Alekseevich with the writings of Tyutchev and Feta, Krasnov stated that, unlike them, the young poet could not "carry the reader with such a topic as describing nature." Kutsuzov, Kutuzov gave another assessment of Bunin's creativity - in the review aimed at the commission, he pointed out that Ivan Alekseevich is peculiar "the wonderful, shaped one who has no borrowed, his language."

On October 18, 1903, a voting of the commission on the award of the Pushkin Prize was held (Chairman was the historian of literature Alexander Veselovsky). Bunin received eight electoral votes and three - indiscriminate. As a result, he was awarded a half premium (500 rubles), the second part went to the translator Peter Waynbergu. Pushkin Prize strengthened the reputation of the rioon as a writer, but it contributed little to the commercial success of his works. According to the testimony of Korni Chukovsky, in the Moscow Hotel "Metropol", where the "Scorpio" publishing house was located, several years later were unprofitable packs of the collection "Listopad": "There were no buyers. Whenever coming to the publisher, I saw these dubbed packs that serve to visitors to furniture. " As a result, "Scorpio" gave an announcement of the price reduction: "Ivan Bunin. "Falls" instead of the ruble 60 kopecks. "

Second marriage

In October 1906, Bunin, who lived that in the autumn is very chaotic, "moved from guests to restaurants," once again arrived in Moscow and stopped in the furnished guests of the Gund. In the number of events with his participation, a literary evening was planned in the apartment of the writer Boris Zaitsev. At the evening, held on November 4, there was a twenty-five-year-old Vera Muromtsev, friendly with the hostess at home. After reading the verses, Ivan Alekseevich was acquainted with the future wife.

Vera Muromtseva (1881-1961) was a daughter of a member of the Moscow City Government of Nikolai Muromtsev and the niece of the Chairman of the First State Duma of Sergey Muromtsev. Her father was distinguished by a very calm temper, while the mother, according to Boris Zaitsev, resembled the heroine of Dostoevsky - "Something like the generals of Epang." Vera Nikolaevna - a graduate of higher female courses - was engaged in chemistry, knew several European languages \u200b\u200band at the time of acquaintance with Bunin was far from the literary and bohemian environment. Contemporaries described it as a "very beautiful girl with huge, light-transparent, as if crystal eyes."

Since Anna Tacci did not give a rope bunin, the writer could not officially issue his relations with Muromseva (they married already after departure from Russia, in 1922; Alexander Kuprin was Schafer). The beginning of their joint life was an overseas journey: in April-May 1907, Bunin and Vera Nikolaevna made a trip to the countries of the East. Nikolay Dmitrievich Telshov gave money for the voyage.

In those blessed days, when the sun was in the afternoon, when, in color of forces and hopes, a hand in hand with the one to whom God tried to be my companion to the coffin, I made my first long journey, a marriage journey, former at the same time and pilgrimage in the holy land.

I. A. Bunin

Pushkin Prize (1909)

The unsuccessful experience of cooperation with the Scorpio forced the Bunin to abandon further work with the symbolist publisher; As Ivan Alekseevich himself wrote, at a certain point he lost the desire to play with "new companions in Argonauts, in demons, in magicians." In 1902, he had another publisher - Petersburg partnership "Knowledge". For eight years, it was engaged in the issuance of the Writer's Works. The greatest resonance caused the yield of the 3rd volume containing new poems of the Bunin (1906, a circulation of 5205 copies, the price is 1 ruble).

In the fall of 1906 (or in the winter of the next), the 3rd volume, together with the translation of the Bayronovsky "Cain", was sent to the Bunin to the Academy of Sciences for nomination to the next Pushkin Prize. Two years later, the wife of Kurrina - Maria Karlovna - Ivan Alekseevich reported that members of the Commission did not receive his books, and because Valery Bryusov was considered a probable applicant for the award. The pad, possibly, was due to the fact that Peter Weinberg, who died in the summer of 1908, was appointed review of the works of Bunin; Books taken by him to study were lost. Bunin responded quickly to the information received from Cookina: he re-sent the 3rd and 4th volumes to the Academy of Sciences and the 4th volume of his writings, as well as a letter with the necessary explanations.

In February 1909, the Grand Duke Konstantin Konstantinovich, who became a new revision of the works of Bunin, prepared a review of his writings. The report noted that a candidate for a prize is not a beginner author, but a verseman, "the winning work of the presentation of the poetic thought as a poetic speech." At the same time, according to the reviewer, the realistic description of the internal experiences of his lyrical hero is sometimes bordered by hardly with cynicism - this, in particular, was about the poem "loneliness". A thorough analysis in which other "roughness" was listed (the nebula of thought, unsuccessful comparisons, inaccuracies found when comparing the "Cain translated" with the original), completed by Verdict: the works of the Bunin, presented in the Commission, do not deserve the awards, but are quite worthy of "honorary Review. "

This review did not affect the results of the voting, and at the beginning of May, Alexander Kuprin, who received information about the preliminary results of the competition, told Bunin that both of them were awarded a half Pushkin Prize; In the letter, I was joking: "I'm not angry with you for having a whistle." Bunin in response assured his comrade, which was satisfied with the situation: "I am glad ... that the fate has tied my name with yours." The relationship of Kurrin and Bunin was friendly, but in them, however, an element of light rivalry was always present. In the nature, they were different: Alexander Ivanovich forever retained the qualities of a "big child", while Ivan Alekseevich, who became early since the junior years, was distinguished by the maturity of judgments. According to the memories of Mary Karlovna Kupina, once during lunch in their house, Bunin, who was proud of his pedigree, called her husband "nobleman in Mother". In response, Kubrin composed a parody of Ivan Alekseevich "Antonovskaya apples", enthusiastically with her "pie with weak": "I sit by the window, thoughtfully happing the washcloth, and in my eyes there is a beautiful sadness ...".

In October, it was officially announced that the Pushkin Prize for 1909 is divided between riunin and chip; Each of them received 500 rubles. In less than two weeks from the Academy of Sciences received a new news - about the election of the Bunin of the Honorary Academician on the category of elegant literature. The corresponding view was made by another spring by the writer by Konstantin Arsenyev, who in the characteristic aimed at the Academy indicated that the works of the riot were different "simplicity, incessia, form art." During the elections to the honorary academicians for Ivan Alekseevich, eight votes from nine were given.

"The appearance days"

In the 1910s, Bunin and Muromtsev traveled a lot - they visited Egypt, Italy, Turkey, Romania, visited Ceylon and Palestine. Some works of Ivan Alekseevich (for example, the story "Brothers") were written under the influence of travel impressions. During this period, the stories "Mr. San Francisco" (1915), "Grammar Love" (1915), "Light Breath" (1916), "Snag Chang" (1916) were released. Despite creative successes, the mood of the writer was cloudy, about whot of his diary records made in 1916: "Mental and mental stupidity, weakness, literary infertility continues." According to Bunin, his fatigue was largely connected with the First World War, which brought "great spiritual disappointment."

OCTOBER EVENTS The writer met in Moscow - along with the faith of Nikolaevna, he lived in house number 26 at the Covarian Street since the autumn of 1917 until next spring. The diary, which Ivan Alekseevich Vyl in 1918-1920, became the basis for his book "Casting Days", called researchers a significant document of the turning time. Categorically refusing to accept the Soviet power, Bunin in his records actually half alarmed with the "twelve" poem written in 1918. According to the literary review, Igor Diesh, in those days "the block heard the music of the revolution, Bunin - a Caucophony of Bunt."

On May 21, 1918, Ivan Alekseevich and Vera Nikolaevna left Moscow; In the Savelovsky railway station, they were accompanied by Julius Alekseevich Bunin and Maxim Gorky's wife - Ekaterina Peshkov. Before Odessa - a city, a well-known writer, - Chet traveled in difficult ways: on memories of Muromseva, along with other refugees, they drove in a crowded sanitary car to Minsk, then transferred transplants; Once, looking for a place to sleep, got into a dubious junk. In Odessa Ivan Alekseevich and Vera Nikolaevna arrived in the summer. First, they lived at the cottage for a large fountain, later moved to the princely street in the artist's mansion Evgenia Bukovsky, who offered them two rooms. In a letter sent to the criticism of Abrama Dorman in the fall of 1918, Bunin said that he was experiencing "incessant pain, horror and rage when reading each newspaper."

In Odessa, Bunin lived almost a year and a half - wrote articles for local publications, headed the literary department of the newspaper "Southern Word", participated in the activities founded by General Anton Denikin Agency OSSAG. In private conversations, he periodically mentioned the desire to join the voluntary army. In an interview, this newspaper Odessa Leaflet (1918, No. 120), the writer very sharply responded about the "terrible contrasts" of the era - the coincidence of the Tourgenev's centenary anniversary with the anniversary of the revolution. Proser Ivan Sokolov-Mikitov, who communicated with Bunin at that time, said that Ivan Alekseevich was in Odessa, Ivan Alexeevich was in an extremely oppressed state.

On January 24, 1920, Bunin and Muromtsev rose on board a small French steamer "Sparta". Holding two (according to some data - three) days at the external raid, the ship took the course to Constantinople. As I wrote in the diary of Vera Nikolaevna, there were so many people on the steamer that all decks, passages and tables were used for the night; They managed to take one close bed for two with the riunin. On the sixth day, Sparta got off the way, he entered the Bosphorus on the seventh, got to the ninth to Tuzla. Then there were short stops in Bulgaria and Serbia. At the end of March 1920, the writer and his companion arrived in Paris.

Suddenly I completely woke up, suddenly Zaveril me: yes - so here it is in the Black Sea, I'm on someone else's steamer, I for some reason I am swimming in Constantinople, Russia - the end, and the end of all my former life, even If a miracle happens and we will not die in this evil and ice jerny!

I. A. Bunin

In Paris and Grass

In the first years of life in France, Bunin did little on literary activities. According to the assumption of the poet Gleb Struve, the temporary "creative cloister" of the writer was associated with its acute response to the political situation in Russia. Nevertheless, Ivan Alekseevich continued to go out - in the early 1920s in Paris, Berlin and Prague, the collections of his stories were published, written in a pre-revolutionary time. A determined fracture occurred in 1924. On February 16, an event entitled "Mission of Russian Emigration" was held in Paris, in which Zhona Schmelev, Dmitry Mereryovsky, historian Anton Cardashev and others participated. Bunin made a report, which indicated that the task of Russian emigration is the rejection of the Lenin Commandments. Responding to the reproaches of those who believed that people who did not recognize the revolution "want to reverse the rivers", the writer noted: "No, not, we want not reverse, but only a different current ... Russia! Who dares to teach me love for her? ".

In the same 1924, the Buninsky collection of Rosa Jericho, in which, along with pre-revolutionary works, was included, and stories written in France were included in Burnin. A year later, the magazine "Modern Notes" (1925, No. 23-24) published a new story of the Bunin "Mitin Love", which caused a large number of reviews in the emigrant editions. Then the stories "Sunny blow", "Correnet Elagina", "Ida" were written. In 1927, the writer began to work on the novel "Life of Arsenyev", in which he began to reproduce the impressions that were preserved in memory from children's and adolescent time. Literary crowns were noted that from the works created in the emigrant period, completely the social promise bunning left, "the writer fully plunged into that" pre-revolutionary world that could not be topped with the original. "

In the winter months, the Bunins, as a rule, lived in the Paris apartment located at: Street Jacques Offenbach, 1. In a warm season, the family usually moved to the seaside Alps, on the Villa "Belvedere" in Grass. In the mid-1920s, Galina Kuznetsova appeared in the life of the writer, which researchers called him student and the Grace Laura. Kuznetsova - the wife of an officer D. M. Petrov - together with her husband left Russia in 1920. In the spring of 1927, she broke up with Petrov and settled in the Grare Bunin House. An almost idyllic atmosphere reigned at the villa is reproduced by her book "The Grare Diary" reproduces: "I cut roses in the morning ... I fill the jugs in the house." These recordings contrast with the diary confessions of Muromseva: "Today I am completely alone. Maybe it's better - freer. But the longing is terrible. " Kuznetsova lived in Grass with interruptions until 1942; In 1949, she moved to the United States.

In 1929, Leonid Zurov, who later became the heir to the Bunin archive subsequently to the inhabitants of the Grare Villa, who later became the heir. His acquaintance with Ivan Alekseevich occurred on correspondence. Correspondence Communication ended with an invitation to France; Bunin personally promised to so much about visas and find money for moving. According to Kuznetsova's testimony, the young man appeared in a house with suitcases, in which there were black bread, tested by Bunin Antonovsky apples, lime honey. "When I. A. The first time came out to him, he got up, stretched out in front of him, like a look." The work of Zurov as secretary of Ivan Alekseevich lasted for several years, but his relationship with Bunin was preserved for decades.

Nobel Prize

The first nomination of the Bunin on the Nobel Prize in Literature took place shortly after the writer's arrival in France. The sources of the Nobel "Russian Project" stood a prose Mark Aldanov, who wrote in 1922 in one of the questionnaires, which in the emigrant environment the most authoritative figures are Bunin, Kuprin and Merezhkovsky; Their joint candidate issued as a reward could raise the prestige of the "expelled Russian literature." With a proposal for such a nomination Aldanov addressed Romena Rollan. He replied that he was ready to support Bunin separately, but not in conjunction with Merezhkovsky. In addition, the French prosewarer noticed that if there were bitter among the applicants, he would give his preference to him. As a result, Rollan made a change in the proposed list of changes: in a letter sent to the Nobel Foundation, he pointed out three surnames - Bunin, Gorky and Balmont. The Nobel Committee had questions about each of the candidates, and the Poet from Ireland William Yets received the Prize for 1923. In the future, emigrant writers left no attempts to nominate the Bunin. So, in 1930, Aldanov led the negotiations with Thomas Mann. He first reported that, respecting Ivan Alekseevich, it makes it difficult to make a choice between him and another Russian writer - Ivan Smerev. Later, Mann admitted that since the list of candidates there is a representative of German literature, he as a German is ready to vote for him.

On the award of the Bunin Prize for 1933, the first learned Muromtsev. According to her memories, on the morning of November 9, a telegram from the Swedish translator Calgrena came to the Grare Villa, who asked about the citizenship of Ivan Alekseevich. The answer was sent to Sweden: "Russian exile". Day Bunin and Galina Kuznetsov went to cinema. During the session, Leonid Zurov appeared in the hall, who asked the writer to interrupt the view and return home, - according to the secretary, Vera Nikolaevna adopted a phone call from Stockholm; Despite the poor quality of communication, she managed to disassemble the phrase: "Your husband is a laureate of the Nobel Prize, we would like to talk to Monsie Bunin!" Information about the award has spread quickly - in the evening journalists and photocondunts arrived in Graz. Andrei Sadyov's writer, who took part of the secretarial duties temporarily, told me later that that day, Bunin had no money and there was nothing to pay for the work of couriers who constantly bring congratulatory telegrams.

The official text of the Swedish Academy said that "the Nobel Prize in Literature ... It is awarded to Ivan Bunin for strict skill, with whom he develops the traditions of Russian classical prose." In the creative medium, the reaction to the premium was ambiguous. So, if the composer Sergey Rachmaninov was among the first to send a telegram from New York with the words "sincere congratulations", Marina Tsvevaeva expressed disagreement with the decision of the Academy - the poetess noted that Gorky or Merezhkovsky in a much larger degree deserved awards: "Gorky - Epoch, And Bunin - the end of the era. "

The premium presentation took place on December 10, 1933 in the Stockholm Concert Hall. In the Nobel speech, over which the writer worked for a long time, Bunin noted that the premium was first awarded to the creditor-exile. The Nobel Medal and the Laureate Diploma was presented to him by the King of Sweden Gustav V. Writer received a check at 170,331 Swedish crown (715,000 francs). Part of the Ivan Alekseevich premium listed in need. According to him, on the first days after the news of the decision of the Academy, almost 2000 letters from people who came to a complex financial situation were received, so "had to distribute about 120,000 francs."

In the years of World War II

At the beginning of World War II, the Bunins moved to the high-mountain villa "Jeannet", which was on the departure from Grass, near the Napoleonic Dear. There Ivan Alekseevich and Vera Nikolaevna almost lowered about six years. In addition to them, friends and familiar families were constantly on the villa. The top floor was occupied by Galina Kuznetsov with a friend Margarita Stepun - the sister of Philosopher Fyodor Stene. In 1940, Leonid Zurov returned to Grare. In the house of Bunin found a temporary shelter American pianist Alexander Lieberman and his wife. According to the memoirs of Lieberman, in 1942, when he and his wife, having learned about the upcoming arrests of foreign Jews in Cannes, was looking for "underground", Ivan Alekseevich insisted on their settlement in Jeannet: "So we did - and he spent several alarming days. " From 1940 to 1944, a writer Alexander Bakhrai was a writer in the house of Bunin, who himself came to the villa with a request to give him refuge. Muromtseva arranged a rite of baptism in a small church for him, and the souls through a familiar priest issued documents, who during the arrest on the street saved the Bakhrah life. Subsequently, Alexander Vasilyevich published the Bunin book in a bathrobe, in which, in particular, mentioned that among the guests of the writer there was a granddaughter of Pushkin - Elena Rosenmayer, brought by Ivan Alekseevich from Nice.

Artist Tatiana Loginova-Muravyov, who was in Grass during the war, said that Bunin was constantly listened to the Radio English and Swiss news reports. The cards were hung in his office, on which the writer arrow made a mark. In diaries, he almost daily recorded information about the movement of Soviet troops. From radio communications and letters Ivan Alekseevich learned about the fate of friends: "Balmont died and Professor Olan. Disappeared from the world and from my life Balmont! And I see an acquaintance with him in Moscow, in the rooms "Madrid" on Tverskaya ... Letter from faith Zaitseva: Nilus died. "

During the war, the Villa "Jeannet" lost its original respectability: the heating system ceased to function, there were difficulties with water and power supply, the furniture was muffled. In letters, Bunin familiar mentioned about "cave solid hunger." The Nobel Prize was spent, no new publications foresaw; According to the memoirs of Zurov, the Bunin received proposals for work in the publications that came out in the occupied lands, but Ivan Alekseevich answered. In those days, he wrote: "I was rich - now, the will of the destitute, suddenly became a niche ... It was famous for the whole world - now I don't need anyone in the world ... I really want to go home!" Trying to get at least a small fee, Ivan Alekseevich asked Andrei Hiswood left to the United States to publish the book "Dark Alleys", which included works written in 1937-1942. In a letter, Bunin noted that I agree to any conditions. Andrei Sadykh, especially for this project created in New York "New Earth" in New York, in 1943 released "Dark alleys" in Russian in circulation of 600 copies. With an English version of the book, many problems arose, and she was published after the war. For "Dark Alleys", a bunin was paid 300 dollars.

Appearance, character, lifestyle

Bunin was a nobleman by origin, but his lifestyle - especially in his youth - turned out to be akin to the dispenser. Early leaving the parental house (and before the end of the life, without finding his own), he used to count only on himself. For many years, his chapter was removable angles, furnished rooms, hotels - he lived in "Metropolitan", then in the "patchwork", then in the village, then on apartments with friends. In private conversations, the writer confessed that he was tormented by "conflicting passions" from his youth. The poetess Irina Odointev suggested that both the unbridled temper, and the ability to heroic actions were largely determined by his heredity: "he received his nervousness ... not only from the alcoholic father, but also from the Mother's Martyr." People who communicated with Ivan Alekseevich paid attention to his unusually acute sense of smell, hearing and vision - he himself called his super-sensitivity of "interior". According to Bunin, in his youth, he easily distinguished the stars, which other people could consider only with the help of powerful optical devices; Thanks to an excellent hearing, he could hear the sound of approaching horse bells from home. His "mental vision and hearing" were as aggravated.

Memoirists wrote about the "Barsk posture" of Bunin, his innate elegance, the ability to freely hold on and naturally feel in any society. According to the remarks of the wife of Kurpric Maria Karlovna, her husband - even in the most fashionable costumes - next to Ivan Alekseevich looked awkward and awkward. Tatyana Loginova-Muravyov, who watched the appearance of the Bunin as an artist, paid attention to the mobility of all the features of his face; Sometimes it seemed that even his eyes were able to change the color depending on the mood: they could be green, gray, blue. The writer knew about his "multipleness," therefore reluctantly agreed on the proposals of artists to work on its portraits.

The best time for the work of Bunin considered morning - as a rule, he sat down for a written table before breakfast. About his rigor to the Word and any sign of punctuation was also known to editors, and colleagues, - Kubrin in a conversation with Ivan Alekseevich once noticed that the sweat was visible in each line. " According to the memoirs of the employee of the Paris magazine "Modern notes", the brand of cherry, the attitude to the construction of the phrase in the text sometimes reached the Bunin to "painful scrupulousness"; In the publishing house with whom he collaborated, his urgent telegrams have come to the print before passing the manuscript with requests to change the word or rearrange the comma. Its desire to immediately make the last editing of the writer explained this way: "Tolstoy demanded from the" Northern Bulletin "One hundred corrections of the" host and employee "... and I ask only two!". The reform of Russian spelling, in which the alphabet disappeared to Yet and Erik, Ivan Alekseevich met very negatively, "he argued that the" forest "without" Yati "loses his whole resinous fragrance."

The opinions of contemporaries about the nature of the Bunin were contradictory. In some memories, he was represented by a slight, witty interlocutor, whose nevertheless could not be called an open person. Others wrote that in the creative environment he was perceived as the writer sharp, non-advisive, unacceptable. According to Irina Odoin, sometimes he "could be very unpleasant, without even noticing it." Ivan Alekseevich helped by those who needed support, but at the same time loved, so that the disciples accompanied him at events, "such a public demonstration of" Sweets "sometimes annoyed his colleagues who called the writer's followers of the Buninsky serf ballet.

According to Bunin, he never knew how to properly dispose of money, and the Nobel Prize, which, on the calculations of friends, could provide the writer with a comfortable old age, was raster very quickly. Bunins did not acquire their own housing, did not postpone no amounts of "black day." Andrei Sadykh, who broke together with Ivan Alekseevich mail, who arrived in Gres after receiving the award, recalled the letters from all over the world. When some sailor requested a writer to send him 50 francs, he responded to a request. It is just as easily that he endowed the unfamiliar fans, and Vera Nikolaevna distributed money to the writers for publishing books or pay for study. The writer Zinaida Shakhovskaya argued that the open house of Bunini attracted both unfair publishers and lawyers with a dubious reputation. The impracticality of the family led to the fact that three years after receiving the Ivan Alekseevich award, he wrote in the diary: "Agents who will always receive interest from me, returning the collected works for free ... With money, no penny income ... and ahead of old age. Exit in circulation. "

Last years. Death

After the war, the Bunins returned to the Paris apartment. In June 1946, a decree was published in the Soviet Union "On the restoration of the USSR citizenship of subjects of the former Russian Empire, as well as persons who have lost the Soviet citizenship living in France. As Faith Nikolaevna wrote in those days, the disclosure of the document caused many unrest in the emigrant environment, in some families a split occurred: "Some wanted to go, others - to stay." Bunin, answering the question of the correspondent of "Russian news" about the attitude to a decree, restrainedly noticed that he hoped for the spread of this "generous measure" and to other countries where immigrants live - in particular, to Bulgaria and Yugoslavia. The Ambassador of the USSR in France, Alexander Bogomolov held two meetings, in addition to him, who arrived in Paris Konstantin Simonov and Ilya Erenburg. In addition, the ambassador personally invited Bunin for breakfast; During the meeting, Ivan Alekseevich was invited to return home. According to Bogomolov, the writer thanked for the offer and promised to think. This is what Konstantin Simonov recalls:

Spoken of return, he said that, of course, I really want to go, see, to visit familiar places, but it is confused by age. Late, late ... I am already old, and there is no friends left alive. From close friends left one TV, and he, I'm afraid, no matter how dying until I arrive. I am afraid to feel in emptiness. (...) And I attached to France, very used, and it would be difficult for me to fall from her. And take a passport and do not go, stay here with the Soviet passport - why take a passport, if not going? Once I'm not going, I will live as I lived, the point is not in my documents, but in my feelings ...

Konstantin Simonov

The return did not take place, and Bunin, having an emigrant passport, remained a man without citizenship until recent days.

In the post-war period began to restore links with Soviet writers. Konstantin Simonov, acquaintance with which happened at one of the assembly, has repeatedly been at the Bunin at home. Judging by the diaries of Muromtseva, it was somewhat alarmed talk about the well-being of Simonov, and the message about the presence of secretaries and stenographers made it forced to think about the problems of emigrant writers: "Zaitseva has no [writing] the machine, Zurov has a minimum for normal life, Yana [ Ivan Alekseevich] - the opportunity to go, to fly bronchitis. " At that time, the Bunin was transferred to some literary works that were published in the USSR - so, he read and very warmly responded to Vasily Turkin, Alexander Tvardovsky and the story "Korchm on Braginke" Konstantin Poist.

In 1947, Bunin, who was diagnosed with emphysema of the lungs, at the insistence of doctors went to the resort of Juan-les-Pen, located in the south of France. After passing a course of treatment, he returned to Paris and managed to take part in an event organized by friends in his honor; In the fall of the same 1947, his last speech was held before a large audience. Soon Ivan Alekseevich appealed to Andrei gray with a request for help: "I became very weak, two months stayed in bed, I broke up perfectly ... I went to the 79th year, and I'm so beggar that I don't know absolutely." . Sedykh managed to negotiate with the American philanthropist Frank Antran on the listing of a monthly pension in the amount of 10,000 francs. This money was sent to the Bunin until 1952; After the death of atra, payments stopped.

In October 1953, Ivan Alekseevich's health deteriorated sharply. Family friends who helped faith Nikolaevna to care for the sick, including Alexander Bakhrai, were almost constantly constantly held in the house. Dr. Vladimir Zernov arrived daily. A few hours before the death of Bunin asked his wife to read him out loud letters Chekhov. As Zereans recalled, on November 8, he was called to the writer twice: for the first time he spent the necessary medical procedures, and when he arrived again, Ivan Alekseevich was already dead. The cause of death, according to the doctor, became the heart asthma and sclerosis of lungs. Buried Bunin on the Cemetery of Saint-Geneva de-Bois. The monument on the grave was made on the drawing of the artist Alexander Benua.

Creation

Poetry

Bunin, who issued several poetic collections and received two Pushkin Prizes for them, had a reputation as an old-fashioned landscape system in the literary community for a long time. During his youth, Russian poetry was looking for new forms for self-expression, and the adherent of Classic Bunin looked conservative on the backdrop of Bruce, which brought in the lyrics of the "breath of city streets", or an early block with his unsettled heroes introduced into the largest lifestyle. As Maximilian Voloshin wrote in his review, who responded to the Buninsky collection of "Poems" (1903-1906, the Publishing House "Knowledge"), Ivan Alekseevich was aside "from the general movement in the Russian verse." At the same time, according to Voloshina, from the point of view of painting, the poetic paintings of the Bunin reached "endpoints of perfection".

In the lyrics of the young Bunin, the influence of Jacob Polonsky, Apollo Majkova, Alexey Pelchusnikov and Athanasius Feta feels influence. Critic Konstantin Medvedsky When analyzing the works of the Laureaites of the Pushkin Prize for 1903, he brought several quotes from the Buninsky collection "Listopad", in which the "School of Feta" is found, - it is, in particular, about such lines: "Bursting the hollow water, - / noise and deaf, and long. / Grackers Polyeri / screaming and fun and important ». In addition, the contemporaries of Ivan Alekseevich tied his poetic sketches with landscapes from prosaic works of Turgenev and Chekhov. In the first decades of the 20th century, criticism wanted to get rid of "crowders" faster and go to an independent road in poetry.

The main topic in the early poems of the Bunin was nature with her seasons, the "gray sky" and "forests on distant kosovoi". Later, the cerebrals of philosophical reflection came when grades and tombstones appeared among the elements of the landscape, and the lyrical hero appealed to space problems, began to look for answers to eternal questions: "And the shadow flashes, and the moon moved, / in his pale light, as in smoke, immersed, / and it seems, is about and I will understand / invisible - going to smoke". The poems of love at the Bunin a little, but intimate experiences of his characters became a kind of prologue to the prosaic works of Ivan Alekseevich, written much later. For example, in his love lyrics there is that sensuality that is peculiar to the hero of "Mitina Love" ( "I entered her at an ideal hour. / She slept - the moon shylay "), as well as sadness, appearing in the story" Easy breath "(" Graveyard, a chapel over a crypt, / wreaths, lamps, images / and in a frame, translating crepe, - / Large clear eyes ").

Stories and Tale

Bunin's debut as a prozaika took place in 1893, when his story "Rustic sketch" was printed in the St. Petersburg journal "Russian wealth", later thanked another name - "Tanka". The editor of the "Russian wealth" Nikolai Mikhailovsky after acquaintance with the manuscript wrote a twenty-year-old author, that over time, "a big writer will come out." In subsequent years, his stories "Cans" were published in different publications, "on the edge of the world", "Antonovsky apples", "Little Romance" and others. Critics showed a discreet interest to the creativity of a young rioon, mentioned about "poetic paints", present in his prose, but for the time being, none of the writings of Ivan Alekseevich was perceived in the literary community as a big event. According to the remark of Kornea Chukovsky, his early "semi-elegments, midniemalls ... lacked iron and stone."

The fracture occurred after the release of the story "Village". Bunin began working on it in 1909, read excerpts in literary circles, and about the work they spoke long before the commissioning of the manuscript. The newspaper "Exchange Vedomosti" (1909, No. 11348) wrote that the new essay of the Bunin probably "will cause conversations and controversy to the right and left." The first part of the "village" was published in the "modern world" in March 1910, and the first review appeared before the release of the room is in the light - the Observer of the Morning Russia newspaper V. Baturinsky managed to get acquainted with the revision with the proofreader and, ahead of colleagues, prepared The review in which the story called the "outstanding work of the current season". Critics and writers were included in the discussion about the "village": the author was made by claim in the "loss of artistic truth-like" (Polonsky); He was accused of "Stroyl's own etudes and sketches" (Alexander Amphitheatres); He wrote about the story as "outrageous, through a false book" (A. Yablonovsky). Among those who supported Bunin was Zinaida Hippius, which marked in the magazine "Russian thought" (1911, No. 6) that the story "village" is strict, simple and harmonious: "... I just believe."

Despite the sharpness of individual estimates, the "Village", as well as the story "Sukhodol" ("Journal of Europe", 1912, No. 4) consolidated the reputation of the prosecut - his works were much more willing to acquire magazines and newspapers, and " Publishing and Printing Partnership A. F. Marx "suggested a writer to conclude a contract on the issuance of a complete collection of its writings. The six-liter was published in 1915 a very impressive circulation - 200,000 copies.

In the same year, the story of the Bunin "Mr. from San Francisco" appeared. According to Muromsky's testimony, the idea of \u200b\u200bthe work arose at Ivan Alekseevich during their travel on a steamer, which followed Italy. Among the passengers began a discussion about social inequality, and the writer proposed his opponent to imagine their vessel in the context: on the upper deck, people walk and drink wine, and in the lower compartments they work: "Is it fair?". The story was generally benevolently met by reviewers: So, the historian of literature Abram Derman ("Russian thought", 1916, No. 5) found some artistic techniques inherent in the Lion Tolstoy in it - for example, a death test, and the writer Elena Koltonovskaya, who first found in Prose Bunin a lot of flaws, after the release of "Mr. from San Francisco" called Ivan Alekseevich "The largest representative of the new literature." More reservedly estimated this work by Alexander Izmailov, who the story about a rich 58-year-old American, who went to the Old World for entertainment, seemed too stretched, - according to critic, she could fit in a small sketch format.

One of the last artistic works written by Bunin in the pre-revolutionary course, became the story of "Light breath" ("Russian Word", 1916, No. 83). The story about the gymnasian Oly Meshcherskaya, shot at the train station with a Cossack officer, was invented by a writer during walks on the cemetery of Capri Island, when he saw a portrait of a cheerful girl on one of the tombstones. The young heroine of the story is the special female type that Ivan Alekseevich has always been interesting, "there is a mystery, subordinating men and makes them make reckless actions. In the same gallery of fatal female images with the natural gift to charming, the characters of the Buninsky stories "Klash" and "Aglaya", as well as the Mitin Love Mitina Tale created already in the emigration.

In the story "Mitina Love", first published in the Paris magazine "Modern notes" (1925, No. 13-14) and telling about the love of the Mitya student to a student of a private theater school Kate, there are autobiographical motives. They do not belong to the plot, but to the depth of the feelings experienced by the young hero, and make it difficult to remember the spiritual torments of the young Bunin, who lost the Barbar Paschenko. Her features are "impermanence, falsehood" - guessed in the image of Kati. As Muromtsev wrote, "Nowhere Ivan Alekseevich did not open his love experiences, as in" Mitina of Love, "carefully encouraging them." This story, according to the stylist resembling a large poem in prose, marks the new stage in the work of the Bunin:

Before the Bunin did not write about love. The Buninsky innovation is that modern courage ("modernity", as they said) in the image of the senses of heroes is combined with the classical clarity and perfection of the verbal form. The experiences of Mitya, endowed with super-line emotionality, capable of feeling with exorbitant sharpness, pain and bliss Awakening of nature and himself ... - Undoubtedly, autobiographical.

Anna Sahakyans

The book "Dark Alleys" (1943-1946), over which the writer worked in the pre-war and war years, caused an ambiguous reaction among colleagues and readers of the Bunin. If the poet Gleb Streve called works included in the collection, "the best stories about love-passion in Russian literature, then Mark Aldanov informed the author about letters received by the editorial office of the" New Journal ", which printed several novel. According to Aldanov, the subscribers of the publication were outraged by an excess of erotic scenes, and some scientist sent a letter with the question: "Well, how can I? I have a wife. " In the collection, whose name was suggested by the writer by the Strits of Nikolay Ogarev "Circle of Rosehip Scarlet Color, / Standing Lip Alley", entered the stories "Rusya", "Late Hour", "Cold Autumn", "Muse", "Baryshnya Clara", " Iron wool "and others.

"LIFE ARSENEVA"

The idea of \u200b\u200bthe novel "The Life of Arsenyev" - Books that influenced the decision of the Swedish Academy about awarding the Nobel Prize, appeared at Bunin in October 1920, on the eve of his fifty-year-old anniversary. Somewhat later, in 1921, the writer made preliminary hints, in which he tried to designate the canvas of the work on the growing and becoming a person. Initially, his names ranged: "The book of my life", "at the source of days", "Unnamed notes." The idea was formed for several years, and immediate work began on June 27, 1927. Judging by the memories of Muromseva, every time, completing the next part, Ivan Alekseevich intended to stop the work - he argued that "human life cannot be written." As a result, Bunin created five parts and "brought" his hero to Alexei Arsenyev to the twentieth age.

Researchers did not come to a common opinion regarding the genre of the Buninsky novel. Literary student Boris Averin, who studied the creative history of the work, noticed that the early author's manuscripts, which reflected the "stroke of memory", allow us to talk about the "life of Arsenyev" as a memoir prose. At the same time, when applying, Ivan Alekseevich deliberately distanced himself from the heroes of the work - he changed the names and deleted the details from the text, in which the episodes of his own biography would be guessed. According to the literary critic Anna Saakyans, the "Life of Arsenyev" united several genres - in the book, artistic biography, memoirs, lyrical philosophical prose, were intertwined. Literary critic Igor Suche wrote that the basis of the novel is the "poetic transformation of the past". Bunin himself urged not to perceive the history of Alexei Arsenyev as the history of the author; He explained that the "Life of Arsenyev" is the "autobiography of a fictional face."

The fifth part of the work, originally called the "Lika", is called researchers the most important thing: it is in it that the hero is growing, worried about the first sharp feeling. Test love gives rise to the artist and poet. The assumptions that the prototype of the beloved Alexei Arseneva Lika is Varvara Paschenko, repeatedly denied Muromseva. According to her, the features of those women who loved Bunin in different years were connected in heroin. For example, the externally, the heroine of Arsenyev's life is more reminded of the first wife of the writer - Anna Nikolaevna Tsakny; Separate episodes reproduce the details of the relationships that have developed between the Bunin and the Muromseva itself. However, the feeling experienced by Alex Arsenyev in relation to the face, largely coincides with the experiences of the young Bunin. The final strings of the novel ("I recently saw her in a dream ...") Close to recognition that I was called in one of the letters of Ivan Alekseevich after parting from Pashchenko: "I saw you now in a dream - you were lying on, slept, dressed, on the right side" .

In the "life of Arsenyev", the riunin is done, about whom, without understanding, dreamed of young Arsenyev, when she was eager to write and did not know what to write. It shows the simplest and deepest, which can be shown in art: direct vision of the world by the artist: not the statement of visible, but the most vision process, the process of intelligent vision.

Vladislav Khodasevich

Publicistics, diaries, memories

In the pre-revolutionary period, many contemporaries of Bunin saw only a cold-blooded body, with nostalgia recalling the disappearing noble nests. The appearance of his polemical notes, articles and essays dedicated to the October events allowed readers to see the other Bunin - the ulcer and caustic who took the revolution as a Russian riot, and its participants - as acting from the novel "Demes". According to Oleg Mikhailov, many articles of Ivan Alekseevich, written at that time, were akin to monologues of Dostoevsky characters. In the emigrant press of the 1920s, Bunin acted with publications, in which, on the one hand, insisted on the refusal of compromises with the Bolsheviks, on the other, gave high assessments to the leaders of the White Movement. General Denikina The writer knew personally and responded about him as a man noble and simple in communication. Admiral Alexander Kolchak, according to Ivan Alekseevich, deserved a special place in history: "The time will come when golden letters ... His name will be inscribed in the Chronicles of the Russian Earth."

In 1925, the Paris Emigrant Newspaper "Revival" began publishing excerpts from the Bunin diaries, called the "Cast Day". Researchers pay attention to the fact that daily records that Ivan Alekseevich Vyl in 1918-1920 differ from the diaries presented in the book version. The writer has prepared for printing not so much calendar as a mosaic diary, which includes many scattered fragments. The first part of the "popy days" consists mainly of miniature sketches, recreating a common atmosphere in post-revolutionary Moscow: the writer records the texts of street posters, newspaper headlines, random replicas passersby. The image of the city is created at the expense of collapsed faces flashed with kaleidoscopic speed as on the instant photo. In the second part telling about Odessa 1919, short stories and notes are dominated.

Was V. Kataev (young writer). The cynicism of the current young people is directly incredible. He said: "For a hundred thousand killing anyone. I want to eat well, I want to have a good hat, great shoes ... "I went out with Katache, to walk, and suddenly for a minute all the creature felt the charm of spring, which this year (for the first time in life) did not feel at all.

I. A. Bunin. Picky days

Since the second half of the 1920s, political promise began to gradually leave the Bunin journalism - the writer focused on literary and critical articles and memoirs, released the book "Liberation of Tolstoy" (1937), wrote essays about Semyon-Tyan-Shan and poetess Anna Bunina, began Memoram about Chekhov, who remained unfinished and were published by Muromseva, after the death of Ivan Alekseevich. The former gram culture returned to the Bunin while working on the book "Memories", published in 1950, - in it, according to researchers, an eighty-year-old writer demonstrated that temperament that he was characterized in a post-revolutionary time. As Andrei Sadyov told Ivan Alekseevich in Paris in the summer of 1949, one of the days the owner of the house read the guests of passages from still not addressed "memories." Attended when reading the writer TEFFI and the poet Georgy Adamovich experienced some confusion from those harsh grades that Bunin gave many of their contemporaries. Gray, tried to mitigate the situation by the phrase: "You're a kind man, Ivan Alekseevich! We had all over. "

Translations

Bunin, who left the gymnasium after the fourth grade, was constantly engaged in self-education. So, at the age of sixth, he began to seriously learn English, and in mature years - for the sake of reading and translations of the works of Adam Mitskevich - independently mastered Polish. Debut Ivan Alekseevich as a translator took place in the second half of the 1880s. He himself later admitted that, holding the "Hamlet" tragedy of Shakespeare "Hamlet,", "tormented himself over him with extraordinary and ever incopted pleasure." In different periods of life, Bunin appealed as a translator to Byron's dramas, tennisso poems, Petrarch's sonnets, lyrical works of Heine.

Bunin's translation of the poem "Song of Guyavate", first published in the newspaper "Orlovsky Bulletin" in 1896, critics called "highly ethical". However, the "Song ..." is not the only essay of the American poet who are interested in Ivan Alekseevich. In 1901, his translation of the poem Henry Longfello "Psalm of Life" was published. Textological analysis conducted by linguists showed that for two works Bunin used different techniques. If, when crossing the text of the poem, at the heart of which - the legends and legends of the Indians, the translator sought to preserve the intonation of the original, then in the "Psalm of Life" he will be given his own poetic motifs: "The life of the great calls / us to go to the great way, / so that in the sands of time remains / Trace and our way. " The difference in the approaches of the linguists explain the "artistic nature" of originals that are either defined for the translator, or allow them to be released.

The originality of creativity. Innovation. Influence

Bunin, whose creative handwriting began to form at the turn of the XIX and XX centuries, was far from those who arose at that time and considered himself free from the influence of any literary schools. The researchers called it one of the most "hard-affiy artists", because even when trying to determine its creative method, a variety of options arose, including "realistic symbolism", "extraordinary realism", "hidden modernism". The author of the monograph on Bunin, Yuri Maltsev, believed that Ivan Alekseevich is a prose, existed outside of the usual cultural areas, and this gave a reel to the philologist Tamar Nikonova to notice: in the heritage of Ivan Alekseevich, there is no "one, everything explains and uniting schemes or system".

Work system

Textologists, studying the Bunin manuscript, noticed that he, as a rule, began work on another product without preliminary plans. The writer did not paint the schemes showing the relationships of the characters, did not think over the head of chapters - he immediately reproduced the finished story, which in the future polished and improved, achieving accurate intonation and maximum expressiveness. Sometimes his stories were born instantly (for example, "light breathing" Bunin wrote with "delicious speed"); Sometimes there were hours and even days in search of the desired word: "I'm starting to write, I say the most simple phrase, but suddenly I remember that this phrase said not that Lermontov said, not the Turgenev. I turn the phrase to another way, it turns out vulgarity. " This difficult work was happening at that time when the writing process was launched when the story was not only the story, but also formed sound, rhythm, told melody or stories.

Creative evolution

For decades, the creative handwriting of Bunin changed. His early stories, as if born from his own early poems, were lyric and almost disadvantia. Such works as "Antonovsky apples", "Golden bottom", "New Road", Elekichna, Thin and Music, and the narrator in them is a contemplator and an observer resembling the hero of poetic works. In the first half of the 1910s, the plot base of the Bunini works was somewhat more complicated, although the writer still did not strive to "external enraged" or fascinating the story, - on his man he came out, the fate and the globility of which were revealed against the background of time, and for Creating a specific history to the writer sometimes grabbed several everyday episodes. At that time, Gorky, estimating the rhythm and intonation of the stories of Ivan Alekseevich, said: "He began to write a prose that if they were talking about him: this is the best stylist of modernity - there will be no exaggeration."

During World War I, the topics of the works of Bunin expanded - in the sphere of his interests included other countries, cultures and civilization. Among his heroes is a Ceylon Ricksha ("Brothers"), an American millionaire, who is dying in the hotel on Capri ("Mr. from San Francisco"), a young German scientist who dreams of entering his name in the history of science ("Otto Matte"). During this period, social pathos appeared in the works of Bunin, and their creation, according to the author, was accompanied by internal "journalistic monologues": "Mount to you, Babylon, a strong city!" "These terrible words of the Apocalypse sounded relentlessly in my soul, when I wrote the" brothers "and wondered" Mr. from San Francisco. " In emigration, social motifs have almost completely left the creativity of Bunin, the writer again returned to the desire to reveal the inner world of a separate person, but already in another perspective, outside the binding to a specific historical era with her dorms and shocks: "Love, suffering, longing to ideal" . According to the literary critic Olga Slugitskaya, the content of Bunin's prose at a certain point began to fit into the Space and Soul model, when heroes of one or another time replaced the "man as part of the universe."

The words of the Bunin are widely known: "There is no nature separate from us, each air movement is the movement of our own life" ... In these words, the most essential is formulated: a person's place in the universe. Just like an atom, the unimaginably small part of the solar system, repeats the whole structure, and the person - and opposes the space, and includes it in itself.

Elements of innovation

Writer Ivan Nazhivin in the novel-pamphlet "Shallow-resumed!" (Harbin, 1935) amounted to a list of claims addressed to Bunin. According to Nazhivina, the Nobel Laureate has not created a single type or image that could enter the history of Russian literature on a par with Natasha Rostova, Liza Kalitina, Evgeny Onegin, Taras Boulevard, Raskolnikov, Klestakov, Oblombov and other heroes. Bunin characters are "muddy spots, ghosts, words," argued Nazhivin. Literary critic Tatiana Marchenko, answering his reproaches, noticed that all the types mentioned by Nazhvin and archetypes were representatives of a certain time or social environment. Bunin - perhaps unconsciously developed the same characters, but taking into account the "unused capabilities": "Not Tatiana, sprinkled with Onegin, but Tatiana, connected with Buyanov or with Ivan Petushkov, etc. to infinity of the artistic imagination."

So, the experiences of the hero of "Mitina Love" relate to the suffering of the Gîtthew Verter, pressing the trigger due to personal drama. But if Werker cums the life of suicide because of the "world grief", the Buninskaya Hero is due to "world happiness". He leaves life with the "joyful sigh," because it is too exterminated by terrestrial tests. Shortly before the death of Mitya hears night music from the Opera Charles Guno "Faust", sees herself with inflating over the world - and at that moment it feels unusual lightness and freedom from suffering. One of the phrases pronounced by the hero - "Ah, yes, when all this is over!", - It sounds like an antithosis in relation to the Faustic exclamation "Stop, Moment: You are fine!" At the same time, Ivan Alekseevich was also able to "stop a moment" - he did it in such stories as "Sunflow" and "Ida". According to Yuri Maltsev, "" moment"- that new unit of time that Bunin introduces to Russian prose."

Another peculiar discovery of Bunin is the appearance of short, reminiscent of miniatures of sketches, which Literary critic Ivan Ilyin called " dreams", And Yuri Maltsev -" fragments ". Significant part of them (including the "calf head", "Cranes", "Roman Gorbun", "First Class") was presented in the book "Modern Notes" (Paris, 1931), where they look like episodes from a large, pedestrous, Multi-voiced work. Sometimes they are perceived as short household jokes, sometimes - as travel notes, but in all cases "fragments" are completed works.

In the poem of Bunin "Jordano Bruno", written in 1906, there are lines, in many respects defining the author's globility: "In my joy - always longing, / in longing is always - mysterious sweetness!" Such antinomicity allowed the writer to create many contrasting combinations (in the dictionary of its epithets - about 100,000 of the word), showing that the opposite emotions, passions and experiences may be synchronously rising: "Sad-funny songs", "the heart wildly happily , "Mockingly sadness", "complaints and joyful scream", "mysteriously bright debris", "sufferer-happy ecstasy", "sad and festively", "sophory-cold wind", "happiness of guilt", "unhappy with happiness "," Horror delight "," joyful anger "," enthusiastically sobbed. "

One of the features of Mature Bunin's creativity was his ability to organize sudden finals in the works. For example, the beginning of the story "Rusya" (1940), which is the memories of the nameless hero, who once worked as a tutor at a station near Podolsk, looks completely ordinary: stop trains, lazy passenger dialogue with his wife, conductor with a lamp. However, gradually through the sleeping intonation begin to appear the signs of mysticism. The hero mentally goes into the past, and the same terrain "magically blooms." Then the artist girl appears in his mind, whose real name is Marusya. The reduction goes rather than in Russia, not to the mermaids, and the heroine itself, living among the swamps, "picturesque, even icon painting." A forgotten love story of twenty years ago, ending with dramatic parting, thanks to the stop of the train turns into a stopped "beautiful moment."

Picturesque prose

Literary crit appeal to the painting of the prose of Bunin. So, Oleg Mikhailov wrote that for some Buninsky stories of the 1910s, Mikhail Nesterov could be the best illustrator. Gallery created by the writer of martyrs and righteous (among which - the Buckwear of the "Thick Herb", the curve of Nishchenka Anusya from the "Merulous Court", a sentimental servant of Arseny from "Saints", Osanovy Beauty Agala from the eponymous story) Reminds the heroes of Nesterovsky canvas "on Rus. Soul of the people. "

According to Tatiana Marchenko, there is also a certain relationship between the Buninsky landscapes and the works of Viktor Vasnetsov, with whom the writer was familiar personally. However, according to the inner globility of the prose Ivan Alekseevich closer to the pictures of Mikhail Vrubel. For example, his work "Pan" (just like "Bogatyr", "Lilac", "Queen Volkhov") more reflects the pagan element of the story "Rusya" than Vasnetsovskaya "Alyonushka", says Marchenko. Painting Vasnetsova, which shows a girl sitting near the cropped rust of the reservoir, is well correlated with the content of "Russia", while Pan allows you to "look into the mysterious essence of things."

Influence

Speaking about the influences that are found in the prose of Bunin, the researchers most often call the names of Leo Tolstoy, Chekhov, Turgenev, Gogol. According to Oleg Mikhailov, the Buninsky image of a person - with his multi-layeredness and inexhaustibility - in many ways it comes from the Tolstsky presentation of the "flow yield". Critic Alexander Izmailov wrote that Ivan Alekseevich - "One of the many confused, enchanted, passionately by Chekhov." In the early unustool stories, the Bunin critics were heard of the intonation of Turgenev poems in prose, the author's voice from lyrical deviations in the poem "Dead Souls". Bunin himself wrote that with all his love for Russian literature, he "never imagined anyone." When the literary critic Petr Bitsilli drew attention to some similarity of "Mitina Love" with the work of a thick "devil", beginning with the words "And I tell you that anyone who looks at the woman with a lust, who has already committed with her in his heart," Ivan Alekseevich replied : "Of course, without Tolstoy, without Turgenev, we would not write without Pushkin as we write ... And if we talk about the assimios, it is Tolstoy, then that is it?"

Critics and some Colleagues Bunin argued that in his late creativity, such a number of hidden quotes, reminiscence and images borrowed from Russian classics were collected, that in fact, to talk about "elementary epigion." For example, Nina Berberov argued that Ivan Alekseevich "created a beautiful in primitive forms, ready and already existed before it." Objecting those who reproached the writer in the "constitution" and "revision of traditions", the literary critic Yury Lotman noticed: "It is in this future a bunin-innovator who wishes to be a successor of the Great Classical Tradition in the era of modernism, but in order to rewrite the whole tradition re-"

Relations with contemporaries

Bunin and Gorky

For decades, the name of the Bunin was often mentioned - in different context - next to Gorky. In their relations, researchers allocate a number of key stages: the period of gradual rapprochement (Lights of the XIX and XX centuries) was changed to the time of very dense communication (1900s), then the gap (1917) followed with a full rejection of each other's views, accompanied by public, sometimes very hard estimates. Dating writers occurred in Yalta in 1899; According to the Memoram Bunin, the bitter, configured to the sentimental way, at the first meeting, said: "You are the last writer from the nobility, the culture that gave the world of Pushkin and Tolstoy." A few days later, Ivan Alekseevich sent his book on the open-air book to Gorky; The correspondence began, which lasted about eighteen years.

The responses to the early works of Bunin by Alexey Maximovich were mainly benevolent. For example, reading the story "Antonovsky apples", Gorky wrote: "It is good. Here Ivan Bunin, like a young God, sang. " Feeling growing sympathy for Alexey Maksimovich, Bunin dedicated him to his poem "Listopad". Gorky, in turn, invited the young writer to cooperate in the magazine "Life"; Then the "Knowledge" publishing house led to them began to release the collection of the writings of Bunin. Since 1902, in the newspaper news, Gorky and Bunin's names were often stood nearby: Writers were considered representatives of the same literary group; Ivan Alekseevich visited the premiere of performances posed on the plays of Alexey Maximovich.

In 1909, Bunin and Muromtsev went to travel in Italy. On the island of Capri Chet visited Gorky, who, telling about this meeting in a letter addressed to Ekaterina Peshkova, noticed that Ivan Alekseevich was still active and pleased with his "serious attitude to literature and the Word." Muromtseva, remembering the long dialogues at Villa Spinoll, noted that at that time Alexey Maksimovich and her husband "looked different in different ways, but still the main thing they loved truly."

The last meeting of the Bunin and Gorky took place in April 1917 in Petrograd. According to the memories of Ivan Alekseevich, on the day of his departure from the capital, Alexey Maximovich organized a large meeting in the Mikhailovsky Theater, which presented special guests - Bunin and Fedor Shalyapin. The public in the hall seemed to Ivan Alexeevich dubious (as well as the speech of Gorky, faithful to the audience and the word "comrades!"), But they broke up quite friendly. In the first post-revolutionary days, the bitter arrived in Moscow and expressed a desire to meet with Bunin - he asked to transfer to Catherine Peshkov, which he considers "relationships with him forever".

Since then, Gorky became for the Bunin by correspondence opponent: in the 1920s journalism, Ivan Alekseevich mentioned him mainly as a "propaganda of Soviet power". Alexey Maksimovich also remotely half alarmed with the same friend: in a letter sent by his secretary Peter Kryuchkov, he noticed that Bunin "Diko Rajal". In another letter addressed to Konstantin Fedina, Gorky gave very hard assessments by emigrant writers: "B. Zaitsev's cheaper writes the lives of saints. Shmelev - something unbearable-hysterical. Kubrin does not write - drinks. Bunin rewrites "Crazer Sonata" under the title "Mitina Love". Aldanov also writes off L. Tolstoy. "

Bunin and Chekhov

Bunin wrote a few essays about A. P. Chekhov, included in his "memories" a separate chapter about Anton Pavlovic and planned to prepare a big job dedicated to him. According to the memories of Muromseva, in the 1950s, her husband managed to acquire a full collection of writings of Chekhov, issued by the statelitisdate, as well as a book in which his letters were published: "We re-read them ... Ivan Alekseevich's sleepless nights ... I did notes on scraps of paper, sometimes Even on cigarette boxes - recalled conversations with Chekhov. " Their first meeting occurred in Moscow in 1895, and the rapprochement began in 1899, when Bunin arrived in Yalta. Pretty quickly Ivan Alekseevich became his man in Chekhov's house - he stopped at his dacha in an opening even in those days when Anton Pavlovich was left. In Memoirs, Bunin confessed that he did not have such a warm relationship from his fellow writers as with Chekhov. Anton Pavlovich came up with his comrade a joking nickname - "Mr. Marquis Bukishon" (sometimes simply "Marquis"), and called the "auto landlord."

According to Nikolai TV showing Chekhov before his departure to Badenweiler, Anton Pavlovich already knew about his deadly disease. Saying goodbye, he asked to worship the participants of the literary circle "Wednesday", as well as transfer the Bunin to "wrote and wrote": "From him, a big writer will come out. So tell him from me. Do not forget". About the death of Chekhov Ivan Alekseevich, who was in the summer of 1904 in the village of Fieng, found out from the newspaper: "I turned it out ... - And suddenly, the icy razor slammed the heart." A few days later he received a letter from Gorky - Alexey Maksimovich said that the writers begin to prepare for the release of memories of Chekhov, and asked Bunin to take part in this work. In November, after reading the manuscript sent by Ivan Alekseevich, Gorky noted that his essay about Anton Pavlovic was written very carefully.

Researchers tried to determine the degree of influence of Chekhov on the creativity of Bunin. So, the writer Valery Heydeko drew attention to the poetry of the prose and the other, the "rhythmic organization of speech", characteristic of both writers, as well as their impressionism. Literary critic Oleg Mikhailov, on the contrary, argued that Czech and Bunin's creative handwriting and Bunin were completely different - there are no thematic, no stylistic kinship among writers; The only thing that brings them closer is the "direction of common searches". Chekhov himself in one of the conversations with Bunin noted that they were "like a riding": "I could not steal a single word with you. You are sharper me. You write: "The sea smelled watermelon" ... it's wonderful, and I would not say that. "

Bunin and Nabokov

Bunin relations with Vladimir Nabokov are interpreted by researchers in different ways. If the literary critic Maxim Shracher sees in them the "Poet of Rivalry", then Philologist Olga Kirillin reveals similarity at the level of the "nervous system and blood circulation". Communication of two writers for a long time was absent. At the end of 1920, Father Nabokova - Vladimir Dmitrievich - asked Ivan Alekseevich to appreciate the poem of the Son printed in the Berlin Newspaper "Ruttle". Bunin in response sent Nabokov not only warm, encouraging a letter, but also his book "Mr. from San Francisco." A correspondence has faced, in the spring of 1921, twenty-two-year-old Vladimir Nabokov, published under the pseudonym "Vladimir Sirin". In his first letter, a beginner poet called Bunin "the only writer who in our blasphemous age is calmly served beautiful."

In 1926, the first Roman Nabokova "Masha", which, according to researchers, "the most Buninsky" work of Vladimir Vladimirovich was published. On a donated riunin copy, the author wrote: "Do not judge me too strictly, I ask you. Your whole soul, V. Nabokov. Three years later, Nabokov, who released the collection "Return of Chorba", sent a book with a donating inscription: "The Grand Master from the diligent student." Ivan Alekseevich was devoted to the Nabokovsky story "Resentment" (1931). Very positively, Vladimir Vladimirovich responded to the award of the Bunin of the Nobel Prize - in the telegram sent to GRAS, it was written: "I am so happy that you got it!" At the end of 1933, the first meeting of two writers was held - Bunin arrived in Berlin to the event arranged in his honor by the publicist Joseph Hesse, and at the time of triumphs met Nabokov personally.

Then began the cooling period. According to Olga Kirillin's observation, the evidence of the changed relationships is the granting inscriptions of Nabokov - the previous enthusiastic recognition disappeared, other intonation became. Having released the novel "Invitation to the execution" (1936), he wrote to the Bunin sent by Bunin: "Dear Ivan Alexeevich Bunin with the best greetings from the author." There was no complete rupture, although mutual irritation was increasing. The tension was created - including - due to the public attempts of the emigrant community, determine who from writers owns the main place on the literary Olympus. For example, in the second half of the 1930s, Mark Aldanov called on Bunin to recognize that the championship passed to Nabokov.

In the autobiographical book "Other shores" (1954) Nabokov spoke about one of the meetings with the Bunin, held in 1936 in the Paris restaurant. Her initiator was Ivan Alekseevich. Lunch made a heavy impression on the Nabokov: "Unfortunately, I do not tolerate restaurants, vodka, snacks, music - and sincere conversations. Bunin was puzzled by my indifference to the ripples and my refusal to open the soul. By the end of the lunch, we were already unbearably bored with each other. " The same fragment - with some changes - Nabokov turned on and in the second version of his memories - "Memory, Say". According to Maxim Chert, this meeting demonstrated that creative dialogues between writers ended, and they were completely completely removed from each other.

Nevertheless, their literary rivalry continued, and the release of the book "Dark alleys" became, according to Chertor, an attempt to the Bunin "equalize the account with Nabokov". In one of the letters sent shortly before the war, American Slavovka Elizabeth, Ivan Alekseevich noted: "Do not be me, there would be no Sirin." At about the same period of Nabokov, which in a written interview was asked to talk about the influence of Bunin on his work, said that he was not among the followers of Ivan Alekseevich. In 1951, the event dedicated to the eightieth anniversary of Bunin was preparing in New York. Mark Aldanov offered Nabokov to read some work of the anniversary at this evening. Nabokov answered with written refusal:

As you know, I am not a big fan of I. A. I really appreciate his poems, but prose ... or memories in the Alley ... You say that he is 80 years old that he is sick and poor. You are much kinder and indulgent me - but go to my position: how to talk to me in front of a bunch of more or less common familiar jubilee, that is, the golden, the word about a person who is alien to me all over his warehouse, and about the prose I put below Turgenev?

Bunin and Kataev

Valentin Kataev, like Nabokov, was considered a writer who most precisely perceived Bunin's lessons. Seventeen-year-old Kataas, who first heard about the verse of Ivan Alekseevich from the poet Alexander Fyodorov, in 1914 he himself came to the Bunin, who was at that time in Odessa. Subsequently, telling about the acquaintance with the writer in the book "The grass of oblivion", Valentin Petrovich mentioned that he was "a forty-year-old gentleman, dry, bull, sickly", closed in pants, stitched from a good tailor, and English yellow shoes. Galina Kuznetsova, in his diary records, noted that Bunin also remembered the moment of the appearance of a young man in his house, who gave him a notebook with poems and straightly said: "I am writing ... I imitate you."

The audience was short, but when in two weeks Kataev came to Ivan Alexeevich for the answer, the "first miracle" happened in his life: Bunin offered him to find time for an additional conversation. From this point on, their communication began, continued - with interruptions - until 1920. In 1915, Kataev dedicated the poem poem "And the days flow a sad little one." After a year, the South Thought newspaper published his small work, in which there were lines: " And at home - tea and voluntary captivity. / Sonnet, pounced in a notebook on the eve, / so, manifically ... Pensive Verlene, / Sung Block and Lone Bunin».

When in 1918, Bunin and Muromtsev, together with other refugees, got to Odessa, the meetings became almost daily: Kataev brought new poems to the writer, and he worked a lot on his manuscripts, made a note, made edits, gave advice, including additional reading. "Dedication to the disciples", according to Valentina Petrovich, it happened only after he heard the first praise from Bunin. Kataev became a member of the Odessa literary circle "Wednesday", at the meetings of which Ivan Alekseevich invariably attended. Talk there was very free, and Bunin fixed them in the diary. According to the writer Sergey Schargunova, comparing the Bunin daily records with the option that was prepared for the book "The Okayan Days", Ivan Alekseevich deliberately seized from the final editorial office, some very sharp Katamov replicas - the writer did not want to "substitute the" literary kid "left in the Soviet Russia. While in France, Muromtseva disassembled the conveyed archives and among numerous envelopes found a letter from Kataeva "from the White Front" dated October 1919. It began in words: "Dear teacher Ivan Alekseevich".

Bunin, leaving Odessa on a steamer "Sparta", could not say goodbye to the student: in the winter of 1920 he fell sick and got into the hospital, and later - as a former royal officer. They did not meet anymore. At the same time, Ivan Alekseevich followed the works of Kataeva - according to Muromseva, having received the book "Belieta Sailing Lonely" (in which the author tried to "cross the story of Pincherton with the Bunin Artisticity"), the writer read it out loud, with comments: "Well, who else can? " In 1958, Kataev, together with his wife, Esther Davydovo visited Faith Nikolaevna in Paris. Muromtseva told that in the perception of her husband Valentin Petrovich forever left the young man, so Bunin could not imagine that his student became a father: "Ivan Alekseevich it seemed to somehow incredible: the children were Kataeva!".

For at least half a century, Bunin was for Kataeva not only by the teacher, but also a kind of artistic idol, the personification of a certain artistic ideal ... "write good" for Kataeva - it always meant "writing like a bunin." (Of course, not imitating the Bunin, without copying it, not reproducing it, but if possible, reaching the same stereoscopic volume and accuracy in his descriptions, finding the ability to find the most accurate verbal expression for each visual reaction.)

Benedict Sarnov

Bunin and emigrant writers

Bunin made certain efforts to help some Russian writers move to France. Among them was Alexander Kurin - a writer, the creative formation of which was happening in the same years that Ivan Alekseevich. Their relationship was not cloudless - as Muromtseva wrote, "the Dostoevsky himself needed to understand everything." In 1920, arriving in Paris, Kubrin settled in the same house where Bunin lived, and even on the same floor with him. Perhaps this neighborhood sometimes Ivan Alekseevich, who was accustomed to clearly plan the working day and forced to observe the permanent visits of guests who came to Cook. Nevertheless, having received the Nobel Prize, Bunin brought 5000 francs to Alexander Ivanovich. According to the daughter, Ksenov Xenia Aleksandrovna, this money helped their family very much, whose financial position was difficult. The return of Kupper in the USSR in 1937 caused a large resonance in the emigrant environment - the opinions about his act divided. Bunin, unlike some colleagues, refused to condemn the "old patient man." In his memoirs, he told about Cupper as an artist who was characterized by "warm kindness to the whole living."

On the recommendation of the Bunin in 1923, Boris Zaitsev also moved to Paris - Prosaik, in whose Moscow house Ivan Alekseevich once met with Muromseva. Throughout a long time, Zaitsev and Bunin were talked very tightly, considered literary like-minded people, together participated in the activities of the French Union of Writers. When Ivan Alexeevich Nobel Prize from Stockholm, the Zaitsev was one of the first to report this to the public, having passed the urgent news under the headline "Bunin Perevan" in the newspaper "Revival". A serious tap between the writers occurred in 1947, when Ivan Alekseevich came out of the Writers' Union in protest against the exclusion of those who decided to adopt Soviet citizenship in the postwar period. Together with them, the Union was left by Leonid Zurov, Alexander Bakhrakh, Georgy Adamovich, Vadim Andreev. Zaitsev as chairman of this organization did not approve the act of Bunin. He tried to explain in writing with him, however, the dialogues led to the final discontinuity.

Bunin took measures to move Prosaik Ivan Shmeleva. The rapprochement of writers occurred in the post-revolutionary period, when they both collaborated with the Odessa newspaper "Southern Word". Leaving Russia, Bunin received a power of attorney from Shmelev to publish his books abroad. In 1923, Shmelev moved to France and lived for several months - at the insistence of Ivan Alekseevich - on his villa in Grass; There he worked on the book "The Sun of the Dead". Their relationship was sometimes uneven, in many situations they performed as opponents. For example, in 1927, after the departure of Peter Struve from the "Revival" newspaper, Bunin refused to participate in the activities of this publication; The bumblebee believed that such an approach was beneficial to his opponents. In 1946, Ivan Sergeevich is extremely negatively rewarded to the consent of Bunin to meet with the Soviet ambassador Alexander Bogomolov. The difference in approaches to some life issues was also reflected in the work: so, half amemiring with Buninsky frankness when describing the sensual experiences of the hero in "Mitina Love", the bumblebee in his book "The History of Love" (1927) demonstrated the rejection of the "sinful passion". The book of Bunin "Dark Alleys" Schmelev perceived as pornography.

With a poet-akmeist George Adamovich Bunin in pre-revolutionary, not communicated. According to Adamovich's testimony, seeing once Ivan Alekseevich in the St. Petersburg artistic cafe "The Ocalence of Comedians", he did not attempt to acquaint him, because the founder of the school of Aqmeism Nikolai Gumilyov did not welcomed the "possible extraneous influences." In France, Adamovich, seriously engaged in literary criticism, devoted a number of works by Bunin; He did not always react approvingly at the reviews of George Viktorovich. However, in a number of key issues, especially during the post-war split in the emigrant environment, Bunin and Adamovich act as like-minded people. After Ivan Alekseevich's death, Georgy Viktorovich supported the widow writer, advised Muromsev during her work on the memories of Bunin, defended from opponents.

The Bunin acquaintance with the poet Vladislav Khodasevich occurred in 1906, however, until moving to France, their relations were superficial. In the emigration there was a rapprochement, Bunin invited Vladislav Felicianovich in Gras, in the second half of the 1920s, the writers were rewriting. Some cooling occurred after the Reviews of the Buninsky Collection "Selected Poems", written in 1929, Khodsevich gave a high assessment to Ivan Alekseevich as a prose and very restrained - as a poet. Vladimir Nabokov, in one of the letters, his wife told about visiting in 1936 of the Parisian cafe Mur: "There I could catch a glimpse with Khodasevich, very yellowed; Bunin hates him. " Researchers argued that, on the contrary, Ivan Alekseevich helped Vladislav Felicianovich money, they met on literary events, exchanged books.

The writer Nina Berberova in the book "Italic My" (1972) recalled Bunin as a man of extremely ambitious, intense, capricious. Their communication began in 1927, when Khodasevich and his wife Berberov arrived at Villa "Belvedere" in Grass. Judging by the diaries of Muromseva, Nina Nikolaevna made a pleasant impression on the owners: "Simple, Mila, is raised." During the war of Berberov, together with Boris Zaitsev, he participated in the salvation of the Buninsky archive, which kept in the Turgenev library. In the post-war district, Bunin and Berberov, as Maxim Shracher noted, turned out to be "in hostile to each other, the camps of Russian emigration." In his memoirs, Berberov wrote: "I try to avoid collapse, and he began for Bunin on that day ... When S. K. Makovsky drove him to take him to the Soviet ambassador to the Bogomolon to drink for the health of Stalin."

Fate archive

The bunin archive was fragmented. In May 1918, Ivan Alekseevich, leaving together with Muromsevaya Moscow, handed over a significant part of his documents (previously stored in the Moscow branch of the Bank "Lyon Credit") to the eldest brother. With you in Odessa, and then in Paris, Bunin took only some materials, including letters and youth diaries. Julius Alekseevich died in 1921. Buninsky pre-revolutionary manuscripts, photos, drafts, journal and newspaper publishing, photos, drafts, journal and newspaper publishing with the reviews of critics, the books with domestic inscriptions switched to the translator Nikolai Pushevnikov, whose mother had to be a cousin Ivan Alekseevich. Poozymen left life in 1939. From the late 1940s, his family began to transfer manuscripts and autographs to the central state archive of literature and art and other state repositories. In addition, some documents fell from Pouring and private collections.

In France, a new archive of Bunin was formed, who remained after the death of the writer at his widow. During the early "thaw" Muromtsev, Muromtseva agreed to send her husband's materials to the Soviet Union in small batches - they came to Tsgali, the Institute of World Literature named after A. M. Gorky, the State Literary Museum and other institutions. After the death of Vera Nikolaevna in 1961, Leonid Zurov became the heir to the archive, who, in turn, bequeathed his teacher of Edinburgh University Milice Green. In early 1970s, she took out dozens of boxes with disparate materials from Paris to Edinburgh and was engaged in their description and systematization for several years; Only a directory that reproduces the list of documents received by it consisted of 393 pages. Edited by Militsa Green, the three-grade "Frankfurt am Main," sowing ", 1977-1982), containing diary records of Ivan Alekseevich and the faith of Nikolaevna. Milica Green, who died in 1998, had passed the archive of Bunin to the Lida University during his lifetime.

Bunin was under the scrutiny of Soviet censorship for decades. Two years after the writer leaving the writer from Russia, the General Directorate for Literature and Publishing Affairs was established (chrodit) - the body that controlled all the printed products published in the USSR. The first circular, released by chief, prescribed a ban on "importing from abroad ... works that are definitely hostile in nature to Soviet power." In 1923, a secret newsletter was published in a censorship, which contained a detailed review of the books, which were written by emigrant writers. Bunin was mentioned in the document. Employee of chief, who was preparing a certificate, noted that the pre-revolutionary works included in his collection "Creek" (Berlin, the "Word" publishing house, 1921) cannot be admitted to the press, because the author of "naturalistic stories" tried to "find a justification Revolutionary catastrophe ".

In 1923, Petr Oreshin prepared the Almanac "Village in Russian Poetry", which gathered poems Bunin, Balmont and other authors. The political editor of the Gosizdata, who considered the handwritten version of the book, gave an indication of the removal of all the works of emigrant poets from it. Recycling "Village ..." did not take place, the publication never published. Some mitigation of ideological attitudes occurred in the Napovsky period, when publishing cooperatives managed to print several works of Bunin, including "Mr. from San Francisco" and "Sna Changa". The prescriptions of censors were performed at that time not always. For example, chroud did not recommend that "Mitina Love" was not recommended, because "Her emigrant - Belogwardians", but the story written in Paris, in 1926 he published in the Leningrad Publishing House "Surbo".

Emigrant writers took very hard measures in the 1920s in the 1920s, the Glavporates created under the People's Commissariat of Enlightenment. This institution periodically conducted a revision of libraries, eliminating them from "counter-revolutionary literature". In the lists sent by the Mribosprosvet and accompanied by the requirement to "Clean Funds", invariably appeared the name of the Bunin. After 1928, his books were not published in the USSR for almost three decades. The position of the Soviet government against Ivan Alekseevich was spoken by the People's Commissar of Anatoly Lunacharsky, who said in the journal "Journal of Foreign Literature" (1928, No. 3), that Bunin is a "landowner ... who knows that his class is discovered by life."

The gradual return of works of Ivan Alekseevich to the Soviet reader began during the years of "thaw" - so, in 1956 a meeting of his writings in five volumes were published, which included the story and stories, written in pre-revolutionary Russia, and in France. In 1961, the Almanac "Tarusk Pages" was released in Kaluga, which contained the essay of the Powesty "Ivan Bunin". The output of the collection is the dismissal of the chief editor of the Kaluga book publishing company; The director of the enterprise received a reprimand "For the loss of vigilance". Nevertheless, in the next decades, a significant part of the creative heritage of the writer (including the Roman "Life of Arsenyev" and the book "Dark Alleys") became available to the Soviet reader. The "Cast Day" diary remained an exception, which was published only in the late 1980s at once in several magazines.

Bunin and cinema

The researchers paid attention to the fact that the prose of Bunin cinematic - it was not by chance in relation to his stories, the concepts "close-up" and "general plan" were used. For the first time the adaptation of the Buninsky work appeared in October 1933, when the Hollywood producer told Ivan Alekseevich about the readiness to buy a story "Mr. from San Francisco". The writer applied for consultations to Mark Aldanov, he gave recommendations on the compilation of power of attorney and disposal of copyright. However, the case did not go on a brief dialogue with the representative of the film company. Later, Bunin mentioned the possible screenization of his stories such as "on the road" and "Correnet Elagin", but these plans remained unfulfilled.

Soviet and Russian filmmakers began to turn to the work of the Bunin since the 1960s, but successful shields, according to Journalist V. Nuriev ("Independent Gazette"), was a bit. Vasily Pichul, being a student of Vgika, removed in 1981 by the educational short tape "Mitina Love". In 1989, the film "Insitory Spring" was released on the screens, delivered by the same story, as well as the works of "Ruya", "Prince in Princes", "Mukhi", "Cranes", "Caucasus", the lead "Sukhodol" and diary records Bunin (director Vladimir Polecachov). In 1994, a melodrama "Dedication to Love" (director Lion Tsutsulkovsky) was removed; The picture was based on the stories "Light breath", "Cold Autumn" and "Rusya". A year later, the director Boris Yashin presented the "Meshchersky" tape, removed based on the Buninsky stories "Natalie", Tanya, "in Paris".

A very prominent event was the exit in 2011, the "Sukhodol" film (director Alexander Shooting), supplied according to the story of the Bunin. The picture received a number of awards at the film festivals, and also received the attention of critics. Their opinions about the work of Alexandra Streught: Some called the ribbon "ethnographic research, as if specially created to obtain a large aesthetic pleasure"; Others regarded it as a "bulky stylization." A lot of responses caused the film Nikita Mikhalkov "Sunflow", filmed in 2014 based on the stories of the same name and the books "The Okayan Days". According to the publicist Leonid Radzikhovsky, Mikhalkov was not mistaken, deciding to combine the work of love with diary records: "Bunin's stories about love (especially" Dark Alleys ", but also" Sunflow ", written in 1925) are highlighted by these sun, this sunset fire , destroying the heroes and "the country that is not" and where they lived and "easily breathed". "

Ivan Bunin was born in a poor noble family 10 (22) of October 1870. Then, in the biography of Bunin, there was a move to the estate of the Oryol province near the city of Elets. Bunin's childhood passed in this place, among the natural beauty of the fields.

The primary education in the life of the Bunin was obtained at home. Then, in 1881, the young poet entered the Yeletic Gymnasium. However, without graduating her, returned home in 1886. Further education Ivan Alekseevich Bunin received thanks to the older brother Yulia, who graduated from the university with honors.

Literary activity

For the first time, poems of Bunin were published in 1888. Next year, Bunin moved to the eagle, becoming a corrector in the local newspaper. Poetry Bunin, assembled in the collection called "poem", became the first published book. Soon the creativity of the Bunin gets fame. The following poems of the Bunin were published in the "open-air" collections (1898), "Listopad" (1901).

Dating with the greatest writers (Gorky, Tolstoy, Chekhov, etc.) leaves a significant imprint in the life and work of the Bunin. The stories of the Bunin "Antonovsky apples", "Pines".

The writer in 1909 becomes an honorary academician of the Academy of Sciences in St. Petersburg. Bunin reacted quite sharply to the ideas of the revolution, and forever leaves Russia.

Life in emigration and death

Biography Ivana Alekseevich Bunina almost all consists of moving, travel (Europe, Asia, Africa). In emigration, Bunin actively continues to engage in literary activities, writes the best works: "Mitina Love" (1924), "Sunny blow" (1925), and the main thing in the life of the writer Roman - "Life Arsenyev" (1927-1929, 1933), Which brings the Bunin Nobel Prize in 1933. In 1944, Ivan Alekseevich writes the story "Clean Monday."

Before death, the writer often sick, but at the same time he never ceased to work and create. In the past few months of life, Bunin was engaged in work on a literary portrait of A. P. Chekhov, but the work remained unfinished

Ivan Alekseevich Bunin died on November 8, 1953. He was buried on the Cemetery of St. Geneviev de Boua in Paris.

Chronological table

Other biography options

• Having only 4 grades of gymnasium, Burnin regretted all his life that he did not receive systematic education. However, this did not prevent him from twice to get the Pushkin Prize. The elder brother of the writer helped Ivan to explore languages \u200b\u200band science, having passed home with him the entire gymnasium course.
• Bunin wrote his first poems at the age of 17, imitating Pushkin and Lermontov, whose work admired.
• Bunin was the first Russian writer who received the Nobel Prize in the field of literature.
• The writer was not lucky with women. His first love of Varvara never became a bunin wife. The first marriage of Bunin also did not bring him happiness. His chosen by Anna Takney did not respond to his love with deep feelings and did not interest his life at all. The second wife, faith, gone because of the treason, but later I forgave the Bunin and returned.
• Bunin spent many years spent in emigration, but always dreamed of returning to Russia. Unfortunately, to death to the writer so it was not possible to implement.
• view all

Ivan Alekseevich Bunin - One of the largest writers and poets of Russia of the 20th century. He received world appreciation thanks to his works, who were classic with his life.

The brief biography of Bunina will help you understand what the life path has passed this outstanding writer, and for which he received the Nobel Prize of the World.

This is the more interesting that great people motivate and inspire the reader to new achievements. By the way,.

Ivan Bunin

Brief biography Bunina

Conditionally the life of our hero can be divided into two periods: before emigration, and after. After all, it was the revolution of 1917 he held a red feature between the pre-revolutionary existence of the intelligentsia, and the Soviet system came to replace it. But first things first.

Childhood and youth

Ivan Bunin was born in a simple noble family on October 10, 1870. His father was a low-fledged landowner who graduated from only one class of gymnasium. He was distinguished by a steep moral and extreme energeticness.

The mother of the future writer on the contrary was a very meek and pious woman. Perhaps due to her, the little Vanya was very impressionable and early began to know the spiritual world.

Most of his childhood, Bunin spent in the Oryol province, which was surrounded by scenic landscapes.

Ivan got his primary education at home. Studying biographies of outstanding personalities should not not notice the fact that the overwhelming majority of their majority received the first education at home.

In 1881, Bunin managed to enroll in the Yelets gymnasium, which he never graduated. In 1886, he again returns to his home. Thirst for knowledge does not leave him, and thanks to her brother, Yulia, who completed the university with honors, he actively works on self-education.

Personal life

In the biography of Bunin it is noteworthy that he constantly was not lucky with women. His first love was Varvara, but they did not manage to marry, in view of different circumstances.

The first official wife of the writer was the 19-year-old Anna Tsakney. There was a rather cold relationship between the spouses, and it could be called more forced friendship rather than love. Their marriage existed only 2 years, and the only son of Kolya died of scarletna.

The second wife of the writer was the 25-year-old Vera Muromtseva. However, this marriage was unhappy. Having learned that her husband changed her, faith left Bunin, although then everything was forgiven and returned.

Literary activity

The first poems Ivan Bunin writes in 1888 at seventeen age. A year later, he is decided to move to the eagle and is arranged by the editor of the local newspaper.

It is at this time that a lot of poems begins to appear, which will be based on the basis of the "poem". After the exit of this work, he first received some literary fame.

But Bunin does not stop, and after a few years from under his pen there are collections of poems "in the open-air" and "leaf fall". The popularity of Ivan Nikolayevich continues to grow and over time he managed to meet with such outstanding and recognized masters of the word like, Tolstoy and Chekhov.

These meetings turned out to be iconic in the biography of Bunin, and left in his memory an indelible impression.

A little later, collections of "Antonovsky apples" and "Pines" stories appear. Of course, a brief biography does not imply a complete list of extensive bounin works, so we will bypasify the key works.

In 1909, the writer honors the title of Honorary Academician St. Petersburg Academy of Sciences.

Life in emigration

Ivan Bunin was alien to the Bolshevik ideas of the 1917 revolution, which absorbed the whole of Russia. As a result, he leaves his homeland forever, and its further biography consists of countless wandering and traveling around the world.

Being in a foreign land, he continues to work actively and writes one of the best works - Mitina Love (1924) and "Sunflow" (1925).

It is thanks to the "life of Arsenyev" in 1933, Ivan became the first Russian writer who received the Nobel Prize of the world. Naturally, this can be considered the peak of the creative biography of Bunin.

A prize to the writer was awarded the Swedish king Gustav V. Also the laureate was discharged at 170,330 Swedish crowns. Part of his fee, he gave to those in need of people who fell into a difficult life situation.

Last years

By the end of his life, Ivan Alekseevich often sick, but it did not stop him at work. He had a goal - to create a literary portrait of A.P. Chekhov. However, this idea remained unrealized due to the death of the writer.

Bunin died on November 8, 1953. It is interesting that he remained a man without citizenship until the end of his days, being, in essence, the Russian exile.

He never managed to implement the main dream of the second period of his life - return to Russia.

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