Outside the window there is a blue sky, even though summer is coming to an end - perhaps this is the last, farewell, volley - but it is still hot and there is a lot, a lot of sun. And I remembered Bunin's splendid summer story "Sunstroke". I took it and re-read it in the morning. Bunin is one of my favorite writers. How perfectly he wields his "writer's sword"! What precise language, what a luscious still life of descriptions he always has!

And that does not leave such positive impressions at all. "Sunstroke", which took off based on the story Nikita Mikhalkov... As a film critic, I could not help but remember this film.

Let's compare both "blows". Despite the difference between the types of art, cinema and literature, we have the right to do this. Cinema, as a kind of synthesis of a dynamic picture and a narrative text (let's take the music out of the brackets, it will not be needed for analysis), cannot do without literature. It is assumed that any movie, at least, begins with a script. The script, as in our case, can be based on any narrative work.

On the other hand, (at first glance, this idea may seem absurd) and literature cannot do without "cinema"! This is despite the fact that cinema has appeared quite recently, millennia later than literature. But I put the movie in quotes - our imagination plays its role, which in the process of reading this or that book creates a movement of visual images inside our consciousness.

A good writer doesn't just write a book. He sees all events, even the most fantastic, with his own eyes. Therefore, you believe in such a writer. The director, on the other hand, tries to translate his images, his vision into cinema with the help of actors, interiors, objects and a camera.

It is at these points of contact between cinema and literature that we can compare emotions from Bunin's story and from a film based on it. And in our case, we have two completely different works. And the point here is not only in the free interpretation that the director allowed himself - his picture is an independent work, he certainly has the right to do so. But…

However, look (read) how quickly and easily Bunin's lady agrees to adultery. “Oh, do as you want!” - she says at the beginning of the story and goes ashore with the lieutenant, for one night, so that she will never meet later, but remember about their meeting all her life. What lightness and weightlessness Bunin has! How accurately this mood is conveyed! How perfectly described is this outburst of love, this sudden desire, this impossible accessibility and blissful frivolity!

As in every Bunin story, a description of the provincial town where the main character ended up is masterfully given. And how exactly the gradual transition from this atmosphere of the happened miracle to the strong gravity of the boundless longing for the past happiness, for the lost paradise is shown. After parting for the lieutenant, the world around him is gradually filled with a lead weight, it becomes meaningless.

With Mikhalkov, the severity is felt immediately. The picture clearly states the double world, before and after the 1917 Revolution. The world "before" is shown in light, soft tones, in the world "after" - cold and gloomy colors, dark gray-blue. In the world "do" - a steamer, a cloud, ladies in lace and with umbrellas, here everything happens according to the plot of Bunin's "blow". In the world "after" - drunken sailors, a killed peacock and commissars in leather jackets - from the first frames we are shown "cursed days", hard times. But we do not need a "difficult" new world, we will focus on the old one, where the lieutenant receives a "sunstroke" and falls in love with a young fellow traveler. There, Nikita Sergevich is also not easy.

To allow the lady to get along with Lieutenant Mikhalkov, it took some tricks, absurdities, dances and heavy booze. I had to show how water drips from the tap (by the way, I have a similar problem), and the pistons in the engine room work. And even the gauze scarf that flew from place to place did not help ... He did not create an atmosphere of lightness.

The lieutenant had to arrange a hysterical scene in front of the lady. It’s hard, Nikita Sergeevich, it’s very hard and unbearable for you to have a man and a woman. Awkward, clumsy, awkward. This could only happen in Soviet resorts, and not in Russia, which you, Nikita Sergeevich, have lost. Ivan Alekseevich wrote about something completely different! The lieutenant, three hours after they met, asks the lady: "Let's get off!" And in Mikhalkov's case, a Russian officer is afraid of women, then in front of a naked courtesan he faints (see "The Siberian Barber"), then he gets drunk to explain himself with the lady.

According to Mikhalkov, their subsequent love work, which Bunin did not begin to describe, was also difficult, and this is also a certain lightness of the hint - the reader himself will imagine everything. And in the film, the camera leads us to a woman's chest, abundantly strewn with beads of sweat - what were they doing there? Was the furniture moved in the hotel? Come on! Vulgar and vulgar! A vulgar and view from the window in the morning: the sun, a green hillock and a path leading to the church. Leafy and cloying. Already sick!

Many scenes that Bunin do not have are absurd and crudely stuck. They are only worthy of bewilderment. For example, a magician in a restaurant, using the example of a lemon with a stone, explains to the lieutenant Marx's theory of Capital. What is this nonsense? These extra scenes create only a bad aftertaste, as if the chatter has been drunk, which has hit the brain hard.

Nikita Sergeevich, of course, is a master of his craft. This cannot be denied when you see how his camera works, what angles it picks out, how the picture is staged. And the artists cannot say that they play badly in the film, sometimes even great! But when everything is glued together into a single picture, it turns out to be some kind of muck and porridge. As if you are spending time in a bad rambling dream.

Mikhalkov tries from time to time to create a new film language, but all of his latest films are impossible to watch, this is schizophrenia, not cinema. Failure follows failure. So it happened with his last "Sunstroke".

I. A. Bunin is known for being a master of short stories. His small works are distinguished by piercing, emotionality. One of his favorite collections was "Dark Alleys", written by him during the Second World War. These short stories excite the reader, after reading them, he begins to reflect on the mysterious power of love. The closest in composition and content is "Sunstroke", written by the author in 1927.

Main characters

The heroes of Bunin's "Sunstroke" are an officer and a married lady. There are no names in the story, although the man tried to find out the woman's name. But she refused to name him, deciding to remain a wonderful stranger for him. The absence of names in the narrative is an interesting feature of the story, which shows the reader that this is a story about a common man and a common woman.

Calling his heroes nothing more than "he" and "she", the author does not endow them with distinctive features or striking appearance. This is an ordinary man and woman who met by chance on a steamer. Bunin wanted all the attention of the reader to be riveted to these two people, to what was happening between them. Therefore, there is no detailed description of their appearance and their acquaintance. In the center of the story - only he and she.

One of the points of analysis of Bunin's "Sunstroke" is a brief description of the plot of the story. The story begins immediately with the fact that a man and a woman, who by chance met on the ship, came out on deck. Nothing is known about them, except that he was a lieutenant, and she was a married woman returning home from Anapa.

Further in the story "Sunstroke" by Bunin, a summary of which we present in the article, it is said that the stranger was intoxicated by the meeting and those emotions that suddenly arose. The lieutenant offered to go ashore. The woman agrees, and they got off the boat at the next stop. They found some hotel and spent the night together. In the morning, the woman was already the same again as before, and told the officer about the impossibility of their further relationship. She left the city on a steamer, and the man remained to wait for the next one.

And suddenly the number with her departure seemed empty to him. It became more and more difficult for the officer to be alone, he missed her more and more. He dreamed of returning her, wanted to confess his feelings, but these were empty dreams. A man wanders around the city, trying to distract himself from thoughts of a stranger.

Tired of worries, the officer fell asleep. Waking up, he slowly packed up and left on the arrived steamer. True, after this sudden meeting, the officer felt 10 years older. This was a summary of Bunin's "Sunstroke".

Story topic

The next point in the analysis of Bunin's "Sunstroke" is the definition of the subject matter of the work. Of course, this is a story about love and relationships. The theme of Bunin's "Sunstroke" is similar to the themes of most of his stories.

For a writer, love is not just sentimental sighs and platonic relationships. For Bunin, love is a flash, an explosion of emotions, the heat of passions, which manifests itself not only emotionally, but also physically. For Ivan Alekseevich, the sensual aspect of love, which others usually did not write about, was no less important.

But all this is described not vulgarly, but the reader's attention is focused on the emotions of a person. This is about such a flash of love, too much happiness is told in this story.

Features of the composition

In the analysis of Bunin's "Sunstroke", one should consider the compositional features of the story. The story of this unexpected attraction seems to be framed by two landscapes - darkness and fire. Small gusts of wind, approaching fires - all this only emphasizes the spontaneity, spontaneity of their feelings. Darkness is a symbol of the unknown that awaits this relationship.

But besides the exciting anticipation, there was something sad in the air. A warm summer evening, dawn, the light of which is reflected in the calm ripples of the water, lights ... All this seems to prepare the reader for the sad ending of a chance meeting on a ship. The lights flickering ahead signify the happiness that awaits the heroes. When the officer leaves the city, they stay behind, as if to show that the happy moments remained with the stranger.

But despite the small descriptions that were present in the story, the main place was occupied by the description of the inner world of the heroes. The landscapes were supposed to only frame this story, complement it beautifully. The meeting place is also quite symbolic - people met by chance. And then they just parted and each set off on his own voyage. All this only emphasizes the concept of Bunin's stories.

Expression tools

In the analysis of Bunin's "Sunstroke", it should be noted that at the very beginning a lot of verb vocabulary is used. A quick change of actions, the repetition of verbs focuses on the swiftness of the characters' feelings, their sudden desire. They are in a hurry, as if they are afraid that this sudden attraction will pass. And then they will again begin to reason prudently, and not obey the call of feelings.

Enthusiastic and sentimental epithets are practically not found in the story. Because an officer and a married lady do not have a sublime feeling at all, but some kind of eclipse, a sunstroke.

The inner world of the heroine

In the story "Sunstroke" Bunin's heroine is described as a small woman, in whose appearance everything was charming. She refuses to give her name to the officer, realizing that then all the magic of their meeting will melt. The woman was most likely attracted to their meeting by chance.

She easily agreed to the offer of a new acquaintance to go ashore. Although at that time for a married lady it was offensive. This already tells the reader that she can be a frivolous person.

In the morning, the woman was again light and cheerful, but already guided by reason. It was she who initiated the termination of their further relationship. It turns out that the heroine easily parted with the officer. From this we can conclude that this meeting was for her a sunstroke, an adventure, but no more.

The inner world of the hero

For the officer, this meeting was more important than for the heroine. At the very beginning, he regarded this casual acquaintance as nothing more than a pleasant adventure. And when in the morning she said that they should not meet again, the man easily agreed. It would seem that he did not attach serious importance to this fleeting feeling.

But when the hero realizes that the stranger has left him forever, only then he realizes that he needed her. He begins to be frightened by the storm of emotions that appeared with her departure. He had never experienced anything like it before. And the impetuous attraction, happiness and longing for her merged together, which led him to realize that this sunstroke was too much happiness for him.

But at the same time, the man is shown as a weak person: after all, he did not try to stop her. And I didn't even think about fighting for my love. He could only remember this chance meeting on the steamer.

Why the story was so named

The meeting of the heroes and their sudden attraction to each other was like a flash that appears as unexpectedly as it disappears. And the emotions they experienced from the impetuous feeling were as bright as sunlight. At the very beginning, the heroine is surprised at how this acquaintance affected her.

The heroes were guided by desire, emotions. They seemed to be in a fever, the whole world ceased to exist for them for these brief happy moments. The meaning of Bunin's "Sunstroke" is that such a short love, in which people were guided only by desire, could not last long. Indeed, for a real lasting relationship, it is important to understand and feel the other person.

The problem of Bunin's "Sunstroke" is the complexity of relationships between people. Even though the heroes took everything lightly, the officer realizes that this eclipse was his happiness. Ivan Alekseevich Bunin was anxious about love, in his stories he considered various aspects of its manifestation. It could last for a lifetime, or be as fleeting as a sunstroke.

Many works of I. Bunin are hymns of true love, which contains everything: tenderness, passion, and the feeling of that special connection between the souls of two lovers. This feeling is also described in the story "Sunstroke", which the writer considered one of his best works. Pupils get to know him in the 11th grade. We suggest making it easier to prepare for the lesson using the analysis of the work presented below. Analysis will also help you quickly and efficiently prepare for the lesson and the exam.

Brief analysis

Year of writing- 1925

History of creation- The nature of the Maritime Alps inspired the writing of I. Bunin's work. The story was created at a time when the writer was working on a cycle of works related to love themes.

Theme- The main theme of the work is true love, which a person feels with both soul and body. In the final part of the work, the motive of separation from a loved one appears.

Composition- The formal organization of the story is simple, but there are certain peculiarities. The elements of the plot are placed in a logical sequence, but the work begins with a plot. Another feature is the framing: the story begins and ends with a picture of the sea.

genre- Story.

Direction- Realism.

History of creation

"Sunstroke" was written by I. Bunin in 1925. It is worth noting that the year of writing coincided with the period when the writer worked on stories dedicated to the theme of love. This is one of the factors that explains the psychological depth of the piece.

I. Bunin told G. Kuznetsova about the history of creation. After the conversation, the woman wrote the following in her diary: “We were talking yesterday about scripture and how stories are born. I.A. (Ivan Alekseevich) it begins with nature, some kind of picture that flashed through the brain, often a fragment. So the sunstroke came from the idea of ​​going out on deck after dinner, out of the light into the darkness of a summer night on the Volga. And the end came later "

Theme

In Sunstroke, the analysis of the work should begin with a description of the main problems. The story displayed motive, very common in both world and domestic literature. Nevertheless, the author was able to reveal it in an original way, delving into the psychology of the heroes.

In the center of the work theme sincere, ardent love, in the context of which they develop Problems relationships between people, separation of lovers, internal contradictions caused by the incompatibility of feelings and circumstances. Problematic works based on psychologism. The system of images is unbranched, so the reader's attention is constantly concentrated on two characters - the lieutenant and the beautiful stranger.

The story begins with a description of the dinner on the deck of the ship. It was in such conditions that young people met. A spark immediately flashed between them. The man invited the girl to run away from strangers. Leaving the ship, they went to the hotel. When the young people were left alone, the flames of passion immediately engulfed their bodies and minds.

The time in the hotel flew by quickly. In the morning, the lieutenant and the beautiful stranger were forced to part, but it turned out to be very difficult to do this. Young people are wondering what happened to them. They assume it was sunstroke. This reasoning contains the meaning of the title of the work. Sunstroke in this context is a symbol of a sudden mental shock, love that overshadows the mind.

The beloved persuades the lieutenant to take her to the deck. Here the man, it seems, is again struck by sunstroke, because he allows himself to kiss a stranger in front of everyone. The hero cannot recover for a long time after the separation. He is tormented by the thought that his beloved most likely has a family, so they are not destined to be together. The man tries to write to his beloved, but then realizes that he does not know her address. In such a rebellious state, the hero spends one more night, recent events are gradually moving away from him. Nevertheless, they do not pass without leaving a trace: it seems to the lieutenant that he has aged ten years.

Composition

The composition of the piece is simple, but some features are worth paying attention to. The elements of the plot are placed in a logical sequence. Nevertheless, the story begins not with an exposition, but with a plot. This technique enhances the sound of the idea. The heroes get to know each other, and then we will learn more about them. Development of events - night at the hotel and morning conversation. The culmination is the scene of parting between the lieutenant and the stranger. The denouement - the outbreak of love is gradually forgotten, but leaves a deep imprint on the soul of the hero. Such a conclusion provides the reader with the opportunity to draw certain conclusions.

The framing can also be considered a feature of the composition of the work: the story begins and ends with a scene on the deck.

genre

The genre of I. Bunin's work "Sunstroke" is a story, as evidenced by the following signs: a small volume, the main role is played by the storyline of lovers, there are only two main characters. The direction of the story is realism.

Product test

Analysis rating

Average rating: 4.6. Total ratings received: 101.

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The story "Sunstroke" (1925)

The story, published in Sovremennye Zapiski in 1926, became one of the most notable phenomena of Bunin's prose in the 1920s. The semantic core of the narrative, which outwardly resembles a sketch of a short love "adventure", is Bunin's deep comprehension of the essence of eros, its place in the world of emotional experiences of the individual. Reducing the exposition and drawing from the very first lines a sudden meeting of heroes (who were never named by name), the author replaces the logic of the event series with a scattering of psychologically rich details of the surrounding natural-object life - from "the warmth and smells of a night summer county town" to a characteristic one. Volga panache "sailing up to the pier. The mutual attraction of the heroes is here outside the sphere of traditional psychological motivation and is likened to "madness", "sunstroke", embodying the transpersonal, irrational element of being. In place of progressive plot dynamics, a "moment" is being put forward, the decisive moment in the heroes' life, the image of which predetermines the discreteness of the narrative fabric. In the "moment" of love between the lieutenant and his companion, a bridge is being thrown between three time dimensions at once - the moment of the present, the memory of the past and the intuitive providence of the future:

"... Both were so frenziedly suffocated in the kiss that for many years they remembered this moment: neither one nor the other had ever experienced anything like this in their entire life."

Here the emphasis on the subjective-lyrical experience of time is important. In Bunin's prose, the condensation of chronotopic forms allows, taking into account the psychological discoveries of the modern era, to convey the synchronicity of internal experiences (in contrast to Tolstoy's "dialectics"), to highlight the undetected, unconscious layers of mental life. This "moment" of bodily rapprochement, inspired and spiritual feeling, becomes the culmination of the story, a thread stretches from it to the hero's inner self-knowledge, his insights about the essence of love.

Rethinking the realistic principles of psychologism, Bunin rejects the detailed internal monologues of the characters and actively uses indirect methods of revealing mental impulses through the dotted line of "external depiction". The very image of the "stranger" is given through abrupt metonymic details: these are, first of all, portrait touches based on synesthesia ("the hand smelled of tan", "the smell of her tan and gingham dress"). In general, in the culture of the Silver Age, the female image acquires special weight, becoming the embodiment of the secret plexus of mental life, special sensitivity to the universal forces of eros (V.S.Solovyov's philosophical ideas about Sophia, the context of Symbolist poetry, a mysterious aura surrounding many heroines of Bunin, Kuprin, etc. .) - However, in Bunin's work, this image, like the depiction of love in general, is far from symbolist mystical "fogs" and grows out of the specifics of sensual life, alluring with its incomprehensibility.

From bodily intoxication, the hero of the story gradually comes to a "belated" realization "of that strange, incomprehensible feeling, which did not exist at all while they were together, which he could not even imagine in himself ..." The love experience reveals to the lieutenant the true "value" of everything lived and experienced and is refracted in a new vision by the hero of the external world. This is that "happy", infinitely dear, which he begins to recognize in the sounds and smells of the Volga district town, that "immeasurable happiness" that his transformed soul feels "even in this heat and in all the smells of the market."

However, the "immensity" of love delight, that which is "necessary for life", is antinomically combined in Bunin's prose with an inescapable feeling of incompatibility of this ontological completeness with "everyday" manifestations of reality. And therefore the impression of the service in the cathedral, "where they were already singing loudly, cheerfully and decisively, with the consciousness of a fulfilled duty," and gazing into ordinary images of people on a photographic showcase fill the hero's soul with pain:

"How wild, terrible is the weight of everyday life, ordinary, when the heart is struck ... by this terrible" sunstroke ", too much love, too much happiness!"

The character's epiphany is the core of Bunin's tragic concept of love of feeling, which introduces a person to eternity and catastrophically leads him beyond the bounds of the earthly perception of the world and spatio-temporal landmarks. The artistic time in the story - from the "moment" of the heroes' love affinity to the description of the lieutenant's feelings in the finale - is deep non-chronological and is subordinated to the general tendency towards the subjectivation of object-figurative forms: "Both yesterday and this morning were recalled as if they were ten years ago."

The renewal of the narrative structure is manifested in the story not only in the reduction of the expositional part, but in the significance of the leitmotiv compositional principles (through images of the city given through the eyes of the hero), associative moves that stand above causal determinism. In his book On Chekhov, Bunin recalled one of Chekhov's most valuable pieces of advice: "In my opinion, having written a story, you should delete its beginning and end."

The final Volga landscape in Sunstroke combines realistic authenticity with the symbolic generalization of the imagery and, associating with the "lights" of the climax of the character's personal life, gives the story an ontological perspective:

"The dark summer dawn was extinguished far ahead, gloomy, sleepy and multicolored reflected in the river, still here and there shining trembling ripples in the distance under it, under this dawn, and the lights, scattered in the darkness around, floated and floated back."

The expression of landscape images of the mysterious "Volga world" in the story is intensified in the author's secret nostalgic feeling about Russia, lost forever, preserved by the power of memory and creative imagination. In general, the image of Russia in Bunin's small émigré prose ("God's Tree", "Mowers"), as well as in the novel "The Life of Arseniev", without losing lively objectivity, is saturated with a woeful, piercing lyrical feeling.

Thus, the story "Sunstroke" reveals the writer's artistic perfection in comprehending the irrational depths of the soul and the mystery of love, which was manifested in the typical Russian and foreign prose of the 20th century. updating the forms of psychologism, the principles of plot-compositional organization. Touching many modernist experiments in this area, Bunin, with his interest in the "earthly" roots of human character, the concreteness of everyday life, inherited the summit achievements of the realistic classics.