Ivan Bunin. Business Cards
Description
It was the beginning of autumn, a steamer "Goncharov" ran along the empty Volga. Early cold wrapped, tightly and quickly drew towards gray spills of her Asian expanser, with her eastern, already stretched shores, a student wind, the trepal flag on the stern, hats, cards and clothes who went along the deck, wrinkled their face, who had a sleeve and Floors. And the unnecessary and boring accounted for a steamer, the only seagull - then flew, looked like on sharp wings, for the feed itself, then Kosos washed away into the direction, as if not knowing what was done with him in this desert of the Great River and Autumn Gray Sky.
Bunin Ivan Alekseevich - biography
Ivan Alekseevich Bunin (10 (22) October 1870, Voronezh - November 8, 1953, Paris) - Outstanding Russian Writer, Poet, Honorary Academician of St. Petersburg Academy of Sciences (1909), Laureate Nobel Prize In the literature of 1933.
Biography
Ivan Bunin was born 10 (22) October 1870 in Voronezh, where the first three years of his life lived. In the future, the family moved to the estate under Yellus. Father - Alexey Nikolayevich Bunin, Mother - Lyudmila Aleksandrovna Bunin (Burning Chubarova). Up to 11 years was brought up at home, in 1881 he enters the Yelets district gymnasium, in 1885 it returns home and continues to education under the leadership of Elder Brother Julia. At the age of 17 begins to write poems, in 1887 - debut in print. In 1889, there is a proofreader 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; Pushkin Prize).
1895 - personally met Chekhov, before that I was rewriting.
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).
In 1899, marriage with Anna Nikolaevna Zakney (Kaki), the daughter of the Greek revolutionary. The marriage was a short, the only child died at 5 years of age (1905). In 1906, Bunin enters civil marriage (in 1922 officially issued) with the faith of Nikolaevna Muromtseva, the niece S. A. Muromtsev, the first chairman of the First State Duma.
In the lyrics, Bunin continued the classical traditions (the collection "Listfall", 1901).
In stories and posts showed (sometimes with a nostalgic mood)
* Clamp noble usy fores (« Antonovskaya apples", 1900)
* Brutal village village ("Village", 1910, "Sukhodol", 1911)
* Missing oblivion moral bases Life ("Mr. San Francisco", 1915).
* A sharp rejection of the October Revolution and the Bolshevik regime in the Diary Book "The Okayan Days" (1918, published in 1925).
* IN autobiographical Romana "The Life of Arsenyev" (1930) is the recreation of the past Russia, childhood and youth of the writer.
* The tragity of human existence in the novels about love ("Mitina Love", 1925; Collection of stories "Dark alleys", 1943).
* Translated "Song of 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.
Bunin was awarded the Pushkin Prize three times; In 1909, he was elected academician on the category of elegant literature, becoming the most young academician of the Russian Academy.
In the summer of 1918, Bunin moves from the Bolshevik Moscow to the employed German troops of Odessa. With the approach in April 1919, I do not emigrate to the city of the Red Army, and remains in Odessa. Welcomes the occupation of the Odessa of the Volunteer Army in August 1919, personally thank the Denikin arriving on October 7, actively cooperates with OSVAG (propaganda-information body) with the EMP. In February 1920, at the approach, Bolshevik leaves Russia. Emigrates to France.
The emigration was active social and political activity: he spoke with lectures, collaborated with Russian political parties and organizations (conservative and nationalist directions), regularly printed publicist articles. SPE acted famous manifesto On the tasks of Russian abroad regarding Russia and Bolshevism: the mission of Russian emigration.
A lot and fruitfully engaged literary activities, confirming already in the emigration of the title of the Great Russian Writer and becoming one of the main figures of Russian abroad.
Bunin creates its best things: "Mitina Love" (1924), "Sunshine" (1925), "Correnet Elagina" (1925) and, finally, the "life of Arsenyev" (1927-1929, 1933). These works have become a new word in the Buninsky work, and in Russian literature as a whole. And 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." The laureate of the Nobel Prize in literature in 1933.
According to Chekhov's publishing house, in recent months, Bunin worked on literary portrait 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. He was buried at the Cemetery of St. Geneviev de Boua. In 1929-1954 The works of Bunin in the USSR were not published. Since 1955 - the most published writer "First Wave" writer (several collections of works, many monophonents). Some works ("cast -ana days" and others) in the USSR are printed only in restructuring.
Writer and Stranger: "Business Cards"
The following version of the plot about the writer and the stranger we will look at the example of "business cards", it is significantly different from the previous one: if the heroine of the "unknown friend" can only dream of a meeting with the writer, then in "business cards" this meeting was carried out, but did not end tragically , but rather dramatically. To the "Business Cards" Bunin left an autobiographical comment:
In June 1914, my brother and I went to Julia on the Volga from Saratov to Yaroslavl. And on the first evening, after dinner, when the brother walked along the deck, and I sat under the window of our cabin, some kind of cute, embarrassed and unbelieving, small, thin, still young, but already faded woman and said That she recognized me to portraits, who I am that "so happy" see me. I asked her to sit down, began to ask who she was, from where, I do not remember that she answered - something is very insignificant, county, - became unwitting and, of course, without any purpose to help her, but the brother, silently approached and looked at us dislike, she embarrassed even more, hastily said goodbye to me and left, and brother told me: "I heard you dismissed feathers in front of her, - disgust!" .
The presence of a comment creates the illusion of autobiographical narration: it seems that real memories served as a starting point for the story.
"Business cards" begin with an expressive and large portrait of the protagonist, writer. And his appearance, and in nature to some extent "predicted" the landscape picture of the first paragraph, which is determined, as in the "unknown friend", the "geographical" component of its semantics. Here, the defaults are also working here: if Russia is missing in the picturesque paintings of the "unknown friend" and in general East of Europe, there is no European Russia in the "business cards", the spatial vectors of the story "directed" in the opposite direction: Western, right, "European" (steep and hilly) the coast of the Volga is represented only by mentioning the marins - signs of some kind of placement of these places, their some civilization, but in high degree The left bank is painted: flat, deserted, steppe, asian, with a perspective in endless far to the east, from where a strong cold wind blows. "Early cold wrapped, tightly and quickly drew towards gray spills of Asian space, with her eastern, already the rose shores student wind, a trilated flag on the stern ..." (7; 72). And this endless plain, and the current great river, this strong wind, penetrating easily and poorly dressed in the heroine, is in an explicit harmony, surprisingly "goes" to the appearance of her satellite, in whose portrait the "Asian" features: "He was \u003c ...\u003e Brunette Russian-Eastern type, which is found in Moscow among her old commercial: he came out of this Luda, although nothing to do with him no longer had "(7; 72-73). And further, as it were, the "primitive" force appearing in the guise of a sophisticated intellectual, in which something Asian and common person is guessed, will determine and unexpected character, and the stroke itself: "I went to her towards wide steps" (7; 73), " With some greed inspecting it "(7; 74)," Hold her handle tightly, under thin skin of which all bones felt "(7; 76)," I almost bit her on the cheek "(7; 76).
The hero of "business cards" deceives expectations: from "Roman" with a writer could be expected to be "book", not the "brutal" and "Asian". But it is "Asian" it is marked by his topic, which even the beauty of the "Russian" breakfast includes ("... Choking wine glasses under a cold grainy caviar with hot calch" - 7; 74). The portrait of the hero in the "business cards" simultaneously and specifically painted, and is collectively distracted. Some of his features may hint at Kuprin who consistently supported the Tatar, Kulunchakovsky line of his biography, something forces something to remember Chekhov: the writer of "business cards", like him, came out of the "Trade Luda", and some reflections are sustained In the spirit of the trigorin's current replicas. Moreover, in the memoir book about Chekhov, there is also a portrait of a writer in the "Asian" tones, it seems that the Asian Bunin is becoming a constant admission of a Russian writer:
In it, as it always seemed to me, there was a rather much of some kind of eastern inheritance, - judged on the persons of his secretarious relatives, according to their somewhat oblique and narrow eyes and outstanding chests. And he himself was done over the years like them more and more and very early, as he likes eastern people (9; 170).
In Volzhsky landscape, much attention is given to the wind, the wind accompanies the theme of the hero, the spontaneous principle in it. If you compare the autobiographical comment with the story, it turns out that the Bunin "unfolded" the steamer in reverse side: In the memoirs, he goes up the Volga ("from Saratov to Yaroslavl"), and in the story - down, which is visible in the nature of the movement ("ran through the empty Volga ..."), and by how the eastern wind blows (" To the nose, on the wind "). Laying the steamer down the river, the bunin enhances the intensity of the movement, which is why the hero standing on the deck is even more merged with the Russian, Volzhskaya, free and unpredictable "Asian" elements.
The exposition of the story is distinguished by deceptive clarity with the obvious opposition of the hero and the heroine: "He went lonely a solid act, on expensive and durable shoes, in a black chevyotovat coat and a checkered English caxting ..." (7; 73), it said:
... It seemed to be rising from the span of the stairs, from the bottom deck, from the third class, the black cheap hat and beneath her, the cute face of the one with which he accidentally met last night \u003c...\u003e all rising to the deck, she was embarrassing and she went ... (7; 73).
The fact that in the first stage modestly dressed the heroine rises towards the hero from the lower deck, diminishes her, forcing it seems an innocent victim. However, in a hero at the same time as the "Asian" passion, a completely different feeling is still manifested: True tenderness and pity for the pale beauty of this provincial, returning from Sviyazhsk ("What a cute and unfortunate," he thought ... "- 7; 75). Opposite feelings - ruthless lust and pity induce each other.
The beginning of the writer's dialogue and his fellow travelers are full of provocations from the hero, he perfectly understands how it was to have a poor provincial acquaintance with the famous writer who happened on the day before: "- how did you know how to rest? - he said loudly and courageously on the go, "and gets funny and touching in his simplicity and inexpical lie:" - Excellent! - she answered uniformly fun. - I always sleep like a ground "(7; 73), but in the next replica heroine admits that he did not sleep, and" Everything dreamed! " (7; 73). Later it becomes clear: not only the heroine, but the hero could not free himself from the impression of the meeting: "He recalled her at night ..." (7; 74).
The text is designed so that at first the reader is immersed in the world of the writer much more than in the world of heroine: the replicas of the dialogue are interspersed with his thoughts and feelings, we see his companion with his eyes; The look of the writer is permeable and sharpness, so his point of view is ideal for narration, it dominates. But the naive simplicity of the heroine, as it were, does not require penetration into its inner world, which seems open. The strong position of the hero in the dialogue makes the heroine even more defenseless. But one of the main springs of the story, in our opinion, is imperceptible and gradual inversion: the heroine is increasingly released from the subordinate position, it chates attention, despite the fact that its sacrifice, weakness, even absurdity, do not disappear. Such inversions are also found in other things of the Bunin, so, in the "Life of Arsenyev" the main heroine of the Roman, Lika, appears at the end of the penultimate part (in the fourth of five books of the novel), it is entirely subordinated to Arsenyev, because the narrative is conducted from his face, and from - This world of the face seems simpler, pretty and more than the complex and bulk world of Arsenyev. However, the final of the novel is arranged in such a way that the image of the face moves Arsenyev, fills all his "I", becomes a symbol of all the events that occurred in the novel. Something similar can be observed in "business cards".
The famous type of "depraved innocence", diversely represented in the literature, for example, the "vicious nimble" (as in "Lolita" and "Ade" of Nabokov), or even more traditional for Russian classic prose The "innocent prostitute", which are found at the Bunin ("Madrid", "Three Rubles", "The Second Coffee Plant"), is played in "Business Cards". But here "Depraved innocence" is complicated by a purely bunin motive of a leaving, disappearing, dying, "aged" beauty, which has elegy origins, turns to an elegic pathos of excellent and sad wilting. Elegy motifs allow you to bring together the heroine of "business cards" with the heroine of the "unknown friend", which also experiences this feeling of drowning and unfulfilled life: "And everything is unfortunately sorry: what is everything? Everything passes, everything will pass, and everything is in vain, like my eternal waiting for something that replaces me life "(5; 92). Love that shines a "farewell smile," is found at the Bunin in a variety of options: often Bunin writes about love, and together with her and youth, which remained in the past, taken by grinding, and appearing through many semi-bright mmonies. In the "Life of Arsenyev" hero, the only time after death sees her in a dream: "She was as many years old as then, at the time of our shared life and general youth, but in his face she was already charm of fading beauty" (6; 288) .
The composition of the story of the Bunin is organized by the same techniques of temporary permutations and cliffs, which were described by L. S. Vygotsky on the example of "easy breathing". Continuing L. S. Vygotsky, A. K. Zholkovsky speaks of the "shift" "Montage of Pictures", about "temporary" incorrectities ", about" mixing temporary plans (today and tomorrow) "and, ultimately, about" overcoming time, "" liberation from time and phaance interest ", characteristic of the poetics of Bunin. In the "business cards" "today" and "tomorrow" are also frankly shuffled. The scene in the dining room is rapidly changing and confused by temporary layers, it is there in the memory of the writer yesterday, which is inclined in today, exceeding it in volume. Replicas about the name, husband, the sister pop up in the consciousness of the writer when he breakslace with his companion in the dining room, but in fact they were pronounced on the eve of the evening when the hero and stranger were together on the deck. That is why phrases are broken, not completely reproduced, but, even by fragmentary, so merge with the present, that Burnin degradates the past from the present, yesterday's from today's time with temporary markers "yesterday", "Now":
So he asked and yesterday 〈…〉:
- You can find out what is your name?
She quickly told her patronymic name.
- Get back from somewhere?
- Was in Sviyazsk at the sister, her husband suddenly died, and she, you see, remained in a terrible position ...
She was so confused at first that everything watched somewhere in the distance. Then she began to answer the bolder.
- Are you married too?
〈…〉 Now, sitting in the dining room, he looked at her thin hands \u003c...\u003e His lost and excited the frankness with which she spoke with him yesterday About his family life, about her elderly (7; 74-76).
Only one unfolded phrase sounds after breakfast, and it turns out to be allocated, the only one, referred to the present moment, it gives the reader the opportunity to guess about the feelings of the heroine, puts forward it to the fore. Moreover, this replica turns out to be strongly emphasized by the name of the Buninsky novel:
You know, she suddenly said, "So we talked about dreams: you know what I dreamed of a gymnasium about? Order yourself business cards! We completely left then, sold the remnants of the estates and moved to the city, and I absolutely had to give them, and I dreamed (7; 76).
If at the beginning of the "dreams" of the heroine, it seemed focused on the writer ("Everything dreamed!"), Now the same topic is filed otherwise. It is gradually it turns out that both "business cards" are both heroes in some kind of "lyrical": such, of course, cannot but be illuminated and surrounded by the writer. But the fate of his random fellow traveler, who belonged to everything, to the old and rich o'clock, who had gone into oblivion, was reminded by something that was described by the Bunin himself his own destiny, including the ruin of the generic nest, and the dream of youth, and forced moving to the city. It is worth thinking why heroin so wanted to see his name printed on cards? As the last testimony that her family was lost? The way to "remind" about himself, make his name sounded, thereby saving him (and himself) from oblivion? Business cards are the part that carries the load of the lyrical topic: the name on the business card is hidden naive hope for the embodiment of an unconvaded in life, and the business cards themselves are weakly repeating the Carte-Postale, Carte-Illustrée, on which the message writer is written in "Unknown friend.
On the other hand, in the experience of the heroine, something similar to dreams of glory, which are tempted by any writing. "See your name printed" - writers more than once, including ironically, portrayed this dream of fame! On the cover of Lee his own book, in the newspaper is a note (as in the story of Chekhov "joy"), on business cards or simply, as in the "Auditor": "... Tell everyone there Velosamas different: senators and admirals, that's, your beggar, Lives in such a city Peter Ivanovich Bobchinsky ... ". At Bunin, the topic of writing fame is often solved in different keys: ironically and seriously within the same text. For example, Alter Ego Bunina is the main character of the novel "The Life of Arsenyev", inspired and delighted with its first publication, receives a good-natured-disdaining response to his verses from the merchant to which the grain came to do. The merchant is started in memories of his youth and its insolvent poetic experiments:
- ... I am, with the permission to say, too, the poet. Even the book once released \u003c...\u003e I remember myself. Without false modesty, I will say, small I was not stupid ... And what did I write? Create shame!
I was born in the wilderness of the steppe,
In simple and stuffy hut
Where instead of carved furniture
Scattered ...
- Let me ask what kind of obtus wrote it? First, False, - I was not born in any steppe hut ..., secondly, to compare the faults with some carved furniture of stupidity ... And did I not know that? I knew perfectly, but I could not talk to this mischief, because it was undeveloped, non-ultimate ... (6; 139-140)
By quoting my youthful poems, the merchant hangs the poetic debut of Arsenyev, but if you remember that Roman Bunin begins with a simple and strict - "I was born half a century ago, in central Russia, in the village, in the father's estate ... "(6; 7), then in a frequency veil, solely because of one distant roll call with the initial phrase, accurate in each word, there is a serious meaning. The same topic "I was born in the mohere of steppe" may sound completely differently: highly, expressly, stylistically flawless and "ashamed", "non-unclean", however, no matter how it is expressed, the main thing - she is repeated in different Options, that is, can be revived on the ways from one hero to another: Thus, the "I" Arsenyev multiplies, catches the reflexes of other characters and itself distributes its reflexes to the entire character structure. And in the "business cards" the topic of glory, the topic of a purely writer, it is heroine (and not a hero-writer, which is noteworthy) the lyricity is given, and at the same time the topic is slightly parodied, being another ridiculous-child, "shameful" heroine gesture.
Probably, in the "business cards" the writer will find out in the poor dream of a weak reflection of his (already fulfilled) dreams, which makes him feel his strength next to her poverty, despair, fading. It is also important that in the story remains not named not only - everyone known is the name, but also it, and it is emphasized by a kind of minus reception: "- You can find out what your name is? - She quickly told her patronymic name "(7; 75). The name-called name is probably forever the hero remaining in memory and is not printed on business cards. "Spot" titular default is the empty place of the hero in the "unknown friend". In the title of the story, a non-existent, unfulfilled, and it gives illusion of the plot.
The gradual extension of the heroine forward is slightly sparking in that she tries all the time to get ahead of the hero. For the first time we see her rising from the lower deck on the stairs upstairs, and in continuing the narrative, it will all increase, manifest itself, learning, the heroes are hardly changed in places, just as they change the "yesterday" and "today." Change places and pronouns: "You" gives way to "you" ("Let's go to me ..." - 7; 76), and to the transition to "you", the hero pushes the Hypercompensator courage of the heroine. This courage is a consequence of the most common ideas of readers about writers, in which the nature of their profession implies "epistemic permissiveness." Perhaps on the image of the writer lies the trail of the Buninskoy irony: if a real writer should be able to internally live any plots, then why not allow the fictional writer even more? Anyway, both the hero and the heroine are concentrated, although completely differently: "To remove everything? She asked her whisper, quite like a girl "(7; 76).
It is the "childishness" of the heroine gives the "other", the document, the "primitive", the natural side of the nature, which binds the writer with the general, natural and folk world, from where he came out and where it will never return, remaining, however, present writer, inextricably linked with it. Together with clothes, the stranger is removed by all cultural coverages and covers, and, on the one hand, the scene in the cabin meets the instinctive passionate desires, which were obsessed with heroes (especially the writer) from the very beginning, but with, the other side, this scene is unexpected .
Per erotic scene, harsh and strong in general for Russian prose and for Bunin, criticism condemned the "business cards", finding in them "Excessive viewing of women's prevails". Without calling the story, but having in mind that him, F. Stepun writes:
Reading "Dark Alleys", I remembered ... The stunning end of the fifteenth chapter of the second part of Arsenyev: "In our city, a drunken Azov Wind" took. " "I locked the door on the windows, I got ice hand on the windows of the curtains," the wind shook the black and spring tree, which shouted and dangled Grac. Wonderful. Instead of passion, Bunin describes the wind, but reading this description, you feel in my heart. \u003c...\u003e If, along with a drunken Azov wind andothed robes, "falling stockings" and "small breasts" appeared, the space music would now be cut off.
"Loneliness" of 1915 - another Buninsky text about the writer and a rigorous heroine:
Losing companion, foreigner,
Bathed in the sea in the evening cold
And everyone waited that someone would see,
How it runs out, semi-duty,
In the trico, adhering to the body, from the surf.
There stood with a revealed head
Writer who has listed on a visit
Cigar attempted and, grinning,
Thought: "Striped Triko
Her Zebra did a similar one. "
The picture of "loneliness" is hardly repeated in the exposition of "business cards", but in the story the writer, as intently and dismissed behind the heroine at the beginning, at the same time - the further, the more - is captured, involved in the development of the plot.
In general, the peripetics with writers and in love with them readers are widespread both in the mass and in the elite culture of the XIX, and even more so xx century. We will limit ourselves to the mention of the two closest reels of Bunin. First, this is the story of Moopassana "UNE AVENTURE PARISIENNE", "Business Cards" were written along the Canva's "Paris Adventure", but at the same time the sharp novelist of Maupassant was replaced by a subtle Buninsky color, which changes the Maupassan stories without recognition, and the final expectations turn out to be independently deceived : Buninsky finals Antitheetic Maupassanovsky. Secondly, in the "business cards", the line of trigorin - Nina Zarechny from the "Seagull", already mentioned above.
Returning to the "extreme shamelessness" in the cabin, both hero rushed away from themselves, from all personal in themselves, from all conventional, they plunge into the area where the dreams of fame and glory are instantly depreciated, where, like any signs of differences, "zero " Business Cards. The unconscious aspirations of the heroine are opposed to something opposite, and in something like the experiences of the hero, it needs to be away from the chaos of the "simple" life, which she is afraid and in which her story immerses, she needs to be happy to free themselves from the power of the impersonal destiny, destroying Probably the glory, and the former wealth of that name, which she wanted to print on business cards. Two multidirectional flows are found: one goes down, deep into the abyss, where death and violence dwell, and the other, on the contrary, is trying to get out upstairs. Meeting, the game of opposite directions simulates not only the relationship of writers and their readers, but also the image of the whole Russian life, for which the huge amplitude of the takeoffs and falls is characterized, their interdependence and reportability. In the culminating scene, the "reportability" is transmitted to the sliding of the same ecstatic state from the hero to the heroine: "He squeezed his teeth ..." (7; 76), "Squeezing his teeth, she ..." (7; 77), and the initial contrast of the characters overcomes deep and a dramatic feeling of the fusion.
The story is framed by two echoing phrases: "... He came out of this liter" - we learn about the writer in the second paragraph of the story; "She, without looking back, ran down, in a rude crowd to the pier" (7; 77) - this is the last sentence, all events are concluded between these two phrases. Additional tragic connotations are added to the fact that the "coarse crowd" runs, most likely, a hereditary nobleman, and watching the writer who came out of merchants. Not only a writer from "business cards", but also some other heroes of the Bunin knowledge mixed with love hatred in relation to women, whom fate takes away from their noble roots, as in the "last date", where the walled nobleman, in Chekhovsky fledging , It receives contempt and stern manifestation of a person who once loved and still loves her.
The final "business cards", his catharsis is the fast, two-stage return of heroes to the "cultural", "human":
Then he, as her dead, put on the bed \u003c...\u003e in the evening, when the steamer moored where she had to go, she stood near him quiet, with lowered eyelashes. He kissed her cold handle with the love that remains somewhere in the heart for life ... (7; 77).
The last two styles and mood paragraph are completely opposite to the previous scene. The complete discrepancy in the tonality between the culmination and the final makes it feel that everything that happened in the cabin was a "sunshine" for two accidentally met people, each of whom was suspended from the immediacy, horror and chaos of an extravaluity, universal life, but at that same time can not avoid temptation or the fate of it at least instant comprehension. The final levels, absolutely removes the frankness of the scene in the cabin, returning the heroine that naivety and purity that the writer immediately saw it. It is the finale that makes it clear that the children's confidence of the stranger to the writer not only satisfies with the heroes of all the coverage of conventions, but also, on the contrary, immeasurably raises the value plank of the "cultural", "literary" and "artistic" in the hero. And for the heroine, it opens something that she never knew and what was afraid to face. Any rapprochement with the idol is fraught with disappointment and even a disaster: Creativity implies powerful impulses of freedom on the verge of a matter. But in the plot of "business cards", the immersion in the impersonal chaos of passion forever brought closer to the heroes, as it happens in those rare moments, when they are catastrophically embroidered with each other opposite.
Due to the many lyrical meanings, the symbolism of the images, the default names and the non-existent "business cards", made in the title, the history of heroes turns from almost the "vulgar" road adventure, "L'Aventure" in a unique event that allows the writer and stranger to go beyond the boundaries of his " I "and be captured by the elements, comparable, except with the wind, with spatial infinity or with the course of history.
Notes:
Wedway: Chekhov: "It smells to heliotrope. Rather, I am moving on the mustache: a shower smell, a widow color, mentioned when describing the summer evening "; At Bunin: "... felt the smell of a haze ... Thinking:" It is necessary to remember - in this haze, the scent of the oars "" (7; 75). For the first time drew the attention of S. Maltsers to the generality of some features in the Buninsky portraits: "For example, at the first acquaintance with Kuunina, I delighted something" animal "\u003c...\u003e In the crowd, he also notes the biological care," wildness ", similarity with gorilla , His "Having arc", "in animal tearful eyes" ("in animal" - in the lips of the Bunin The highest compliment) "(Maltsev Yu. Ivan Bunin. 1970-1953. Frankfurt / Main; Moskau: Possev, 1994. With . 17-18.) Jolkovsky A. K. "Easy Breathing" Bunin - Vygotsky Seventy years later // Zholkovsky A. K. Wandering dreams and other works. M.: Science, 1994. P. 109. Italics ours. - E. K. Business cards appear in the "Cornet Elagina", with death notes, they are found on the chest of killed Sosnovskaya - this is the last replica actress. V. Rudnev mentions "postmodern epistemic permissiveness", which appears the characteristic option " creative approach To life, "which is not intended to ignore those or other unauthorized desires, not a neurotic response to them, but a modal implementation (Rudnev V. Apology Narcissism: research on psychosemyotic. M.: Agraf, 2007. P. 160-161). Another modified variation of "loneliness" is "revenge" ("Dark Alleys"). . A number of Buninsky subtexts can be multiplied, up to Bessonov from the novel "Sisters" by A. N. Tolstoy, also undoubtedly affecting the story. The plot of the "last date" reminds Chekhov's "boring history", "bride", etc. Stories, where a young girl leaves the house.(University of Southern California; Professor of the Slavistics Department; Cand. Philol. Sciences)
University of Southern California; Department of Slavic Languages \u200b\u200band Literatures; Professor; PHD)
Keywords: Bunin, "Dark Alleys", Invariants, Sex, Experimental, Chekhov, Borisadis, Author's Character, Improvisation, Erotic Poses, Maupassant
Key Words.: Bunin, "Dark Alleys," Invariants, Sex, Experimentation, Chekhov, Bovarism, Authorial Character, Improvisation, Erotic Positions, Maupassant
UDC /UDC: 821.161.1
annotation: The article consists of two parts. The first presents a systematic review of the invariant motives of the late cycle of stories I.A. Bunin "Dark Alleys", which implement a central topic - cataloging of different options for relationships between sexual partners and their consequences; The basic parameters of variation are planned - phabuline and narrative. The second part of the article is devoted holly analyze one of the signature stories of the cycle, "Business Cards"; His story, frequent at the Bunin, the story of a fleeting love connection, appears as a statement of an erotic experiment, carried out by the copyright character-improviser in cooperation with the eagerly accompanying in Bovarist heroine.
Abstract: Professor Zholkovsky's article Comprises Two Parts. The First. Overviews The Recurrent Motifs of Ivan Bunin's 1940s Collection Of Short Stories The Dark Alleys. - Manifestations of the Cycle's Central Theme: Cataloguing The Various Types of Relationships Among Sexual Partners and Their Consequences. The Scholar Identifies The Set of Principal Narrative Parameters That Underlie The Variation. The Second Part Focuses on the Structure of "Visiting Cards," One of the Signature Pieces of the Cycle. The Typically Buninian Story of a Brief Love Affair Is Shown to Unfold As An Erotic Experiment Staged by The Improving Authorial Protagonist in Tandem with a Consenting is Madame Bovalari-Style - Heroine.
Alexander Zholkovsky. THE PLACE OF "CALLING CARDS" IN BUNIN'S ERIC ROLOKEX
"Business Cards" ( VC), written in the fall of 1940, published as part of the first New York edition of "Dark Alley" ( TA; 1943), and at home - with a typical more than twenty-year delay. Without hitting the tongue editions of the Bunin (1956, 1961), they appeared in the 7th volume of the solid Buninsky nine-liter (1966). Then they were part of the Moscow Bunin Story Collection (1978), in his three-volume (1982, 1984) and in the collection "Antonovsky Apples" (1987). So they - very gradually - took their rightful place in the domestic canon.
For such a retreet, there was a reason - extremely frankly, even by the standards of the late Bunin, the eroticism of the short one, in five book pages, story. VC Conquer by external infertility, and in fact - the virtuoso perfection of a love narrative. This complex simplicity, complete riddles, the very presence of which eludes an inexperienced reader, calls on a detailed analysis.
The proposed comment is based as follows. Behind the scene of the main substantive and structural features of 40 texts TA (and a number of other bunin masterpieces) should be slow, fragment per fragment, reading VC With references to parallel places from other stories - an attempt to pay tribute to the original intent VC and his sophisticated embodiment.
I. "Dark Alleys"
1. Fabules. Note common abris TA , paying special attention to motives essential for our story.
(1) Love prose Bunin is distinguished by a combination
close to the bold of focus on the sexual side of being, with its physiological realities and exclusive bursts of love, lust, violence, shamelessness, death,
projecting the corresponding plots on the widest range of everyday and literary situations and the sophisticated release of narrative tissue, allowing to build material on the verge of light porn in Pearl of creation.
The same drama of the fatal love is played between representatives of different public groups and nationalities. IN TA Figure
know, high-ranking officials, poor noblemen, priests, merchants, students, fortress, maids, nurses, tutors, poets, artists ...
russians in Russia and in emigration, french gypsy, Indians, Spaniards, Bedouins, Moroccan ...
Multi-person characters are with each other in various social relations, equal or hierarchical, is
senior and younger relatives, cousins \u200b\u200band cousins, spouses, lovers, bosses and subordinates, owners and guests, owners and hotel guests ...
The action unfolds in a variety of places united by a certain common property of the "off-domination"; Such
restaurants, hotels, trains, steamboats, workshops Artists, cottages, estates of relatives ...
(2) Fabules, deploying central theme, vary it with hardly encyclopedic completeness.
Love collisions sometimes lead to a carnal connection, sometimes no, in some cases, they are reduced to a single date, in others - to dotted or continuously lasting communication ("Galya Ganskaya", "Tanya", "Natalie").
Consumption / continuation of communication can interfere with the hosts, senior relatives, the second of the spouses, other rivals, helpful beasts, the circumstances of dating, the lack of reciprocity, throwing one partner to others, sometimes with the departure to the third, the death of a partner ...
Death can be natural ("late hour", "in Paris"), in particular the result of unsuccessful births that followed the happy reunification of the heroes ("Natalie"), or violent - death in war ("Cold Autumn"), the result of the murder (shot , blow a bottle ...) or suicide (poisoning, shot, throw under the train ...).
Love / Communication, can remember all his life, even if it was not at one time something exclusive ("Wolves").
Love collisions are diversely superimposed on social, giving a solid continuum of variations. So, the sexual rapprochement of partners, of which one, for example a man, socially above the object of his desires, but below the older character, may have a fan of outcomes:
- the proximity comes and its continuation is expected, and the Heroian husband does not suspect anything ("Kuma");
- the proximity comes, the father of the heroine does not interfere with anything; But the heroine cums with him, suspecting a lover in insufficient affection ("Galya Ganskaya");
- the proximity comes, but the jealous husband of the heroine is shot dead ("Caucasus");
- proximity occurs, but it turns out - at the request of the mother, supported by the inept shooting ("Rusya");
- proximity comes, but the connection is interrupted - another lover, he is the employer, shoots the heroine ("Heinrich");
- proximity does not occur - the plans of protagonists are sneaking up with her husband's husband, who kills her ("Dubki");
- proximity does not occur - under the pressure of the father of the hero / tenant of the heroine, which in the future he himself marries her ("Raven");
- a seminarist, in the future a successful professional, rapes the cook, and it gives birth; His parents allow the boy to grow among the courtyards, but the seminarist drives the mother and a child from the parental house ("foolish").
(3) Female types A varied - both social and sexual terms, but noteworthy interest in erotically initiative heroines:
- Self-coming on rapprochement and dictating Roman's move ("Muza": Characterized by the words of the heroine, boldly the kissed hero: "Well, here<…> No longer anything yet "; Zoyka and Valeria; Sonya in Natalie; Galya Ganskaya; " Clean Monday", Where the dictation of the caprip to sadism),
- Or, at least, who willingly respond to courtship ("Caucasus", "Rusya", "Antigona", "Henry", Natalie in Natalie, Kuma, "Dubki", "Swing", "in Paris "," Spring, in Judea ", and out TA - "Sunny blow" and "light breathing"); Here are the stories about X ("Madrid", "Baryshnya Clara", "One hundred rupees"; however, in the last two readiness is complicated by the contrast: Clara of the Spear, Wed. Heroine of "Clean Monday", and exotic beauty looks like an unearthly creation) .
The characteristic motive that implements the "initiative" of the heroine, serves her almost maternal concern for the conveniences of date. Wed:
- Plaid, brought to the forest ("Rusya");
- Shawl, thrown to Earth Valeria (Zoyka and Valeria);
- Caution against the attempt of the hero to lay a heroine on the sofa, from where they would not see potential witnesses of their arms ("Antigon");
- The purpose of the heroine, remaining overnight at the hero ("in Paris").
(4) Fabules are not reduced to love on the verge of death - there are stories with a positive outcome:
- The hero discourages the woman, thrown by the scoundrel, from the plans of revenge, and they are planned a love relationship ("revenge"); Wed., on the contrary: revenge husbands in other cases, including the murder of a newlywed man who lost her innocence with a bear (Iron Wool);
- The hero will come true, ready to walk only for him, and is going to arrange it for a decent place ("Madrid"); Wed: Salvation of the cooler-in-law officers from the bouquet ("Second Coffee Plant") and a pure girl from the famous lodge ("River Tavern").
However, sometimes salvation occurs at the price of someone's life, Wed:
attempts by rape, undertaken by Prince-Snohach ("Ballad") and a foreign guest ("overnight"), but both folded animals (wolf; dog).
Finally, there are stories, where to the real Drama of love-death does not reach, limited to a portrait sketch (usually an attractive woman - "One hundred rupees", "Kamarg", "Start") or a sketch of potential events ("swing", "Smaragd" ).
(5) love collisions in TA Do not reduce the attempts of the third on marital loyalty and can be created by multifigure rivalry ("Zoyka and Valery", "Natalie", "Heinrich").
Relationship between protagonists can be:
- as mutual, based on love, jealousy (Zoyka and Valery) or the calculation ("Baryshnya Clara", "Madrid", "Raven"),
- So and the consequences of deception and even direct violence ("Stepa", "Filiarity", "Guest", "Overnight").
Related paradoxical combination of motives:
- Emotions made in relationship with mi - as positive ("" Madrid ""; Wed: "Spring, in Judea", where sex begins with the offer of money), and negative, up to the murder ("Baryshnya Clara") ;
- attachment of the victim to the rapist ("Stepa", "Guest", "Tanya", "Iron Wool");
and destructive emotional effects of abandonment:
- Heroine and after 30 years it does not forgive the hero ("Dark Alleys");
- In the final, the hero-narrator barely holds on his feet ("Muza");
- The heroine is crazy to take revenge ("revenge").
2. Narrative. This spectrum of characteristic fabul is fed by riunin in a variety of narrative variations, angles and composite receptions.
(1) Typically, the story is conducted in the objective 3rd face, often close to the point of view of the man's protagonist.
The female look dominates only in one story ("Cold Autumn") and the places come forward in several others (in Zoyk and Valeria - the view of Zoyki, in the "wolves" and "overnight" - a nameless heroine). In a number of shocking cases, the rapid narrator keeps cold to cruelty distance ("Stepa", "Filiarity", "Guest", "Overnight").
As a result, the same conflict, for example, "rape defenseless girl" can be supplied completely differently:
- In two cases, the girl remains fascinated by the rapist and waits - in vain! - continuation of communication ("Stepa", "Guest");
- In Tanya, a long-lasting love relationship arises from rape by a spagging maid (the question, she slept or pretended, it takes him a long time), and the reader involuntarily becomes the point of view of the character, initially similar to real or potential violence ("Stepa", "Guest" , "Overnight").
The plot is far from always focusing on the description of love / carnal communication. A number of stories are written in a deliberate fluent key and is dedicated not to so much sexies of sex, how much serious consequences, in particular for the offspring ("Beauty", "Flashing"). Such a session, willingly applied by riunin in certain parts of the narration (recall the "muffling" shot in "easy breathing"), becomes in these cases the main narrative reception.
(2) A large place in the organization of plots occupy any kind of modality - dreamy anticipation, jealous threats, memories.
Some stories are built as memories of the distant past ("late hour", "In one familiar street", "Start", "Cold Autumn", "Clean Monday"), sometimes mounted with the scenes of this ("Rusya", "Galya Ganskaya" , "Spring, in Judea").
Sometimes the narrative of voyeurically focuses on a single static scoreboard, reducing his eventful potential minimum place (again "fluency"). Such
- the auditorium initiation of a teenager who has a partial appearance of a neighbor on a coupe ("beginning");
- admiring the story of an exotic beauty, the end of the certificate of servant about its availability ("One hundred rupees");
- and collective devouration through the eyes of a spectacular passenger, the depressed libidineity of which appears in the final replica exhausted with her beauty, powerful, like a bull, Provencal ("Kamarg").
Powerful virtual Bunin narration plan forms threats:
- Serious and partially or completely sales ("Rusya", "Heinrich");
- frankly exaggerated: the thought of rape of the heroine, flashes in the head at the hero ("Natalie");
- or comic: the threat of the hero to kill the naive prostitute ("Madrid");
as well as a variety of plans and dreams,
- Sometimes come true, for example, the requirement of Sony, so that the hero love her, and did the view that he carries for Natalie;
- Sometimes there is no: dreams of further life together In Henrich.
In general, for TA It is characteristic of the experimental movement of modal variants of one motive, for example "lethal":
- From comic threats to kill to ridiculous shooting ("Rusya"), to a real injury ("Spring, in Judea") and the deaths ("Caucasus", "Heinrich", "Saratov" steamer).
Such a variability apparently was aware of the author, cf. Her ironic bearing in "Ruse":
- Why didn't you marry her? <…> - Well, because I was shot, and she climbed the dagger ...
The "scenarios" applied by the literary strategies of the author himself, emphasized that most of the plots are fictional to them - and only partly on the basis of their own biography. Bunin has even a special story about the character, indulging in the "author" love fantasies, "in some kingdom."
(3) Bunin, especially late, is known for the traditional fraction of decency in the image of feminine appearance and love arms. He insisted on his right to write physiologically adequately, not avoiding references to menstruation and pain during defloration (why it is possible to write about blowing off, and it is impossible to write about it?!). Wed:
- "Heinrich", where 16-year-old Nadia admits that thank God, I got sick at night but now it is still possible;
- "Natalie", where a forced break in dates sickwash Sony with a hero is motivated by her subsequent passion, leading to a love diction and rupture with capital heroines);
- "Clean Monday", where heroine every month ... Three-four days did not go away at all and did not leave the house, lay and read, forcing and me sit in the chair near the sofa and silently readb;
- "Rusya": She hugged him sinteen ... Flying in exhaustion, she ... With a smile of happy fatigue and still no duck pain Said: - Now we are a husband with my wife.
But the frankness of the descriptions is combined with the primacy - much is given only by a hint, the author as it would enjoy his riddling to the reader of erotic mysteries. And this applies to the entire range of descriptions - the appearance of a dressed woman, its gradual undressing, full of nudity and, finally, a love act.
In portraights dressed (and then half-dressed and completely naked), the beauty and seductive details are always accentuated, and prediction is usually emphasized. through the dress / bathrobe / sarafan. / blouse / shirtash / skirt / podol / stockings intimate seats Women's anatomy. Mentioned:
body, camp, neck, bare hands, shoulders, forearm, waist, bones, bone, bone legs, feet, full of knees, naked heels, ankle, anxollars (from) ki, hips, caviar, pins, (under) mice, moles , (full / high / small) breasts (with a hard unripe strawberry edge), dots / oval / start of breasts, nipples, full / soft rear, half of the task, lira set slim stomach, Dark thoughts under the belly, golden hair below.
An interesting parallel to semi-woven voyeurism of such descriptions is the mutual thoughtful and auditory voyeurism of the heroes, which were at night in the neighboring rooms ("Antigone").
Stripping can begin with a shallow detail - the hero turns away the heroine glove and kisses the naked portion of the hand ("in Paris", "Galya Ganskaya"), helps her to remove boots, etc. Gradually, the reader overlooks the more intimate parts of the body, the hem is discharged, etc. Repeat a screwdriver can be a kiss above stockings, Wed:
Gone by… stockulka Up, to the fastener on it, before the gum, drunk her, kissed the warm pink body began the beginning of the thighbut ("Galya Ganskaya");
... she shyly wandered the hem on black stocking... and, quickly making my boots one after another with shoes, leaning off his legs, firmly kissed the naked body above the knee… (""Madrid"").
Sometimes comes full exposure (not counting shoes and sometimes stocking), Wed:
- love dates in Ruse, conjugate with night bathing;
- reflection in the heroine mirror undressing in the bathroom ("in Paris");
- Nu in "Clean Monday" - before the heroine finally gives the hero's proximity;
- Episode in "Vesti", where the heroine agrees not to be ashamed, because the hero is an artist;
- Posted by naked for the picture "Buckulcher" ("Second Coffee Plant").
In other cases, the contemplation of the nude female body is limited to imaginary or real spying, such as swimsuits ("Natalie").
Sexual intercourse is never described, hiding behind the traditional ellipsis, after which the decent later or in an hour, after half an hourand then in a minute. But sometimes the idea of \u200b\u200bthe love pose is given - Casual.
Usually there is a missionary position, Wed:
- brief but capacious vnavinc ("Stepa", "Spring, in Judea", "Tanya"; in the "Tanya" Hero disconnected her legs, their tender, hot heat; Another time they lie breast chest);
- detailed description: At once following the last minute she sharply and gadly pushed him out and stayed to lie, as it was, only lowered raised and stretched knees… (Zoyka and Valery; Wed. Another attempt to rape in the "Baryshnya Clara" and the rape of her newlywed husband in "iron wool").
In one case, the mastery is really described in the back:
[Leshe,] knowing that here it is horrified and lust takes, goat dancing to her and takes her with cheerfulness, with rage: she falls... and he will relieve ports from shaggy feet, falling with Badu... and before it praises her, that she is not a consciousness under it ("Iron Wool").
And in another, an erotic pose standing is unequivocally removed for the usual dullness, face to face:
And he with cheerful audacity grabbed her right hand with his left hand. She is… looked through his shoulder in the living room And did not take his hands, looking at him with a strange smile, exactly waiting: well, and then what? He ... with his right hand embraced her lower back. She ... slightly threw his head, as if protecting his face from a kiss, but pressed against it. He, with difficulty translating his breath, reached for her semi-collar lips and moved it to the sofa. She, frowning, twisted his head, whispering: "No, no, you can not, lying we will not see anything and not hear ..." - and with sweaty eyes slowly speed \u200b\u200bhis legs ... after a minute he fell face to her shoulder. She still stood, grieved teeth, then quietly freed him from him ("Antigone").
But even in this risky passage there is a characteristic tension between the implied sexual content and the external decentity of the narrative, inherent in the sophisticated erotic discourse. And in the case of riot, it also significantly complies with its virtual experimen
tators of interest to the burglary of potential variations on the loving topic of interest. The creative flight of fantasy needs a plausible naturalization and finds it in concerning the conventions of the image of the carnal love built on non-emergencyries and leaving space for imagination.
(4) In some stories, an important narrative reception is the choice of the name. True, many stories TA entitled without claims:
- by name Heroine: Stepa, "Rusya", Zoyka and Valeria, Tanya, Natalie;
- or in place / circumstances / sense of action: "Caucasus", "Filiarity", "Wolves", "Start", "River Tavern", "Dubki", "Madrid", "in Paris", "Kamarg "," Revenge "," Spring, in Judea "," Overnight "," Swing "," Chapel ".
But in many cases, the title contains an ironic charge, ambiguity or quotation reference, which dropped only in the course of the narrative. Such:
- "Clean Monday" whose purity is broken;
- "Dark Alleys": a quote from Ogarev heroine remembers with an offense;
- "Ballad": the story appears to be subject to this genre;
- "Muza": this is the name of the heroine, which is advancing the feelings of the artist's hero;
- "Late Hour": a quote from the words of the character;
- "Beauty": the title heroine appears to be a soulless descendant of his stepper;
- "Antigon": a nurse called the name of a noble ancient heroine, turns out to be calmly sweet;
- "Heinrich": a passionate woman hides under the male name;
- "In one familiar street": the characters quote Polon's poem;
- "Kuma": Heroine Coolingly plans to betray her husband with Kum;
- "Second Coffee Plant": He breaks up the story of a simulator about her life, marking the end of the interruption in posing;
- "Cold Autumn": a quote from feta;
- "Steamer" Saratov "": on it in the epilogue of the story it turns out as a murderer who led him to his beloved;
- "Raven": they turn out to be a father who made the beloved and deprived of his inheritance from the hero;
- "One hundred rupees": the price of services of unearthly beauty.
This reception is obvious how we will see, and in VC.
3. InterTexts. "Real" events are all the time are projected into literary planWhat predisposes a large place paid to the narrative virtual scenarios, in particular the initiative of the heroine, following ready-made behaviors.
(1) Quotation titles and episodes associated with the citation of poems and romances - only the most visual manifestation of the literature of the Buninsky plots . Wed:
The title of "easy breathing", sending to Feta ("Sleeping, timid breathing. Tried nighting ...") and to old funny bookwho determined the life strategy of the heroine.
A partial undermining of a quoted source (usually given inaccurately), but also an ambivalent recognition of its value is the constant trait of bunin work with intertects. So, in the title story of the cycle, the first mention of the poem of Ogarev is accompanied by frankly negative commentary of the heroine, and the last one is sorrowful forced hero:
Yes, of course, the best minutes<…> true magic! "Circle Rosehip Scarlet bloom, stood dark lips alleys ..." But, my God, what would happen next? <…> This is the most hope <…> my wife, mistress of my Petersburg house, mother of my children? ("Dark alleys").
But a straight reference to Ogarev is not limited to the direct reference to Ogarev.
For a re-meeting "His Excellency" of the handsome military from thirty years ago, a commended destroyed beloved, the respectable tradition, presented "What you greedily look at the road ..." Nekrasova, "I remember, I was still a brown ..." Complex and, of course, "Resurrection" Tolstoy. "Nekhlyudovsky" motive is somehow even in several stories ("Tanya", "Stepa", in part "Antigone", "Fox", "Guest", "Raven").
Akin to quotations - direct mentions in the text about literary works And even the authors themselves are readable, or even those encountered characters. So,
- the motive of reading Maupassant and even imitation he is in the "Gale of Ganskaya" and "Antagona", and reading the "cliff" is woven into the plot "Natalie";
- In Ruse, the memories of the former love are crowned with Katulla quotes ( AMATA Nobis Quantum Amabitur Nulla);
- in "Guest" rape / defloration "motivated" by playful reference to the history of painting ("Flemadskaya Eva") and the Biblical name of the hero (Adam Adamich);
- in the "second coffee pot" there are Shalyapin, Korovin and Malyavin;
- Bruces are involved in the "River Tavern";
- In the "pure Monday" feature famous figures of the silver century, in particular the whole company of artists of the artistic theater, read and discusses the latest literature, including the "Fiery Angel" of Brysov, and his life strategy of the heroine orienses "Tale of Peter and Fevronia".
Signing to other authors and topos can be hidden, not always conscious and even more requiring identification. Not to mention the generally inactive topos of the sudden and fatal mutual passion behind the "sun blow" and many plots TA, I will name, in addition to Nehhydovsky, a few more:
- Love the tutor in the daughter of the owners, ascending to Rousseau and Chernyshevsky ("Rusya", in part "in the spring, in Judea");
- Skolnikovsky motive of salvation of an innocent girl from experienced depravitus ("River Tavern");
- Chekhov's motive of country courting for his friend's wife ("Kuma").
As the specificity weakens these and many others literary scenesso to speak, dissolve in the overall "finished scenario" That.
Bunin, as it were, running out supports on the situation known from literature to focus on that special, which is interested in him. "Ready" serves as motivation and obviously, according to his recognition, fictional, often implausible, constructions. So,
- the unlikely, the freedom of movement and behavior, which the Bedouin is used - the heroine "in the spring, in Judea", but it naturalizes the archetypical, almost from the "thousand and one night", the motive of the abduction by a wanderer, held under the castle of beauty-princess;
- An attempt is known to rely on the story about Spain, where he never happened, for acquaintance with Provence and the study of Don Quixote.
Among the finished methods of the image of intimacy, binding partners, the transition from "You" on "You" and back, reflexed by another Pushkin (in "You and You"), Wed: "Dark Alleys", "Caucasus", "Muza" , Zoyka and Valery, Galya Ganskaya, Kuma.
(2) essential intertextuality aspect TA Forming numerous internal rolls between cycle stories. As we saw,
- Maupassan and Bryusov appear in two stories;
- From one story to another, such a detail, like turning the gloves when kissing hands;
- repeated, with different outcomes, rivalry of two women because of the hero (Zoyka and Valeria, Natalie);
- Sometimes it is not similar to the situation and the style of the narrative, but a junction, cf. "Ballad" and "Overnight", where animal saves from rape; However, the invasion of the animal in the love life of characters may be negative (Wed. "Iron wool", whose "natural" motive has, by the way, quite literary background - "Lokis" Merim) or simply impressive ("wolves");
- stories can be written in a similar material, but in emphasized by a different key, for example, about the extremely different X ("Madrid", "Baryshnya Clara", "One hundred rupees");
"Even such a small motive, as a lustful impatience of a male client, is used twice, leading to the murder (" Laman Clara "), then only to playful punching (" Madrid ").
Bunin, as it were, consciously experiments with his conflicts of interest; So,
wildlife of women can be played not only in the formed circle ("Clean Monday", "Muza"), but also in relationships with the client who paid it with its services ("Baryshnya Clara").
So, the collection "Dark Alleys" is a kind of systematic study of the serious consequences of love / lust, giving the reader a representative set of meaningful, structural and stylistic variations on a single topic. Let's see what place in this general catalog is our story.
II. "Business Cards"
VCrefer to the core of the cycle - stories with the beginning, middle and end; with a full-fledged love plot, deploying rapidly and at the same time slowly; with close-ups and dialogues; with a filigree verbal finish; with repetitions, increments, culmination, junction and epilogue; with a strong mutual feeling - one day and for life, but without fatal outcomes; with stripping and act of love proximity; with "scenario" - creative - the behavior of the characters, one of which is famous writer, a kind of alter ego author; With a rich intertextual orchestration of the plot and crowded all narrative tour de fors, the second headquarters.
The text is naturally divided into 16 narrative and dialogic fragments - plus the title. We look at them in order. So,
"Business Cards". The direct meaning of the title will be cleared in a fragment, and symbolic - by the end, and then only partly.
Was the beginning of autumn fug By ... Volga steamer "Goncharov"... student wind, treed ... clothing on the deck, wrinkling them... and ... accompanied the steamer only gull…kosovo washed off ... to the side, exactly not knowing what to do with it In this desert of the Great River ...
Exposure; Isolated public place outdoor; Minimalist references to Goncharov (cf. "Open" in "Natalie") and to the "Seagull" - the foresight of love thumbs in the heroine; Impact on people of intensive phenomena of nature; The first appearance of verbal motive kosovo and verb fug(He will respond to).
... Artel men on nower deck, and by upper We went ... those two of second class, what both Swang ... at the same place ... were inseparable ... similar to each other, I. passenger first class ... recently famous writer,perceptible your ... not that sad, not that angry seriousness… he was high, strong ... well dressed ... beautiful: Brunette Togo eastern type that meets in Moscow among… trade Luda; is he and came out of this Luda, although nothing in common He no longer had.
The continuation of the exposition, the appearance of the hero, distinguished from the environment socially, physically and creatively: a strong, beautiful, famous, noticeable against the background of arteelrs and pairs of indistinguishable - same-sex? (cf. prostitutes-lesbian - girlfriends of the heroine "Madrid") - second-class passengers; his seriousness will be developed; Eastern appearance and merchant origin label its difference from the Bunin itself (and Kivok in the direction of Chekhov, Kupper, Gorky, Brysov?). The emphasized distance distance from the "author" character is especially relevant in the light of the history of the creation of a story based on the episode of the burdock dating Bunin with a provincial fan, which caused his brother's ridicule over his vain freeding feathers .
It… walked hard Take, B. expensive and sturdy shoes…breathing ... strong air Autumn and Volga ... reached before the stern ... and ... sharp Turning, went to the nose, on wind... Finally he suddenly suspended and friend smiled: showed raised… from nower decks, out third Class, Black cheap Hat and under it spired, cute The face of the one with which he accidentally met last night. He went to her towards widelysteps. Whole rising on the deck awkward She went and she on him And also with a smile, wind Customized, Whole Mased From Wind, holding thin hand hat, in easy flush visible were thin legs.
Hero is emphasized by Silen, partly due to the absorbed of the wind, he has dear durable shoes, his movement cutting, wide, he is Hmur, but also smiles - heroes growing in front of him, in contrast to him fragile, embarrassing, will be dressed cheaply, but cute. She, like a seagull (out), mows from the wind, which attacks it, and infects it with his power. It is given all the growth and goes to meet the hero, - the first sign of reciprocity and the first appearance of an important verbal motive all, all, all. Sticking the Hats and Foot Type under the Scuffle - the first signs of voyeurism and undressing.
In the middle of paragraph, starting with the word finally, Exposure (Descriptio) suddenly goes into itself the narration (Narratio): it is generally went (in an imperfect), and here suddenly Single suspended, smiled and gone, moreover, this narrative shift is combined with the first advent of the heroine. At the same time, it turns out that this is not a starting action, which happened the day before, there is a time of the loop (the Flashback follows). This narrative Anzhembeman will receive a symmetric reflection in a similar shift inside the fragment (also the third, but from the end). The room of an important story turn into the depths of a long paragraph is a typical Buninsky reception (CP. Shot of a shot, noticed by Vygotsky in "easy breathing").
- How did you know how to rest? - loud and courageous He said ... - Excellent! - she replied uniformly fun... He delayed her hand in his large Hand I. looked in her eyes. She met his eyes with joyful effort. - Well you sleep like that ... - he said familino… — All dreamed! - she replied boyko, at all inappropriate... your own way ... - Oh, look! "So thin little children, swimming summer sometimes, chechen walks behind the river" - here chechen I'm waiting! .. - Let's go better to drink vodka and ear, - he said, thinking: To her and breakfast, right, not for anything.
She is coquettishly flooded feet: - Yes, yes, vodka, vodka! ..
And they will soon go to the first class in the table of first class, she is ahead, he is for her, already with some in greed inspecting her.
The hero emphasizes the strength, wealth, patronage familiarity - and the ability to read a partner; She replies to this with a discernant to her, right up to causing readiness for a meeting with a symbolic "Chechen" from " Caucasian captive»Pushkin (and popular Alyabyev's romance) and flirty tops of the legs (which will return to the new one in). They look at each other in the eyes, and she with joyful effort, Following the installation to the reciprocity, for dreams and on the departure from the usual modulation of behavior. The greed of viewing emphasizes the animal aspect of passion emerging from him and partly contradicts it to counter movements and views.
Yesterday ... he ... sat with her on ... shop walking along the first class cabin, under their windows with white through shutters, But sat down few And I regretted this night ... I realized that already wanted her. Why? By habit Road attraction to random ... companions? Now ... he already knew why she was going down, and impatient Waited bringing business to the end. Because ... her swagger... was [a] in amazing contradiction with her, he is internally worried more and more.
The story looks back, in yesterday's superficial acquaintance (i.e., such as in a real meeting of the Bunin with the reader), and the hero is aware of his insufficiency due to more (than in the standard, as at the beginning of the "lady with a dog", scenarios of intrigues with a random companion ) Attractions to the heroine, excited by inconsistency, its manners. The hero begins to worry (remember it sad seriousness) and impatiently (cf. impatience in "Madrid" and the "Baryshnya Clara") anticipate something other (we note a pronoun everything), and it is planned parallel between his unexpected aspiration for something more and its unusual courage. Moreover, the character writer begins to behave "creatively" - like the author describing in TA Not real episodes from their life, but fictional plots; The reader is intrigued. The end-to-end shutters of the first class cabin will appear again, already from the inside (cm.).
... She touched him what ... was amazed... acquaintance with the famous writer- feel ... this confusion was ... pleasantly, it ... Creates ... intimacy between you And she gives ... some right to her ... But ... he, apparently, struck her and as a man, and she touched him with all his poverty and simpleness. He already learned himself ... a quick transition ... to liberty appeals, allegedly artistic, and this nakedsimplicity ... [He] felt the smell of a haze, thinking: " This must be remembered "The smell of the oars will come to this haze."
The hero is happy to read the motifs of the arrangement to him - as readers and as women. Again emphasizes the scenario ratio of its reactions and strategies (including high artistism), but the feature is planned: the combination of his male success and rights on her with its touching defenselessness, heating reading interest in how it is rightwill be implemented. In the behavior of the heroine, the Topos "Seagulls" and, wider, Madame Bovarie. The implied closeness of the author-storyteller to the hero is simultaneously prescribed - the use of pronoun tooby, and disguised - to split his attention between the heroine and writing professionalism (in the spirit of trigorin).
Motive gymnasista Works on starting rejuvenation / infantilization of the heroine.
It sloe Teeth I. firmly Took her handle, sub thin Skin which felt all bonesbut she ... herself, as an experienced seducer, brought it to his lips and tombut looked at him.
— Let's go to to me...
— Let's go to... here, however, something is stuffy, smoky!
AND, shaking hair, took a hat.
The counterpoint of its strength and physical determination continues ( he took firmly, squeezed his teeth) and its weakness ( handle, thin, bone), against the background of which contrasting its increasingly active connection to the Bovarist scenario ( experienced seducer, languidly); The line of caps and hair, as well as counterparts and readiness for rapprochement ( Let's go - go).
He is in the corridor hugged her. She is proudly, with Nehu looked at him over his shoulder. It with the hatred of passion and love Alone did not bite her on the cheek. She is, over the shoulder, swollen Substunted his lips.
From conversations, views, fires and kissing, heroes are moving to the first arms. It raises ironically described vaccic Theatricalness of the behavior of the heroine and dark, contradictive up to hate (is it not a classic odi. et. aMO.? - Recall the Katulla in Ruse!) And the animal up to the bites (following compression of teeth) - the passion of the hero. Twice repeated seaside ( over shoulder) Not only theatrian, but also effectively combines the meeting of views and contradicts her embracement from behind.
Eat cabins with an end-to-end grid on the windowshe immediately, hurry please To him to the end bold to useall that unexpected happiness, which suddenly fell into her share with this beautiful, strong and famous person, unbuttoned and stoptala with yourself fallen on the floor dress, remained, slender like boy, in long shirt, with bare shoulders and hands and in white pantalonchikiand it painfully pierced innocence all this.
A love date takes place in his cabin, on this side of through lattices, from which heroes were sitting on the eve of the evening (see), which emphasizes the hit of the heroine in the first class cabin and fullness of sex. The heroine is trying please Hero, cf. The same verb in love scene In another story:
They lay for a long time ... kissing such a fortress that it hurts the teeth. She remembered that he did not told her to squeeze her mouth, and trying to please he revealed him like a galcoon(Tanya).
However, the heroine VCnot only hepages partner, but also boldly (her line courage) enjoy they (Wed. The same lexemeter in relation to its strategy B) for the implementation of his bovarist dreams; There is such a complete reciprocity of the oncoming scenarios, which is incomprehensible where to wait for the novelist surprise. Comes the next stage of undressing, and fading The heroine continues (cf.) gradually the young and nice ( slender like boy), hardly not return to innocenceso that the nature of initiation / defloration is also attached to the coming intimacy. Reduce suffixes that emphasized her sickness (remember pens, bones), now work on grace and attractiveness ( in a light shirt ... and in white pantalones), and the spectacular stagning of the dress resembles a long-standing flirty kicking (see).
— Everyone will take off? — whispering she asked, at all as a girl.
— All, all, - he said, gloomy all more.
It continues its rooting and installation for fellowship, a total lexeme is picked up everything, passing in two short lines four times, and resolutely increasing the motif of the gloominess of the hero. The crookingness of the "Children's" question, whether to shoot, exacerbates the motive of the "correct" scenario: she is a whisper (\u003d not in public), as an actress at the director, asks what the next remark is there in the scenario!
But this question may have a practical meaning: did I undertake enough? The fact is that the remaining on it pantalonchikiThey, most likely, with a cut in a step, which allowed a woman without removing them, to urinate and fulfill, in their provincial everyday life, married duties. Cf. Scenic scene in Ghana Ganskaya:
[She] drove ... The hat ... [I] became ... Understand her ... I threw a silk from her ... Blouse, and I darkened in my eyes at the sight of her pinkish body ... [o] on quickly pulled out of fallen skirts ... Slender legs ... in openwork cream stockings, in these, you know, batted wide pantalons with a cut in the step, as we wore at the time…
IN VC The "innocent" heroine, trying to play the Bovarist scenario for all the rules, requests from the hero of authoritative instructions (Wed "Tanya," where the capital hero teaches his mistress "from the simple" to squeeze with the lips kisses).
Another perplexation of the hero is reinforced by the reader's guess that you can expect some kind of brutal turning hero during the events - but what is unknown, apparently, and the very hero, with the thoughts of which the narrator systematically introduces us. Does he feel himself a virtual rate of the deflorator in his network of heroine, combining intake readiness for everything with almost virgin innocence?
She is submount... crossed out total dropped on floor lingerie all naked... in some cheap gray stockings from simple garters, in cheap Black shoes, I. victorious drunk looked at him, taking care of the hair and taking outof them studes. It, the cold weather followed her. Tel She was better, younger… Thin clavies and ribs stand out in accordance with thick face and thin legs. But hips were even large. Belly ... was immentful, convex triangle of dark beautiful hairunder it corresponded abundance of dark hair on the head. She is i took out the studs, the hair was densely fell on her thin back in the protruding vertebrae. She is leaned outto raise falling stockings, - small chest With chopped ... nipples hung with torshi pears, adorable in their poverty. And he forced her to experience that extreme shamelessnesswhich was so not to her face and therefore so excited his pity, tenderness, passion ... between planks of the window lattice, Kosovo sticking up, nothing could be visible, but she with enthusiastic horror mowed on them, i heard Careless! under the deck under the windowand it's still worse Increased delight her deprait. ABOUT, as close They say and go - and no one comes to anyone, what is being done one step from them, in this white kayuta!
This is climax. The final exposure occurs (with double "everything": just linen, all naked), according to customs, not touching stockings and shoes, cf. In the "pure Monday" scene of the generous striptease of a willar heroine:
She clinging for studes, through my head pulled off the dress... only in one swan shoes, stood ... nude back to me ...
"That's all said that I think little about him," she said ... thinking hair on the back.
IN VCan exposure is held on all familiar lines (studs, hair, thinness, spin), which are now added to the chest, and the contrast between the sickness of the heroine is maximally emphasized. (cheap shoes, thin legs, falling stockings, chopped little chest) and the growing acquisition of my youth and beauty ( the body is better, younger; hips are large; Convex triangle thick beautiful hair Warves a line of thick hair).
Heroine submount, but also victoriously drunk Looking at him, plays the proposed play; The hero looks at her and continues with mysterious tension ( klood) Enter your audacious plan.
Epiphanies occurs within the same paragraph (cf. Anzhembeman B): Hero forces (in the spirit of successful rape of other stories) inexperienced, as if virgin, heroine experience (this verbal motive is picked up) some shamelessness (This word appears only here, marking the culmination of the Bovarist dreams and junction The heroine and the gloomy anticipation of the hero of something more than the familiar intrigue).
What is the shamelessnessFilling heroine enthusiastic horrorand terrible delight corruption? The text is not straightforward, but sufficiently suggestive. In the light of previous scenes with a hero who wish / hugging heroine rear (see), her osoy View by oblique window planks closeup her breasts and her tilt, need to remove everything (See), that is, something uncomfortable pantalones, as well as the subsequent (see) a runaway, that the case did not happen on the bed (let's remember the sex standing in the "antigon"), the culmination erotic pose is read more or less unequivocally. One of its manifestations is the radical change of mutual visual contact of the heroes skit Heroine look at the heroine, not only away from the hero, but also as it were, in the public, whose potential, albeit blocked shutters, terribleBut also descended wicked voyeurism she is excited. (By the way, this audience can only have two alleged homosexual - besides them, no one walks along the deck.)
The culmination scene of eloquent and intertectual.
First, the author's hero of the rioon manages in one day to make a leap from ordinary intrigue to something exclusive, to which Chekhov Gurov takes a little not the entire subsequent life; Of course, it is "exceptional" they differently: Chekhov is interested in the soul, Bunin - body.
Secondly, with the subtext from Maupassant, a specialist in the body, the bunin comes radically. There is also a non-standard sex in the climax:
…she is… section, slid into bed ... and began to wait .... But she was unsessionas soon as there may be a legitimate wife provincial notary, and he - required three-bearing paste. And they did not understand each other, did not understand at all…
[Oh] on ... looked in a longing on ... a round little man who lay next to her on his back, and his stomach swept his sheet, as if inflated a gas balloon. He snapped noisily, with a standby quarrel ... and a ridiculous intake ... String saliva flowed from the corner of a semi-open mouth [Maupassane 1946: 137-138].
In contrast to the ugly hero, Moopassana, Buninsky, - by the way, also the famous writer, - endorsing the male attractiveness, and the creative ability to read the heroine and actively lead intrigue. Moopassan is headed by the lady, and the writer does not understand the script that followed through the story:
- You damn surprise me from yesterday. Be frank, confess, why did you all do? I do not understand anything. - She is quiet came to him blushing like an innocent girl. - I wanted to know ... Plok ... Well ... and it is completely unattractive! [Maupassane 1946: 138].
Bunin gives his provincial bobist to enjoy shameless - at the time and in its provincial ideas - erotic pose!
The whole luxury cluster is a symbolic rape-defloration in the defiant posture, but by mutual agreement, at the intersection of two oncoming erotic-literary scenarios, - reaches unexpected, but carefully prepared culmination at the same time as the final ripening in the hero's head, so that his creative love act fours the course of the narrative improvisation of the author writing VC, pushing out from a minor real episode with a fan.
Later he is her how dead, put it on bed. Squeezing teethshe was lying with closed eyes And already S. mournful soothing on the pale and very young Face.
Junction. Backdating It is confirmed that the haroople did not lie with love. Following sacramental later There is a metaphorical death of the heroine (possibly referring to the metaphorical "murder" Anna Vronsky at their first intimacy); From frequent, the bunin death seriously this more or less idyllic story is free; cf. Beating the word "idyll" in "Madrid", also almost conflict and similar VC On the line of undressing peripetia:
- ... Maybe I will arrange you somewhere such a place. - I walked to you in the legs! - So that full idyll come out ... - What? - No, nothing ... sleep.
Compressed teeth Heroine invas compressed teeth (in ). It is at the same time dying, in particular again palenet (cf. Picking in), and finally young people (Wed. This line in, as well as the "Sunflower", where the hero in the final ages for ten years), calms down and grieves (its duality is maintained to the end). Her eyes closed, that is, continue not to look at the partner, and symbolically fit into a dumb scene, where the heroine appears a kind of statue - a monument to his wonderful transformation as a result of a risky, but successful pa-de-de-two creatively bold protagonists (so to speak, Pygmalion and Galatei) .
In front of the eveningwhen steamer mooring where she needed to go, she stood near him quiet, with lowered eyelashes. It kissed her cold handle with that love that remains Somewhere in the heart on all life, and she, not looking around, ran down By similarity in a rough crowd on the pier.
Epilogue: parting, general plan (steamer, pier - remember the beginning), the heroine is still not looking at the hero ( with lowered eyelashes; Do not look around) - its role is fully played; He kisses her again a cold handle, overturbed by love for all (!) a life (Wed: "Sunny blow"). Verb board The mirror is closed by the verbal motive set in the first phrase of the story, and the descent of the heroine in similar to the rude crowd is the motive of its lifting on the first-class deck (see), marking her return to an ordinary low life, a unique burst against the background of which will remain a story.
Finally, two words about the title. Does not be guessed in it a hint of other, not visiting, but erotic cards, and if so, then there is no series of increasingly seductive poses taken by heroes in the course of the playful heroes?
Bibliography / References.
[Bunin 1999] - Bunin I.Cathedral So.: In 8 tons / comp. A.K. Baboro. T. 6. M.: Moscow Worker, 1999.
(Bunin i.A. Complete Works: In 8 Vols. / Ed. by A.K. Baboreko. Vols. 6. MOSCOW, 1999.)
[Bunin 2016] - Bunin I. Clean Monday; Experience of close reading / comment. M. A. Dzubenko, O.A. Lekmanova. M.: B.S.G.-Press, 2016.
(Bunin I. Chistyi ponedel'nik; OPYT PRISTAL'NOGO CTENIIA / COMMENT. by M.A. Dziubenko, O.A. Lekmanov. MOSCOW, 2016.)
[Jolkovsky 2016] - Jolkovsky A.K. "In some kingdom": a narrative tour de force Bunin // Jolkovsky A.K. Wandering dreams. Articles different years. SPb.: ABC, 2016. P. 81-94.
(Zholkovsky A.K. "V Nekotorom Tsarstve": Povestvovatel'NYI Tur-de-Fors Bunina // Zholkovsky A.K. Bluzhdaiushchie Sny. STAT'I RAZNYKH LET. Saint Petersburg, 2016. P. 81-94.)
[Jolkovsky 2017] - Jolkovsky A.K.Poses, times, periprases. Notes Narratologist // Star. 2017. № 11. P. 248-260.
(Zholkovsky A.K.Pozy, Razy, Perifrazy. Zametki Narratologa // Zvezda. 2017. № 11. P. 248-260.)
[Ivanov 1994] - Ivanov G.The decay of the atom // Ivanov G. Sovar. COQ: In 3 tons. T. 2. Prose. M.: Consent, 1994. P. 5-34.
(Ivanov G. Raspad Atoma // Ivanov G. Complete Works: In 3 Vols. Vol. 2. PROZA. MOSCOW, 1994. P. 5-34.)
[Capinos 2014] - Kapinos. E..IN. Poetry of the seaside Alps. Bunin stories of the 1920s. M.: Languages \u200b\u200bof Slavic Culture, 2014.
(Kapinos E.V. Poeziia Primorskikh Al'p. RASSKAZY BUNINA 1920-KH GODOV. MOSCOW, 2014.)
[Korostelev, Davis 2010] - I.A. Bunin. New materials. Vol. II / Sost. and ed. O. Korostelev, R. Davis. M.: Russian Way, 2010.
(I.A.Bunin. Novye Materialy / O. Korostelev, R. Davies (EDS.). Vol. 2. MOSCOW, 2010.)
[Marchenko 2015] - Marchenko T.V.Poetics of Perfection: About Prose I.A. Bunin. M.: House of Russian abroad. A. Solzhenitsyn, 2015.
(MarchenkoT.V. Poetika SoversHenstva: O Proze I.A. Bunina. MOSCOW, 2015.)
It was the beginning of autumn, a steamer "Goncharov" ran along the empty Volga. The early cold was wrapped, tightly and quickly darked towards gray spills of her Asian expanse, with her eastern, already stretched shores, a stormy wind, the treasured flag on the stern, hats, cards and clothes who went along the deck, wrinkled by their face who knew the sleeves and Floors. And the unnecessary and boring accounted for a steamer, the only seagull - then flew, looked like on sharp wings, for the feed itself, then Kosos washed away into the direction, as if not knowing what was done with him in this desert of the Great River and Autumn Gray Sky.
And the steamer was almost empty, - only the man's man on the bottom deck, and on the top went back and forward, meeting and disagree, only three: those two of the second class that both floated somewhere in the same place and were inseparable , always walked together, everything about something is worthwhile, and they were similar to each other with imperceptibility, and the passenger of the first class, the man of thirty years old, the recently famous writer, noticeable, not the sad, not that angry seriousness and partly the appearance: he was High, fasteners, - even slightly bent, like some strong people, - well dressed in their own way: the brunette of the Russian oriental type, which is found in Moscow among its old commercial people; He came out of this Luda, although nothing to do with him had no longer.
He lonely walked a firm guide, in an expensive and durable shoes, in the black chevyotovol coat and a checkered English kasket, walked back and forward, then towards the wind, then under the wind, breathing with these strong air of autumn and the Volga. He came up to the stern, stood on her, looking at the river-raised and running gray in the back of the steamer, and again, turning sharply, went to the nose, to the wind, bending his head in an inflated cook and listening to the measuring knock of wheels, from which glass canvas rolled Noisy water. Finally, he suddenly suspended and shyly smiled: a staircase rising from the span, from the lower deck, from the third class, a black cheap hat and under her, the cute face of the one with which he accidentally met last night. He went to her towards wide steps. All rising to the deck, embarrassing and she went to him and, too, with a smile, customized by the wind, all asleep from the wind, holding a thin hand of a hat, in a lightweight hawk, under which thin legs were visible.
How did you like to rest? - he said loudly and courageously on the go.
Excellent! - she answered uniformly fun. - I always sleep like a grounding ...
He delayed her hand in his big hand and looked into her eyes. She met his eyes with joyful effort.
Well, you slept so, my angel, "he said the familiarly. - Kind people Already breakfast.
Everything dreamed! She replied Boyko, completely inappropriate to all his mind.
What is it?
Little about what!
Oh, look! "Small children are so drown, swimming summer sometimes, Chechen walks behind the river."
Here is Chechen, I'm waiting! - she replied with the same cheerful boyhood.
Let's go better to drink vodka and there is a hassle, "he said, thinking: she and breakfast, right, not for what.
She coquettyly flooded with her legs:
Yes, yes, vodka, vodka! Chour Cold!
And they soon went to the table first class, she is ahead, he is heard, with some greed inspecting her.
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She coquettyly flooded with her legs:
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- You can find out what is your name?
She quickly told her patronymic name.
- Get back from somewhere?
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She was so confused at first that everything watched somewhere in the distance. Then she began to answer the bolder.
- Are you married too?
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