The story "Dark Alleys" opens, maybe the most famous Buninsky cycle of stories, which has received its name on this first, "capital" work. It is known how much the wisen of the initial sound, the first "note" of the narration, the timbre of which was to determine the entire sound palette of the work. A peculiar "instant", creating a special lyrical atmosphere of the story, steel rows from the poem N. Ogarev "Ordinary Tale":

There was a wonderful spring
They sat on the shore
In the color of the years she was she,
His mustache barely worn.
Circle rose robber scarlet bloom,
Standing Dark Lip Alley ...

Ho, as always at the Bunin, the "sound" is inseparable from the "image". He, as he wrote in the notes of the "Origin of My Stories,", at the beginning of work on the story they introduced themselves "Some big road, a three-minded tarantas, and authentia." It is necessary to add a literary impulse to this, which also played its role: Bunin as such called "Resurrection" L.N. Tolstoy, the heroes of this novel - young Nehludova and Katyush Maslov. All this together joined the imagination of the writer, and a story was born about lost happiness, the irrevitability of the time, about the lost illusions and the power of the past over the person.

Meeting of heroes, connected once in youth by a hot love feeling, takes place many years later in the most ordinary, perhaps, even a nondescript setting: in the Ratilita, at the inn of the courtyard, lying on a large driving path. Bunin will not slip on "prose" details: "Cold Tarantas dirt", "Simple horses", "tied to slush tails". But the portrait of an arriving man gives a detailed, clearly calculated to cause sympathy: "Slender old-man-military", with black eyebrows, white mustes, shaved chin. His appearance speaks of nobility, and strict, but a tired look contrasts with the liveliness of movements (the author notices how he "thrown out" from the tarantas leg, "ran" on the porch). Bunin clearly wants to emphasize the connection in the hero of cheerfulness and maturity, apertureness and gear, which is very important for the general plan of the story, mixed at the desire to push the past and the present, carve a spark of memories, which will light up the bright light and seeping, turn into asha that exists Today.

The writer deliberately delays the exposition: out of three and a half pages given by the story, almost the page is "Introduction". In addition to the description of the rainy day, the appearance of the hero (and at the same time the detailed characteristics of the Coucher's appearance), which is complemented by new details as the hero is freed from the outerwear, it is present in it and detailed feature Rooms where visits found himself. Moreover, the refrain of this description becomes an indication of purity and tidy: a clean tablecloth on the table, purely washed shops, a recently blued oven, new image In the corner ... the author does the emphasis on this, because it is known that the mains of Russian boring courtyards and hotels did not differ accuracy and the dull end of the dull editions concerned with flies were a permanent sign of these places. Consequently, he wants to pay our attention on hardly the uniqueness of how this establishment is its own owners, or rather, as we learn soon, his mistress.

Ho Hero remains indifferent to the environment, although later will mark cleanliness and tidy. From his behavior and gestures it is clear that he is annoyed, tired (Bunin second time uses the epithet tired, now already in relation to the whole appearance of the officer who arrived), perhaps not very well ("pale losing hand"), configured hostile to everything that happens (" Dislikes "called the owners), scattered (" inattentive "answers the questions of the hostess). And only an unexpected appeal to him by this woman: "Nikolai Alekseevich," it makes him wake up. After all, before that, he asked her questions purely mechanically, without thinking, although he managed to look at her figure, celebrate rounded shoulders, light legs in a well-dressed Tatar shoes.

The author himself, as it were, in addition to the "unreasonable" view of the hero gives a much more acute-expressive, unexpected, juicy portrait of the included: not very young, but still beautiful, similar to gypsy, full, but not a rigging woman. Bunin deliberately resorts to naturalistic, almost anti-protective details: big breasts, triangular, like a geese, belly. Ho Causes Anti-Otystheticism Images "Removed": Breasts are hidden under the red blouse (a diminutive-laxer suffix is \u200b\u200bdesigned to convey the feeling of lightness), and the stomach is being blocked by a black skirt. In general, the combination of black and red in clothes, a gun over the lip (sign of passionality), zoomorphic comparison is aimed at focusing the carnal, earthly start in the heroine.

However, it is exactly what we will be convinced by a little later - the beginning of the spiritual in contrast to the landed existence, which, without realizing, keeping the hero, without thinking and not peering into his past. Therefore, it is she - the first! - Learn it. No wonder she was "all the time, inquisitively looked at him, shouting slightly," and he peers in her only after she appeal to him by name and patronymic. She - and not he - calls an exact figure when it comes to the years that they have not seen: not thirty five, but thirty. She will say how old he is now. It means that it is all scrupulously calculated, which means that every year he left a back in memory! And this, at the time, it would be necessary to never forget that they were connected, because in the past he had no little - a dishonest act, however, quite ordinary for those times, - fun with a serf girl when visiting Manor friends, sudden departure ...

In the miser dialogue between hope (so call the hostess of the inn) and Nikolai Alekseevich are restored by the details of this story. And most importantly, the different attitude of the heroes to the past. If, for Nikolai Alekseevich, everything that happened is "the story of the vulgar, ordinary" (however, and everything in his life, he is ready to bring under this measure, as if removing from a person the load of responsibility for his actions), then for hope, her love has become The great test, and the great event, the only thing in its life in its life. "As I did not have anything more expensive for you in the light at that time, it was not there," she will say.

For Nikolai Alekseevich, the love of serfs was only one of the episodes of his life (he directly declares Hope: "It was not like anything for you"). She, "she wanted to impose on himself several times," never married with his unusual beauty, so I could not forget your first love. Therefore, it refutes the statement by Nikolai Alekseevich that "over the years everything passes" (he, as if trying to convince himself in this, repeats the formula that "everything passes", several times: after all, he really wants to dismiss the past, to imagine everything meaningful event), words: "Everything passes, but not everything is forgotten." And she will pronounce them with unshakable confidence. However, Bunin is almost anywhere comments on her words, limited to one-room "answered", "she approached", "suspended." Only once he slip into his indication on the "uncomfortable smile", with which the hope pronounces the phrase, facing her seducer: "All verses were identified to read about all sorts of" dark alleys "."

Also the scarlet writer and on " historical details". Only from the words of the Heroine of the work: "I am short enough after you, I gave you," yes from the mention of the hero of the hero who had "similarity with Alexander II, which was so common among the military at the time of his reign", we can make yourself an idea that The stories takes place, apparently in the 60s or 70s of the XIX century.

But an unusually generous bunin is on commenting on the state of Nikolai Alekseevich, for whom the meeting with the hope becomes a meeting with its past, and with its conscience. The writer here is a "secret psychologist" in all shine, giving understanding through gestures, the intonation of the voice, the behavior of the hero, what happens in his shower. If at first the only thing that interests at the inn of the arrival courtyard is that "because of the furnace flap smelled sweets" (Bunin even adds such details: felt the smell of "boiled cabbage, beef and a laurel sheet", - from which you can conclude that the guest is clearly hungry), then when meeting with hope, with the recognition of it, with a further conversation with it, I will fly fatigue and scattered from it, it begins to look like a fussy, concerned, a lot and Miscellaneous Speaking ("Zamotal", "added" , "Torolously said"), which is a sharp contrast with calm magnifier of hope. Bunin points three times to the reaction of embarrassment of Nikolai Alekseevich: "I quickly straightened, revealed my eyes and blushed," "stopped and, blushing through her eyes, began to say", "blushed to tears"; He emphasizes his dissatisfaction with the sharp shifts of the situation: "resolutely visited the room", "frowning, again she walked", "stopping, painfully grinned."

All this indicates how difficult, the painful process occurs in it. Ho at first he does not pop out anything but divine beauty A young girl ("How good you were! ... what a camp, what eyes! ... how everyone looked at you") and the romantic situation of their rapprochement, and he is inclined to dismiss from heard, hoping to translate the conversation if not a joke, then In the bed "Whoever will remember, that ..." However, after he heard that Hope could never forgive him, because it is impossible to forgive the one who took the most expensive - the soul who killed her, he would seem to see it. Especially it, apparently, shakes the fact that it resorts to the saying (obviously, especially his beloved Bunin, already once used in the story "Village") "the dead with the forefall do not wear." This means that it feels dead that he never came to life after those happy spring days and what for her who knew great power Love - no wonder on his question-exclamation: "After all, you could not love me the whole of the century!" - She is firmly responsible: "So could. How much time went out, all lived, "there is no refund to the life of ordinary people. Her love was not just stronger death, and stronger than the life that came after what happened and which she, as a Christian, had to continue, despite everything.

And what is this life, we will learn from several replicas, which are exchanged by a brief shelter Nikolai Alekseevich and Kurscher Klim, telling that the "Mystery of the Chamber" is "rich", because "the money in growth gives" That she is "cool", but "fair", and hence, enjoys both respect, and honor. Ho we understand how chalk and insignificant for her who loved once and forever, all this mercantile melter, as far as it is incomprehensible with what is being done in her soul. For hope, her love is from God. No wonder she says: "What gives God who gives ... youth passes away, and love is another thing." Therefore, and its unaware of forgiveness, while Nikolai Alekseevich really wants and hopes that God will forgive him, and even more forgive hope, for, for all the standards, he didn't commit such a great sin, he did not condemn the author. Although such a maximalist position is contrary to Christian creed. Ho, on Bunin, a crime against love, against memory is much more serious than the sin of "shaggupy". And just the memory of love, about the past, according to his conviction, justifies a lot.

And the fact that gradually in the consciousness of the hero is awakened by a true understanding of what happened, speaks of his favor. After all, at first they said the words: "I think that I lost the most expensive thing in you, I had in my life," and the act - kissed the hand in hope for a farewell - do not cause anything, except for shame, and even more - shame Shame, perceived as fake, showing. Ho then he begins to understand that the vomiting randomly, the tricks, maybe even for the red sense, and there is the most authentic "diagnosis of the past. His inner dialogue, reflecting oscillations and doubts: "Is it not true that she gave me the best moments of life?" - Ends unshakable: "Yes, of course, the best minutes. And not the best, but truly magical. " Ho immediately - and here Bunin acts as a realist who does not believe in the romantic transfiguration and repentance, - another, sobering voice suggested to him that all these reflections "nonsense", which otherwise it could not do that it could not be fixed nor now.

So Bunin in the very first cycle story gives an idea of \u200b\u200bthe unattainable altitude, which is capable of climbing the most ordinary person in case his life is ill if he is tragic, but love. And the short moments of this love are able to "ignore" all the material benefits of future welfare, all the uce of love hobbies that do not rise above the level of ordinary intrigues, in general, the entire subsequent life with its takeoffs and drops.

Bunin paints the finest overflow of the states of heroes, leaning on the sound "echo", the consonance of phrases that are born, often besides meaning, in response to spoken words. So, the words of Kuchera Klima that if you do not give hope of money on time, then "Plyaiai on yourself", speak, like Eholalia, to uttering them aloud Nikolai Alekseevich: "Yes, yes, on behalf of themselves." And then in his soul they will continue to sound like "crucifying" his words. "Yes, on behalf of yourself," he thinks, understanding that he was lying on him. And created by the author, invested in the mouth of a heroine in the mouth of a brilliant formula: "Everything passes, but not everything is forgotten," was born in response to the phrase Nikolai Alekseevich: "Everything passes. Everything is forgotten, "there seems to be confirmed in a quotation from the book of Job -" how about the water will be remembered. " And more than once, during the story, the words that send us to the past will arise, to the memory: "Every year it passes"; "Youth of everyone passes"; "I called you by Nikolka, and you - remember me like"; "Remember how everyone looked at you", "how can you forget that", "well, what to remember." These echoing phrases would seek the carpet on which the Buninsk formula on the omnipotence of memory will be forever.

It is impossible not to catch the explicit similarity of this story with the Turgenev "Asea". As we remember, and there the hero at the end trying to convince himself that "fate ordered well without connecting it from Assey." He consults herself with the thought that "probably wouldn't be happy with her wife." It would seem that situations are similar: and there is a thought of Mesallians here, i.e. The possibility of marriage to a woman of a lower class is initially rejected. What did the result of this seemingly, from the point of view of the proper decisions taken in the society? The hero "Asi" turned out to be convicted forever to remain "Missured Bobylem", the worst "boring" years full solitude. He has everything in the past.

Nikolai Alekseevich from the "Dark Alley" life was different: he reached the situation in society, surrounded by the family, his wife and children. True, as he is recognized as hope, he never was happy: the wife, which he loved "without memory," changed and threw him, the Son on which he had great hopes, turned out to be "Scoundrel, Motor, attense without a heart, without honor, without conscience ... ". Of course, it can be assumed that Nikolai Alekseevich somewhat exaggerates his feeling of bitterness, his experiences, in order to somehow to upload his guilt before hope so that she does not have it so painfully to realize the difference between their states, a different assessment of the past. Moreover, at the end of the story, when he tries to "learn a lesson" from an unexpected meeting, to summarize the last, he, reflecting, comes to the conclusion that it would still be impossible to imagine the hope of his Petersburg house, his children's mother. Consequently, we understand that the wife for him, apparently, returned, and besides the Son's scoundrel there are other children. Why, in this case, it is so initially annoyed, yellow, is silent, why is it strict and at the same time a tired look? Why this look "Questioning"? Maybe this subconscious desire is still aware of how he lives? And why he loses his head in adversity, as if distinguished from himself doubts ... Yes, all because the meeting with hope brightly illuminated him last life. And he became clear that there was nothing better in his life, "Truly Magic," the minutes, when "Rosehnik, scarlet bloom, stood dark alley," when he was hotly loved by passionate hope, and she silently gone to him with all disgracefulness youth.

And the hero of the Turgenev "Asi" can not remember anything brighter than that "Zhugochi, a gentle, deep feeling," he bestowed his childish and not a serious girl ...

They both from the past only "flowers of memories" - the dried flower of Gerani, abandoned from the Asei window, a scarm rose from the Ogarevian poem, accompanied by the love story of Nikolai Alekseevich and Hope. Only for the latter - this is a flower who has been stipplen by their spikes.

So after Turgenev Bunin paints greatness female soul, able to love and remember, in contrast to male, burdened doubts, enchanted by petty preferences subordinate to social conventionals. So, the first story of the cycle is fixed by the leading motives of the late Buninsky creativity - memory, the all-in-law of the past, the significance of the only moment compared to the sad little series Budy.

Collection of stories "Dark alleys" I.A. Bunin wrote away from the homeland, being in France and experiencing about the consequences of the October Revolution and heavy years World War II. Works included in this cycle filled with motifs tragic Fate man, the inevitability of events and longing native edge. The central theme of the collection of stories "Dark Alley" is love that turns closely related to suffering and fatal outcome.

The central in understanding of the writer's plan is the same story of the collection "Dark alleys". He was written in 1938 under the influence of the poem N.P. Ogareva "Ordinary Tale", where the image of Dark Alley is just used, as well as philosophical thoughts L.N. Tolstoy about the fact that happiness in life is inaccessible, and a person catches only his "Zarnitsa" to appreciate.

Analysis of the work of I.A. Bunin "Dark Alleys"

The plot of the work is the meeting of the two older people after many years of separation. To be accurate, then the story refers to 35 years from the last parting. Nikolay Alekseevich comes to a stroke courtyard, where his hopes meets him. The woman calls the hero by name, and he recognizes his former beloved in it.

Since then passed whole lifeThat beloved was destined to spend separately. The thing is that Nikolai Alekseevich left the beauty-maid, who was then free from the landowner and became the hostess of the inn. The meeting of two heroes raises inside their whole storm of feelings, reflections and experiences. However, the past is not returned and Nikolai Alekseevich leaves, presenting how life could have to work out otherwise if he would not care about the feelings of hope. He is sure that it would be happy, reflects on how she would have become his wife, the mother of children and the hostess at home in St. Petersburg. True, all this remains unsinkless dreams of the hero.

Thus, in the story "Dark alleys" three main plot points:

• Stop the Hero at the Constant Yard
• A meeting former beloved
• Reflections on the way after what happened

The first part of the work is an episode before recognizing each other's heroes. The portrait characteristic of the characters is dominated here. It is significant that is the social difference between people. For example, hope appeals to the arrival "Your Excelration", but the hero allows himself "Hey, who is there.

The fundamental moment is a meeting that marks the second part of the plot. Here we see a description of feelings, emotions and experiences. Social borders are discarded, which allows you to learn better acting persons, oppose their thoughts. Meeting with hope for the hero is Randevo with his conscience. The reader understands that it has retained internal integrity. Nikolai Alekseevich, on the contrary, feels his life for useless, aimless, sees only her usability and vulgarity.

The third part of the story is directly departure and a conversation with a yammer. For the hero, social borders that he cannot neglect even for the sake of high feelings. Nikolay Alekseevich is ashamed of his words and revelations, regrets that he kissed the hand of a subtle yard and the former beloved.

Such a strategy of the plot makes it possible to present love and former feelings as an outbreak, unexpectedly illuminated by the life of Nikolai Alekseyevich, who bored himself. The story, built on the memoirs of the hero, is an artistic admission that allows the author to tell about the usual things more exciting and make an additional impression on the reader.

The text of the work does not meet instructive intonations, condemnation of the actions of heroes or, on the contrary, manifesting pity for them. The narrative is based on the description of the senses and emotions of the characters that are opening with the reader and it is he who has been evaluated to an evaluation.

Characteristics of the main characters of the story "Dark Alleys"

The positive light appears the image of hope. From the story, we learn about it not so much, but this is enough to make certain conclusions. The heroine is the former serf, which is now the hostess of the official post office. Together, she continues to look beautiful, feel easily and "not by age." Hope was able to make a good job due to his mind and honesty. Kucher in a conversation with Nikolai Alekseevich notes that she "rich, money in growth gives", i.e. loose. The heroine is inherent in practicality and enterprise.

She had to go through a lot. Experiences from the act Nikolai Alekseevich were so strong that hope is recognized - I wanted to impose on my hands. However, she was able to survive difficulties and become stronger.

The woman continues to love, but she failed to forgive the betrayal of her beloved. She boldly declares Nikolai Alekseevich about this. Causes the reader's sympathy of the wisdom of hope. For example, attempted by the general to justify your act of the past, it replies that youth passes in anyone, but love is never. These words of the heroine say that she knows how and can love truly, but happiness does not bring her happiness.

The image of Nikolai Alekseevich is largely opposed to hope. He is a nobleman and general, a representative of the highest light. I made a good career, but in my personal life the hero is unhappy. The wife threw him, and her son grew by a heated and dishonest man. The hero looks tired, whereas his former beloved full of strength and desire to act. He once again refused love and did not know her, having spent his whole life without happiness and pursuing false goals. "Everything passes. Everything is forgotten "- this is the position of the hero in relation to happiness and love.

Nikolai Alekseevich for about 60 years already, but at the meeting with hope it bluses like a young man. Military with shame recalls what threw his beloved, but does he have enough strength to fix what happened? Not. The hero again chooses the easiest way and leaves.

The spiritual weakness of the character, the inability to distinguish true feelings From the "History of Personal, Ordinary" circumscribe to the suffering of His Himself and Hope. Nikolay Alekseevich remains only one to remember the past, his love, which "gave him the best moments of life."

The love between hope and Nikolai Alekseevich turns out to be doomed, and the history of their relationship is full of drama. Why did everything happen so? There are several reasons. This is the weakness of the hero, who pushed his beloved man and did not see the future in her feelings for her. It is the role of prejudice in society, excluding the possibility of relationships and the more marriage between the noble and ordinary maid.

The difference in love views also predetermined the drama of the fate of heroes. If for hope feelings for your beloved person is loyalty to yourself, driving force, Wrong and helping her in life, then for Nikolai Alekseevich love is a moment, the story is past. The irony lies in the fact that this is exactly the moment, this part of life associated with the former beloved has become the best moment for all the years.

480 rub. | 150 UAH. | $ 7.5 ", Mouseoff, Fgcolor," #FFFFCC ", BGColor," # 393939 ");" Onmouseout \u003d "Return nd ();"\u003e Dissertation period - 480 rub., Delivery 10 minutes , around the clock, seven days a week and holidays

Shcherbitskaya Irina Vladimirovna. Stylistic features of the cycle I.A. Bunina "Dark Alleys": the dissertation ... Candidate of Philological Sciences: 01.01.01 / Shcherbitskaya Irina Vladimirovna; [Place of protection: Dagestan. State un-t]. - Makhachkala, 2008. - 180 s. RGB OD, 61: 08-10 / 217

Introduction

Style as unity of content and form 10

1. Stylistic features of the cycle "Dark Alleys" in the genre-composite level

1.1. Symbolism title (story "Dark alleys" as a stylistic pattern) 15

1.2. Features of the genre structure of the cycle 23

1.2.-1. Novatorsia Bunin-Novelist 24

1.2.2. The originality of the stories in the "Dark Alley" 40

1.2.3. Lyrical miniature in cycle 48

1.3. The plot and its features 56

1.4. Symbolism of chronotope as a stylistic feature of "Dark Alley" 67

2. Stylistic features of "Dark Alley" at the substantial level

2.1. Love as a leading motive and features of her image 78

2.2. Through motifs of "Dark Alley" 93

2.3. Domination female images As a specific bunin style line 103

3. Stylistic features of "Dark Alley" at the speech level

3.1. The image of the narrator and its function 119

3.2. The role of monologues and dialogues in the cycle 134

Conclusion 160.

List of references 174

Introduction to work

Name I.A. Bunin in the Russian literature of the XX century is a sign. Poet, writer, Nobel Laureate, according to O. Mikhailov, Ivan-Tsarevich Russian literature, Bunin completes the golden age of domestic elegant literature. His creativity was fed by the talents of Pushkin, Turgenev, Tolstoy, Chekhov, but at the same time Bunin remains a rioon, the master of the word, it is his word. He rejected silver Age, not recognizing Merezhkovsky, Hippius, Khlebnikov, Brysov, Balmont, Sologub, Soviet literature in the face of Yesenin, Olesha, Babel, but also "Arhaist-Strover" 2 Bunin was never. "To call me a realist, it means not to know me as an artist" 3, "he said.

I.A. Bunin - Writer-Novator. It was he opened new page In Russian literature, the page of Noviodalism, the brightest example of which was his "Dark Alleys".

this work Deals with this Buninskaya book and is an attempt to designate and analyze its stylistic features, to identify those traits that allow us to talk about this cycle exactly as Buninsky.

Why do we appeal to the "dark alleys"? This cycle is a favorite creation "and. Bunin, according to the master himself, a peculiar result of his whole life. The book in which he fully revealed as a writer, a philosopher, stylist, masterfully owning the tongue. And it is" dark alleys "in a number of others The works of the Great Writer, in our opinion, give the most complete picture of I. Bunin as a person who lived, loved, suffered, worked.

Relevance of the research topicdue to its insufficient study, the absence of special fundamental studies, while this topicFrom our point of view, it is especially significant for understanding and evaluating the Buninsky "Dark Alley" as the final work of the author,

1 Mikhailov O.H. Bunin's life: Only the word Life is given - M.: Centerpolygraph, 2002. P. 10.

2 there. P. 10.

3 ibid. P. 12.

places both in the work of the writer and in Russian literature. In addition, the study of the collection "Dark alleys" in the aspect chosen by us makes it possible to add not only the skill of the Bunin-writer, but also his inner world.

Object of this studythere are works of small genre forms, combined by I. Bunin in a single cycle, which received its name according to the first story, which is included in its composition.

Subject of study- The style of the book, which, unfortunately, in the scientific and critical literature dedicated to the creativity of I. Bunin and the "Dark Alleys" in particular, was not studied. It should be noted that in this work the style is considered in the broad sense of the word. Exploring the style of "Dark Alley" in a literary aspect, we affect not only the speech layer of the book, but also its formal and meaningful parties. Thus, in this study, we cover enough wide circle Questions related to the analysis and genre structure of the cycle, and its compositions, and issues, and speech. Thanks to this approach, ultimately we have a thorough, detailed analysis Buninsky book "Dark Alleys" as a single, holistic work.

The purpose and objectives of the study.The purpose of our study is the analysis of the stylistic features of the cycle, those specific damns - and at the level of the form, and at the level of the content - which would allow to talk about the "dark heralds" as a whole, the Bunin work. Moreover, the result of the final in which the author fully revealed himself, and above all, as a master of the word.

In connection with the purpose of the objective in this work, we denote a number of tasks:

Make a detailed, detailed analysis of the title story "Dark alleys", as it plays the role of a kind of occurrence in the cycle and essentially a stylistic pattern.

Release the genre-composite features of the cycle. Concerning

analysis of the genre structure of the book, its plot, artistic time ^ space. And here you should pay attention to such moments

you, like mixing genres, multi-way, not characteristic of traditional works of small genre forms, symbolism of the chronotope, due to the presence of the author's life experience in the book, for all these features are also specific features of the Bunin style.

Explore the content side of the cycle. This installation requires a detailed, detailed analysis of the subject and the problems of the book, its motives and the figurative system. In addition, special attention should be paid to implementing I.A. Bunin themes of love - the most important in the book, firstly, because love is the leading cycle motive - is one of the cracks that unite all works of the book into a single whole, secondly, because it is the philosophical, the concept of love in "Dark Alley" "There is one of those specific features that allow us to talk about a cycle as a buninsky.

Explore the speech structure of the work. At the same time, special attention to the functions of the narrator, since in many respects this image of autobiographical, the characteristics of the narrative, expressions of the copyright, the role of monologues and dialogues in the cycle. In addition, fair attention should be done here and artistic means, since it is the virtuoso possession of them, in our opinion, there is one of the features of the Bunin style.

The degree of study of the topic.Phenomenon I.A. Bunin, according to the materials for the bibliography, placed in the book "Ivan Bunin: Pro Et Contra", studied from about 1892 and from different sides. The life of the writer, his work, ranging from early poems and ending with the latest works, for more than a hundred years they have been literal interest in the literary circles of the whole world. His poetry was studied by scientists, and, of course, prose. Special attention from literature was given to the cycle "Dark Alleys". However, the following should be noted here. From the output of the collection to light

he is accepted ambiguously. I. Bunin was accused of frivolism, unnecessary naturalism (M.V. Karpovich, M.M. Vishnyak, GD Grebenshchikov) and at the same time admired his ability to submit material, its originality, capacity, "goody" of his tongue ( Adamovich, V. Stepun). However, initially it was only a book review.

In addition, due to objective historical reasons in domestic literary criticism, for example, "dark heralds" was widely spoken only by the end of the 80s of the 20th century. Until this time, there were only single cycle studies, including the work of A.K. Kochetkova, N.I. Volyn, L.N. Issysovo, G.S. Boyarinseva, N.P. Evstafyeva. Mention, superficial, fluid analysis of the cycle we find during this period and in the works of V.N. Afanasyev, O.N. Mikhailova, A.A. Volkova, N.M. Kucherovsky. So, Afanasyev V.N. In the work "I.A. Bunin: Sketch of creativity ", which, according to the expression I.V. Maltsyna, is the first book about Bunin, in chapter dedicated to the "Dark Alleys", special emphasis makes it on the study of the book content, namely, the main topic of love. But here on objective reasons, the study is somewhat superficial. The author explores the so-called "light, clean" side of the sense, leaving behind the "low" passion, eroticism beyond his attention.

From the end of the 80s of the last century, literary scholars drew more close attention to Bu-Nino "Dark Alleys". This book has been studied from different sides. In particular, genre and composite features were widely considered ("On the genre and composition of lyrical miniatures in the book I.A. Bunin" Dark Alleys "N.P. Evstafieva," Artistic space Alley in creativity I.A. Bunin "E.B. Rogachevskaya, "Voronezh motifs in the story I.A. Bunin "Natalie": ("Dark alleys") "V.V. Inyutin, "To the question of the motive of death in the book I.A. Bunin "Dark Alleys" A.A. Konovalov), language, poetics of the cycle ("Monologism of passionate consciousness: (poetics female body in "

alley "I.A. Bunina) "I.P. Karpov, "LinguityList analysis of the story I.A. Bunin " Clean Monday" ON THE. Nikolina, "Semantic and stylistic features of the cycle I.A. Bunin "Dark Alleys" L.I. Donetsk, E.L. Grudtsina, "Observations on the poetics of nature in the cycle of stories I.A. Bunina "Dark Alleys" E.A. Width, "Poetics of Cycle I.A. Bunina "Dark Alleys" E.L. Grudtsina), theme and problematics of works of the book ("Artistic" Elevation "at the Bunin themes of Love and Death" I.G. Bogdanova, "Dark Alleys of Bunin: The Mystery of" Russian Love "N.Yu. Yolovova," Divor buninskaya concept Love ("Dark Alleys") "G.M. Bla-Gasova), the role of the title ("Associative connections of the title in the structure of the lyrical cycle I.A. Bunin" Dark Alleys "V.A.Fremov," The name of the cycle as a generalized symbol: ("Dark alleys" I.A. Bunina) " L.I. Donetsk, E.L. Grudtsina). Among the works of this period, the monographs of ON should be highlighted. Mikhailova "Life of Bunin: Only a word Life is given ..." and Yu.V. Maltsev "Bunin, 1870 - 1953". Despite the fact that both Labor is the essay of creativity I.A. Bunin in general, "dark alleys" here is still given enough attention.

"So, in the book O. Mikhailov" The Life of the Bunin ... "there was a lot of never-published material, thanks to which the writer appears as a genius who was not alien and ordinary human weaknesses. Through the prism of some details of the writer's personal life, in particular, is given a fairly deep, thorough analysis of the "dark alley".

Monograph Yu.V. Maltsev "Bunin, 1870 - 1953" is interesting for us by the fact that the focus is on the Buninsky philosophical concept, its perception of the world in works, including in the "Dark Allahs". In the field of view of the author, all sides of the works are falling - both formal and meaningful. Much attention is paid to the Buninsky language.

As for the style of the writer as a whole, he was also actively studied. Dos

tastefully call such works as "the dialectic of the Bunin poetic style" VY *. Slavsetsky, "Some features of I.A. Bunina and M. Gorky: (on the material of works on bourgeois civilization) "G.M. Blasova, " Style features Prose I.A. Bunina »B.E. Bundjulova, "from observations on the tongue and style I.A. Bunina "A.P. Averyanova, "On the stylistic quests I.A. Bunina "M.L. Surpine. However, the stylistic features of the "Dark Alley" were not fully investigated. This work is an attempt to fill this space.

In connection with this we denote scientific novelty research.It is that, relying on the existing studies of "Dark Alley" and creativity "I. Bunin in general, as well as on scientific literature on the properties of style and literary work of a general nature, in this paper we conduct a thorough comprehensive style analysis "Dark Alley" in a broad sense - at all levels of the artistic work.

Methodology and research methods.The theoretical and methodological basis for this study was, first of all, the ideas laid down in the following works: "The problem of authorship and the theory of styles" and "to the theory of literary styles" V.V. Vinogradova, "Problems literary style"G.N. Pospelova, "Style theory" A.N. Sokolova. A specific analysis of the formal and substantive parties to the cycle is based on "Principles and receptions of the analysis of the literary work" A.B. Eustina, "Analysis of the Poetic Text" Yu.V. Lotme-on, "Interpretation of Text" V.A. Kukhachenko. In addition, in the process of studying the stylistic features of the cycle "Dark Alleys", we relied on the following textbooks: "Introduction to literary criticism" edited by G.N. Pospelova, "Theory of Literature: Reading as Creativity" L.P. Krementsova, "Theory of Literature. Poetics »B.V. Tomashevsky, "Theory of Literature" V.E. Khalizhev - as well as the literary encyclopedia of terms and concepts, a dictionary of literary terms, the explanatory dictionary of the Russian language of S. Ozhegova.

We also use a number of works on creativity by I.A. Bunin. In addition to those already listed above, this is: "Ivan Bunin: Pro et Contra", "Lessons of Russian Literature", E.A. The width "Portrait as a means of artistic image (on the example of the stories I.A. Bunin" Heinrich "," Steamer "Saratov") ", G.M. Blasova "Divorous beginning in the Buninsky concept of love (" Dark alleys ")", N.Yu. YOLTOVA "Dark Alleys" I.A. Bunin: The Mystery of "Russian Love", I.G. Bogdanova "Problems of the temporary field and memory of the heroes of erotic prose I.A. Bunin ("Rusya", "Tanya", "Kuma", "Start") ", si. Shashkov "Dami style originality I.A. Bunin in the story "Rusya", I.G. The native "love philosophy in creativity I.A. Bunina and A.S. Pushkin ", G.V. Kilganov "Evolution of female images in creativity I.A. Bunin: Anima transformation, etc.

. Main research method- Analytical, focused on studying the features of the style of "Dark Alley". At the same time, we also used the methods of observation and comparison, the descriptive method.

Theoretical and practical significance of the research.We believe that the data obtained by us in the process of study expand and systematize already available ideas about the ideological and artistic peculiarities of "Dark Alley", about the style of I.A. Bunin in general, about the Buninsk philosophical concept, about the perception of the writer of the world and man.

It seems that the results of this study can find practical use: To be used in the practice of school and university teaching (in courses on the history of Russian literature of the 20th century, as well as in special courses, seminars, in the lessons of Russian literature dedicated to the work of the Great Russian Writer), in the preparation of relevant textbooks. The data obtained during the work may also serve as a basis for further studies of the cycle I.A. Bunina "Dark Alleys".

Approbation of work.The main provisions and conclusions of this study

already found their reflection in the following publications:

Love as an expression of the entity of the personality in the cycle of the stories of I.A. Bunin "Dark Alleys" // Scientific Review: Collection of articles of the Association of Young Scientists Dagestan - Makhachkala, 2004. Vol. №5.

The theme of love in creativity I. A. Bunin and Haruki Murakami (on the example of the cycle of the story "Dark Alleys" and novels "Norwegian Forest", "South of the border, west from the Sun") // Scientific Review: Collection of articles of the Association of Young Scientists Dagestan - Makhachkala, 2006. Issue №33.

Motive in the cycle I.A. Bunin "Dark Alleys" // Questions of the Humanities - No. 6 (33) - Moscow, 2007.

Symbolism of space in the cycle I.A. Bunin "Dark Alleys" // Izvestia Russian State Pedagogical University. A.I. Herzen. №22 (53): Postgraduate Notebooks: Scientific Journal - St. Petersburg., 2007.

Feature of monologues and dialogues in the cycle I.A. Bunin "Dark alleys" // Problems of the Dialogism of verbal art - Sterlitamak, 2007.

and tested on the All-Russian (with international participation) of the scientific and practical conference "Problems of the Dialogism of verbal art" (Sterlitamak, Republic of Bashkortostan, October 2007).

In addition, the individual results of this study were applied in the lessons of Russian literature dedicated to the creativity of I.A. Bunin, in the 11th grades of High School No. 52 Makhachkala and at the Scientific and Practical Conference "Step to the Future" (2004).

Structure of work.This study consists of introducing, the introductory chapter to the main part of the work, three chapters, divided into sections and subsections, conclusions and bibliography. The total work is equal to 180 pages of typewritten text, which is explained by the breadth of the story, as well as the presence of sufficiently volumetric quotes, the use of which is necessary in the process of achieving the goal set in this study.

Stylistic features of the cycle "Dark Alleys" in the genre-composite level

As you know, any literary work has two sides: the form and content. The content is that traditionally called the author's concept. According to V.E. Khalizheva, that's deep base Works, "constituent appointment of form as a whole", "Last sense instance". Moreover, the content is not embodied in some particular part of the work, but "in the aggregate that in the work is poured." That is, as noted by Yu.M. Lotman in the work "Analysis of the poetic text", "the idea is not contained in any, even well-selected quotes, but is expressed in the entire artistic structure" 22. Thus, to comprehend the content of the work requires a detailed analysis of its shape. In the most general features The form of the literary product is three parties: 1) "All those single phenomena and facts that are denoted by the help of words and in their co-counseling are the world of artistic work", 2) Artistic speech, 3) "correlation and location in the work of the object units and The verbal series "24, that is, the composition. And each of these three sides can give an idea of \u200b\u200bthe author's style. This chapter is devoted to the analysis of genre - composite features of the cycle I.A. Bunina "Dark Alleys" as style dominant.

The composition is "building an artistic work, a certain system in the location of its parts" 25. This is a "system connection system, elements of the work." According to A. B. Eustin, the composition is a structure of artistic form and its role is to "keep elements of a whole, to make a whole of individual parts" "7. In addition, the ratio itself and the arrangement of the works of the work the composition should express a certain artistic meaning. In the book" Principles " and techniques for analyzing the literary work "A.B. Esin special attention is paid to the analysis of the so-called" internal "composition (plot, conflict, the figurative system). Among the elements of the" external "composition, attention is drawn by the author only for epigraphs, prefaces, abnormalities. Title as The element of the outer composition is generally falling out of sight, which, in our opinion, erroneously. The role of the title, the name of the work cannot be underestimated. It not only may indicate the central position of the hero, containing its initials. The title may be problematic or maintaining By yourself the author's assessment of life. Consider the role of the title in the cycle "Dark Alleys".

The book is named I.A. Bunin in the first story. This is a work, serving a certain starting point, "Strint" 28, as it called him N.P. Evstafieva, sets the tone to the entire cycle, denotes the topic of the book, outlines the range of issues that will be raised in all subsequent works. Based on this, we consider it necessary to give a detailed analysis of this story.

In the center of the story "Dark Alleys" (1938) - a meeting of two people, men and women, once loved each other. It takes place many years and unexpectedly for the heroes themselves. "In the cold authentia, on one of the large Tula roads, spilled with rains and rolled up with many black rings, to a long hut ... rolled up the tarantas with a mud with a mud with a mixed riding ... on goats ... Singing a strong man ... And in Tarantas Slender Old Man Military. " So the story begins, and from the very beginning we can talk about the symbolism of time and space. By the way, the symbols are very characteristic of the creativity of I.A. Bunin, and the cycle "Dark alleys" is literally permeated with them. With those or other characters face and in all subsequent works of the cycle. In the story analyzed in this part of the work, the road is the life path of heroes, autumn is their old age, when you can evaluate your life, look at her from the side, to understand and recognize your mistakes. We also note that these images are found in such a interpretation in a cycle repeatedly. They are confronted in the "late hour", and in the cold autumn, and in a number of other works. So, Nikolai Alekseevich meets with the owner of a privately spoofer and will not immediately recognize in this "beautiful not in the age of a woman, like an elderly gypsy" (6), hope, a girl who was once-in love: "- Hope! You? He said hurriedly. - I, Nikolai Alekseevich, has found it "(6). No wonder. Per long yearswho have passed since their last meeting, the heroine changes greatly. And not only externally. Pay attention to how her portrait was discharged: "Dark-haired, also black ... with a dark fluff on the upper lip and along the cheek, light on the go, but full, with big breasts under a red blouse, with triangular, like a geese, belly Under the black wool skirt ... Rounded shoulders ... Light legs in red soaked Tatar shoes "(6). Here, it seems to us, it is appropriate to note that the male image, more precisely, the portrait of the hero (and this is not typical for the cycle), the author was given sufficient attention: "... Slender old-man-military in a large Kartuze and in the Nikolaev gray sinel with Bobrov Standing collar, still black, but with white mustes, which were connected to the same buynbards; His chin was broken and the whole lookoff had the similarity with Alexander II, which was so common among the military at the time of his reign; The look was also questioning, strict and at the same time tired "(5). Note that I.A. Bunin, a large detail master, does not prescribe images scrupulously. I glanced by the character, admiring both the woman, and a man, stops only on, it would seem, there would be insignificant traits that, ultimately, create a fairly complete picture.

Features of the genre structure of the cycle

One of the most important problems in the analysis of the artwork is the problem of the genre. This term is very capacious, denoting the type of literature (genre of Roman, tragedy, Elegy), and the genre itself (social, philosophical). In addition, as noted in his book "Theory of Literature: Reading As Creativity" L.P. Krementsov, "The word genre means that it is important to reader first, what works by him creative imaginationNamely - the unique individual form of presenting a particular master "34. Indeed, Novels and Stories I.A. Bunina is a genre, they are not like Mopassana or stories A.P. Chekhov, despite the fact that they are designated in the same term. In this part of the work, analyzing the genre structure of "Dark Alley", we will try to show a number of features characteristic of the Bunin interpretation of genres, within which these works are created.

Many Buninovteda researchers, studying his creativity, and specifically the cycle "Dark alleys", and otherwise affected the problem of determining the genre of the book (A. A. Achahatov "Late Lyrical Novella I.A. Bunin: (to the question of the composition)", "The genre peculiarity of the stories of I.A. Bunina", K.S. Saparov "Mastery I.A. Bunina: (Novella and the story of the 20s)", I.P. Vashekov "An artist-Novator: (about some The features of the compositions of the story stories I.A. Bunina ", L.N. Issova" Some features of the structure of Novella I.A. Bunina "Dark Alleys"). However, it is most fully and thoroughly considered in the works of N.P. Evstafieva "The originality of genre forms in Book I.A. Bunin "Dark Alleys", "Novella and Story - Leading genre forms in the book I.A. Bunin" Dark Alleys "," On the genre and composition of lyrical miniatures in the book I.A. Bunin "Dark Alleys".

The literature of the 20th century is characterized by constant erosion of borders, including genre. Following this trend, when creating "Dark Alley" I.A. Bunin acts as an innovative writer. One of the features of the book is that in it, answering the writer's plan to show not only the true power of love, but also to test this feeling "on the spiritual and moral impact" of the life of the heroes, the works of several genres are connected. Therefore, it would be wrong to talk about it as a collection of stories or novel (which, unfortunately, is widely practiced by Buninovteda researchers). The book combines works written in the genres of Novels, stories and miniatures, and almost none of them (and this is also a cycle feature) is not found in the "pure" form.

Following the classic encyclopedic interpretation of the novels, stories and miniatures, all the works of the cycle can be divided into three groups.

Innovation of the Bunin-novelist "Caucasus" (1937), Galya Ganskaya (1940), "in Paris" (1938), "Heinrich" (1940), "Clean Monday" (1944), "Stepa" (1938), " Musa "(1938)," Antigon "(1940)," Business Cards "(1940), Zoyka and Valeria (1940)," Kuma "(1943)," Dubki "(1943)," Madrid "(1944) , "Steamer" Saratov "(1944)," Raven "(1944)," Spring, in Judea "(1946)," Overnight "(1949). All these works have novelistic signs. However, N.P. Evstafieva subdivishes the novels for another two groups from the point of view of the "specifics of the plot-composite implementation of the conflict." This is quite legitimate, as cether works written in this genre still somewhat different from traditional novels. First of all, it is "Galya Ganskaya", "in Pa Rip", "Heinrich", "Caucasus", "Clean Monday". L.P. Krementsov gives next definition Novella: This is "prosaic ... epic genre with a sharp plot, a concise narrative and an unexpected ending" 38. A.B. Esin in the book "Principles and Taking Analysis of the Literary Work", speaking about the peculiarities of the novel genre, notes the speed peculiar to him, the dynamic of development. Moreover, system In traditional Novella is simplified. The number of secondary characters is limited, that is, they are entered as much as necessary for the development of action. Minimal and descriptive elements, author's retreats. In the above-mentioned novels, the author violates these canons, creating fundamentally new works. N.P. Evstafieva notes that these novels have "lyrol philosophical" character40, however, such a remark is not entirely correct. Laro-philosophical. Character has the whole book as a whole. The main difference between the five items mentioned from the traditional works of this genre in the other. They "unite in the ideological and art center of the book, form its plot-composite core." Between them, they relate to the multidimensional narration, which implies the presence of external and internal, "underwater" 42, plot lines. Moreover, the latter is built from the so-called "technical" details, which, ultimately, work to implement the author's concept - the idea of \u200b\u200bthe inviolability of the ideal in the spiritual being of a person who, of course, I.A. Bunina is love. Let us turn to a more detailed analysis of the features of these novel.

Love as a leading motive and features of her image

In the previous chapter of this work, we considered the genre and compositional features of the "Dark Alley". In this part of the study, we turn to the content side of the book, its subjects and issues, as well as to the circuit-shaped cycle and its motives.

As many studies of creativity, I. A. Bunin, "Dark Al-Lei" are a book about love. Indeed, it is love that here is the center of the world depicted by the writer. All heroes, their characters, relationships are given through the prism of this feeling. Therefore, the main topic of "dark alley", the leading motive of the cycle - love. I.A. himself Bunin wrote: "... all the stories of this book are only about love, about her" dark "and most often very gloomy and cruel alles." But still, according to the writer, love is the greatest of all human feelings, the force capable of providing a huge impact on personality, the force capable of creating and destroying. I.A. Bunina Love is Multicolia. This is the first passion, and a prompt passion, bringing to madness, and genuine, bright feeling, and animal lust. It is not by chance that the book "Dark Alleys" was named Y. Maltsev "Encyclopedia of Love" 69. The author, as it were, connects all the interpretations of this feeling, synthesizes them, leads to the wording of B. Vyshysvetz: "Love is the expression of the deepest essence of the individual" and in accordance with it depicts one or another form of its expression. "A variety of shades of love and the fancy varieties of bright panorama take place here before us" 71: the first love of a teenager and love-despair ("Beginning", Zoyka and Valery), love-function ("Cuma") and love-pity (" Vizit cards "," Madrid "," River Tavern "), love-lust (" foolish "," overnight "," ballad ") and, of course, the present, genuine feeling that heroes are carrying throughout life (" Natalie ", Cold Autumn," Rusya "). Researcher of creativity I.A. Bunina GM Blasov in the article "Diva on the Bu-Nino concept of love" noted that in the "Dark Alleys" love is a certain synthesis of Divine and Devilsky, as mentioned above. Indeed, love in the "Dark Alleles", affecting a person, awakens not only bright, but also dark sides His souls. Making love, in fact, the main heroine of his book, I.A. Bunin puts a number of problems. This is I. philosophical problem Good and evil, given through the prism of a love feeling (Love ascending and descending72, love as the unity of opposites), and the problem of the present feeling, its tragidity ,; and the problem of happiness is happiness, these are social problems, also data through the prism of love. What is love in the "Dark Alley"?

First of all, you can highlight the love of physiological and spiritual love. And the first in the interpretation of I.G. Bogdanova can be divided into love-instinct and love-lust.

Love-lust. The lowest feeling. Rather, not even feeling, but a blind animal instinct. The desire to possess the object of the opposite sex, regardless of the senses. She confesses the author as a sin, for the commission of which it is necessary to punish ("Ballad", "overnight").

So, the hero of the novels "Overnight", Moroccan, for an attempt to rape a girl pays life. The action begins with the arrival of the Hero's inn, where he meets the heroine. From the first rows, some tensions appear in the work, a sense of danger arises. A peculiar impetus for this is how the dog perceives: she immediately came forward, flashed with her eyes and scary teeth with dismission, "whereas it was usually" calm, did not pay attention to such that seemed to seem robber, convicts "(220). So, the hero immediately draws attention to the girl, manifests interest to her as a woman. Her appears and his appearance ("Big Growth and a Small, very dark face made by smallpox" (216), and his "fast sudden, glances" (217). However, Moroccan's attempts to stay with the girl alone stops the old woman, hostess of the hotel. She herself gives him food, he does not allow the girl to spend the guest to the room, even when he proposes to pay her for it. But then, despite the protests of the heroine, he sends her to Moroccan: "I heard that he said. No, I will not go To him. I am afraid of him. - Stupidity, nonsense! ... And there is nothing at all to be afraid of him. He is only very stupid and hot-tempered, but good. He told me that he sorry for him ... "(221). When The girl comes to him, the hero is trying to rape her (222). A dog comes to the aid of the heroine: "He darted, threw his chin - and the dog was one dead grip to the throat" (222). The image of a dog here is a kind of divine garbage lust.

Such find both in the story "Ballad", only the role of the punishing hand here performs the wolf. The work is based on the principle of the genre in the genre - the story of the Stranger Masha is introduced into the main story. So, Masha tells the hero-narrator an old legend about the "God's Beast, the Lord Wolf" (14), which is based on the history of love: the old prince lying on the love of the lovefoot (17), hesitated to his son's wife. Having learned about it, the young decide to run, but the prince goes to the pursuit. However, an unexpectedly young to the rescue comes a wolf.

The image of the narrator and its function

In one of the letters to I.A. Bunina M. Gorky wrote: "You are for me the first master in Russian literature - this is not an empty word, not flattery .." 120, - most not only talent writer and friend in building plots, creating bright, memorable images But his linguistic flair: "Twenty-five-year work Your full of zealous love for native language- Beauty It is always finely felt by you, - This has not yet appreciated work gives us joyful right to say that you are a worthy successor of those poets that have breeded Russian literature with European, made it one of the substantive phenomena of the XIX century. " And really, I.A. Bunin entered the history of world literature as the greatest stylist, a word wizard capable of a tiny text patch, operating some set of words, create unique images, landscapes, pass the mood. At one time, Boris Pasternak, condemning in autobiographical notes its own poetic youth, said: "I forgot that the words themselves can enter into something and mean, in addition to the ribbons, whom they were hung." At the rebellion of these "trinkets" no. His word Vesko, for sure, "always contains something in itself, something means," as N. Lyubimov noted. The third chapter of this work is dedicated language features The cycle "Dark alleys", as artistic speech works. The most important component of the style. This is one of the style dominant, since the concept of "style" in literature is connected, first of all, with the language. As noted by A. B. Esin, "The literary image may not exist otherwise, as in the verbal shell," because the literature is the art of the words. Word, language - "primarylement" of literature, thanks to which "all the details of the pictured world ... Receive Artistic Being" 125. It is impossible to reject the fact that it is often one of the means characteristic of the characters, because they "invariably show themselves in words" 126. It is the words that heroes express their thoughts, feelings that often contain in themselves and the author's view of the world. And then the way, the manner, the character of "speaking" character is put forward in the center of the work, become the main. In this part of the work we turn to the speech of Buninsky characters, we will try to determine the role of monologues and "dialogues, pay attention to the" author - hero "problem, how these relationships are implemented at the speech level. But first of all, we turn to the peculiarities of the narrative.

As noted by A. B. Kremenetsov, in the epic works, to which the cycle "Dark alleys" refers, two speech elements are distinguished clearly: the speech of heroes and actually the narration (the text of the epic work minus the direct speech of the heroes) 127. In any epic work "Imprinting the manner to perceive reality inherent in someone who tells him the vision of the world and the way of thinking" 128. In this regard, the image of the narrative, the concept that has entered the literary crime due to the works of B.M. Eikenbauma, V.V. Vinogradova, M.M. Bakhtina, G.A. Gukovsky. The legitimacy of this image as an independent challenged, the narrator was often identified with the author. As noted in the dictionary of literary term terms, the narrator is the "Copyright carrier in an prosaic work" 129. However, this is not quite true. The narrator is not the author, but another hero of the work, whose mouth is set out the plot. If the author is a real person, then the narrator - the image created by him. Of course, they are close, but are not uniform. The image of the narrator is special. This is a very specific form of human artistic reproduction. The narrator, as noted by V.E. Khalizhev, "is an intermediary between the reader depicted and, often acting as a witness and an interpreter of the featured persons and events" 130. Usually-B. artistic work It does not say about the fate of the narrative, about its relationship with acting persons, such as Disal T. Mann, this image is "an intention, a battleship, omnipresent" 131. But "Chute to verbal art, the reader sees in the story, the story or the novel is not only a message about the life of the characters with its detail, but also an expressive significant monologue of the narrator" 132. The main one, and often the only means to create it is a speech, followed by a certain nature, a way of thinking, worldview. " It is speech, the manner of talking gives the reader an idea of \u200b\u200bthe image of the narrator, about the warehouse of his mind and feelings, about Hyhakhar-Tere, which is found "not in his actions and not in direct outpouring of the soul, but in a kind of narrative-descriptive monologue"

Questions, fate and intertwining stories in the cycle of Bunin "Dark Alleys"

The book "Dark Alleys" belongs to the masterpieces of world literature, the writer worked on it from 1937 to 1949.

The fate of the book was difficult, for the first time it was published in 1943 in New York in a circulation of 600 copies (11 of 20 works entered into it). Only in 1946, the Paris Edition of the book (38 works) comes out.

For the Bunin, the theme of love and the subjects of life and deaths conjugate with it were fundamental. In his works, beautiful and tragic were merged together. Responding to reproaches of critics about the naturalistic works of works, Bunin wrote: "The content of them is not free, and the tragic." This whole book was called on the first story "Dark Alleys". And all the stories of this book are only about love, about its dark and, most often, gloomy and cruel avenues.

In the stories of the cycle "Dark alleys" poetic and prosaic elements are synthesized, they constantly interact. This book is a complex genre formation with an equalization of the epic and lyrical principle. The epic beginning is implemented at the expense of the plot construction of the work, the dynamics of the meeting, separation, and the lyrical, both at the expense of the inner monologue of the hero, and through appeal to the very topic of love, the actualization of landscape descriptions. Works included in the cycle "Dark Alleys" are defined as stories or novels.

The story of the story "Dark Alleys" is the meeting of Nikolay Alexandrovich and Hope on one of the "big Tula roads". The text faces "two truths": Nikolay Alexandrovich: "Over the years, everything passes: love and youth"; Hope: "There is a lot of youth, and love - no." ON THE. "Thirty years ago could not step over its position", i.e. through the present that is his life, but fate was a stronger to him: he was not happy; It turns out that the present person is determined by the past. Hope lived all his life with memory of the feeling that she was given to experience, but a person cannot realize what is happening with him in the present. ON THE. I thought "I lost the most expensive thing in it, which found in life."

The time movement is constantly, but it is not powerful above the memory of people. The past remains with a person, while he is alive, the tragedy of any in the short term of his earthly existence, so you need to appreciate the few happy moments that give life.

Thesis

Shcherbitskaya, Irina Vladimirovna

Academic School:

Candidate of Philology

Place of protection dissertation:

Makhachkala

Vac Special Feature Code:

Specialty:

Russian literature

Number of prints:

Style as unity of content and shape.

1. Stylistic features of the cycle "Dark Alleys" in the genre-composite level

1.1. The symbolism of the title (story "Dark alleys" as a stylistic pattern).

1.2. Features of the genre structure of the cycle.

1.2.-1. An innovation of the Bunin-Novelist.

1.2.2. The originality of the stories in the "Dark Alley".

1.2.3. Lyrical miniature in cycle.

1.3. The plot and its features.

1.4. Chronotope symbolism as a stylistic feature

Dark Alley. "

2. Stylistic features of "Dark Alley" at the informative level

2.1. Love as a leading motive and features of her image.

2.2. Through motifs of "Dark Alley".

2.3. Domination of female images as a specific bunin style feature.

3. Stylistic features of "Dark Alley" at the speech level

3.1. The image of the narrator and its function.

3.2. The role of monologues and dialogues in the cycle.

The dissertation (part of the author's abstract) On the topic "Stylistic features of the cycle I.A. Bunin" Dark Alleys ""

Name I.A. Bunin in the Russian literature of the XX century is a sign. Poet, writer, Nobel Laureate, according to O. Mikhailov, Ivan-Tsarevich Russian literature1, Bunin completes the golden age of domestic elegant literature. His creativity was fed by the talents of Pushkin, Turgenev, Tolstoy, Chekhov, but at the same time Bunin remains a rioon, the master of the word, it is his word. He rejected the Silver Age, not recognizing Merezhkovsky, Hippius, Khlebnikov, Bolsova, Balmont, Sologub, Soviet literature in the face of Yesenin, Oleshi, Babel, but also "Arhaist-Strover" 2 Bunin was never. " Call me a realist, which means not to know me as an artist"3," he said.

I.A. Bunin - Writer-Novator. It was he who opened a new page in Russian literature - a page of Noviodalism, the brightest example of which was his "Dark Alleys".

This work is devoted to this Buninsky book and is an attempt to designate and analyze its stylistic features, to identify those traits that allow us to talk about this cycle exactly as Buninsky.

Why do we appeal to the "dark alleys"? This cycle is a favorite creation "and. Bunin, according to the master himself, a peculiar result of his whole life. The book in which he fully revealed as a writer, a philosopher, stylist, masterfully owning the tongue. And it is" dark alleys "in a number of others The works of the Great Writer, in our opinion, give the most complete picture of I. Bunin as a person who lived, loved, suffered, worked.

The relevance of the topic of the study is due to its insufficient study, the lack of special fundamental research on it, while this topic, from our point of view, is particularly significant for understanding and evaluating the Buninsky "Dark Alley" as the final work of the author,

1 Mikhailov O.N. Bunin's life: Only the word Life is given - M.: Centerpolygraph, 2002. P. 10.

2 there. P. 10.

3 ibid. S. 12. Places both in the work of the writer and in Russian literature. In addition, the study of the collection "Dark alleys" in the aspect chosen by us makes it possible to add not only the skill of the Bunin-writer, but also his inner world.

The object of this study is the works of small genre forms, combined by I. Bunin in a single cycle, which received its name according to the first story included in its composition.

The subject of the study is a book style that, unfortunately, in the scientific and critical literature devoted to the creativity of I. Bunin and "Dark Alleys" in particular, was not studied. It should be noted that in this work the style is considered in the broad sense of the word. Exploring the style of "Dark Alley" in literary Aspect, we affect not only the speech layer of the book, but also its formal and meaningful side. Thus, in this study, we cover a fairly wide range of issues related to the analysis and genre structure of the cycle, and its compositions, and problems, and speeches. Thanks to this approach, in the end, we have a detailed analysis of the Bunin book "Dark Alleys" as a single, holistic work.

The purpose and objectives of the study. The purpose of our study is to analyze the stylistic features of the cycle, of those specific features - and at the level of the form, and at the level of the content - which would allow to talk about "dark heralds" as a single whole, Buninsky work. Moreover, the result of the final in which the author fully revealed himself, and above all, as a master of the word.

In connection with the purpose of the objective in this work, we denote a number of tasks:

1. Make a detailed, detailed analysis of the title story "Dark Alleys", as it plays the role of a peculiar zeal in the cycle and in fact is a stylistic pattern.

2. To identify genre-composite features of the cycle. In this regard, to analyze the genre structure of the book, its plot, art time, and space. And here you should pay attention to such moments

I i you like mixing genres multi-frequencynot peculiar to the traditional works of small genre forms, symbolism of chronotope due to the presence in the book of life experience of the author himself, because all these features are also specific features of the bunin style.

3. Explore the content side of the cycle. This installation requires a detailed, detailed analysis of the subject and the problems of the book, its motives and the figurative system. In addition, special attention should be paid to implementing I.A. Bunin themes of love - the most important in the book, firstly, because love is the leading cycle motive - is one of the cracks that unite all works of the book into a single whole, secondly, because it is the philosophical, the concept of love in "Dark Alley" "There is one of those specific features that allow us to talk about a cycle as a buninsky.

4. Explore the speech structure of the work. At the same time, special attention to the functions of the narrator, as in many respects this image autobiographical, peculiarities of narration, expressions of the author's point of view, the role of monologues and dialogues in the cycle. In addition, fair attention should be done here and artistic means, since it is the virtuoso possession of them, in our opinion, there is one of the features of the Bunin style.

The degree of study of the topic. Phenomenon I.A. Bunin, according to the materials for the bibliography, placed in the book "Ivan Bunin: Pro Et Contra", studied from about 1892 and from different sides. The life of the writer, his work, ranging from early poems and ending with the last works, for more than a hundred years they have been liquefied in literary Circles of the whole world. His poetry was studied by scientists, and, of course, prose. Special attention from literary critic The cycle "Dark Alleys" was obtained. However, the following should be noted here. Since the release of the collection in the light, he was accepted ambiguously. I. Bunin was accused of frivolism, unnecessary naturalism (M.V. Karpovich, M.M. Vishnyak, GD Grebenshchikov) and at the same time admired his ability to submit material, its originality, capacity, "goody" of his tongue ( Adamovich, V. Stepun). However, initially it was only a book review.

In addition, due to objective historical reasons in the domestic literary studiesFor example, "Dark Alley" was widely spoken only by the end of the 80s of the 20th century. Until this time, there were only single cycle studies, including the work of A.K. Kochetkova, N.I. Volyn, ji.h. Issysovo, G.S. Boyarinseva, N.P. Evstafyeva. Mention, superficial, fluid analysis of the cycle we find during this period and in the works of V.N. Afanasyev, O.N. Mikhailova, A.A. Volkova, N.M. Kucherovsky. So, Afanasyev V.N. In the work "I.A. Bunin: Sketch of creativity ", which, according to the expression I.V. Maltsyna, is the first book about Bunin, in chapter dedicated to the "Dark Alleys", special emphasis makes it on the study of the book content, namely, the main topic of love. But here on objective reasons, the study is somewhat superficial. The author explores the so-called "light, clean" side of the sense, leaving behind the "low" passion, eroticism beyond his attention.

From the end of the 80s of the last century, literary scholars drew more close attention to Bu-Nino "Dark Alleys". This book has been studied from different sides. In particular, genre and compositional features ("On the genre and composition of lyrical miniatures in the book I.A. Bunin" Dark Alleys "N.P. Evstafieva," Artistic Space Alley in the creativity of I.A. Bunin "E.B. Rogachevskaya, "Voronezh motifs in the story of I.A. Bunin" Natalie ": (" Dark alleys ")" V.V. I. Inyutin, "To the question of the motive of death in the book I.A. Bunin" Dark Alleys "A.A. Konovalov), language, poetics of the cycle ("Monologism of passionate consciousness: (Poetics of the female body in the" Dark Alley "I.A. Bunin)" I.P. Karpov, "LinguityListical analysis of the story I.A. Bunin" Clean Monday" ON THE. Nikolina, "Semantic and stylistic features of the cycle I.A. Bunin "Dark Alleys" L.I. Donetsk, E.L. Grudtsina, "Observations on the poetics of nature in the cycle of stories I.A. Bunina "Dark Alleys" E.A. Width, "Poetics of Cycle I.A. Bunina "Dark Alleys" E.L. Grudtsina), theme and problematics of works constituting a book ("Artistic" elevate»At the Bunin themes of Love and Death" I.G. Bogdanova, "Dark Alleys Bunin: The Mystery of" Russian Love "N.Yu. YOLTOVOV, "DISTRICT START IN THE BUNNY CONCEPT OF LOVE (" Dark Alleys ")" G.M. Bla-Gasova), the role of the title ("Associative connections of the title in the structure of the lyrical cycle I.A. Bunin" Dark Alleys "V.A.Fremov," The name of the cycle as a generalized symbol: ("Dark alleys" I.A. Bunina) " L.I. Donetsk, E.L. Grudtsina). Among the works of this period, the monographs of ON should be highlighted. Mikhailova "The Life of Bunin: Only the Word Life is given." and Yu.V. Maltsev "Bunin, 1870 - 1953". Despite the fact that both Labor is the essay of creativity I.A. Bunin in general, "dark alleys" here is still given enough attention.

So, in the book O. Mikhailova "The Life of Bunin." There was a lot of never-published material, thanks to which the writer appears as a genius who was not alien and ordinary human weaknesses. Through the prism of some details of the writer's personal life, in particular, is given a fairly deep, thorough analysis of the "dark alley".

Monograph Yu.V. Maltsev "Bunin, 1870 - 1953" is interesting for us by the fact that the focus is on the Buninsky philosophical concept, its perception of the world in works, including in the "Dark Allahs". In the field of view of the author, all sides of the works are falling - both formal and meaningful. Much attention is paid to the Buninsky language.

As for the style of the writer as a whole, he was also actively studied. It is enough to name such works as "Dialectics of the Bunin Poetic Style" VY: Slavsetsky, "Some features of the style I.A. Bunina and M. Gorky: (on the material of works on bourgeois civilization) "G.M. Blasova, "Style features of prose I.A. Bunina »B.E. Bundjulova, "from observations on the tongue and style I.A. Bunina "A.P. Averyanova, "On the stylistic quests I.A. Bunina »M.ji. Surpine. However, the stylistic features of the "Dark Alley" were not fully investigated. This work is an attempt to fill this space.

In this regard, we denote the scientific novelty of the study. It is that, relying on the already available studies of the "dark alley" and creativity "I. Bunin in general, as well as on scientific literature on style properties and literary In general, in this paper, we carry out a thorough comprehensive analysis of the style of "Dark Alley" in a broad sense - at all levels of the artistic work.

Methodology and research methods. The theoretical methodological basis for this study was primarily ideas in the following work: " Problem of authorship and style theory"And" To the theory of literary styles"V.V. Vinogradova, " Problems of literary style"G.N. Pospelova, "Style theory" A.N. Sokolova. A specific analysis of the formal and meaningful sides of the cycle is based on " Principles and receptions of the analysis of the literary work"A.B. Eustina, " Analysis of poetic text»Yu.V. Lotme-on, " Interpretation of the text»V.A. Kukhachenko. In addition, in the process of studying the stylistic features of the "Dark Alleys" cycle, we relied on the following textbooks: "Introduction to literary criticism"Edited by G.N. Pospelova, " Theory of Literature: Reading How Creativity»L.P. Krementsova, "Theory of Literature. Poetics »B.V. Tomashevsky, " Theory of literature"V.E. Khalizhev - as well as the literary encyclopedia of terms and concepts, a dictionary of literary terms, the explanatory dictionary of the Russian language S.I. Ozhegova.

We also use a number of works on creativity by I.A. Bunin. In addition to those already listed above, this is: "Ivan Bunin: Pro et Contra", " Lessons of Russian literature", E.A. The width "Portrait as a means of artistic image (on the example of the stories I.A. Bunin" Heinrich "," Steamer "Saratov") ", G.M. Blasova "Divorous beginning in the Buninsky concept of love (" Dark alleys ")", N.Yu. YOLTOVA "Dark Alleys" I.A. Bunin: The Mystery of "Russian Love", I.G. Bogdanova "Problems of the temporary field and memory of the heroes of erotic prose I.A. Bunin ("Rusya", "Tanya", "Kuma", "Start") ", S.I. Shashkov "The features of the style of originality I.A. Bunin in the story "Rusya", I.G. The native "love philosophy in creativity I.A. Bunina and A.S. Pushkin ", G.V. Kilganov "Evolution of female images in creativity I.A. Bunina: Anima transformation, etc. The main research method is analytical, focused on studying the characteristics of the style of "Dark Alley". At the same time, we also used the methods of observation and comparison, the descriptive method.

Theoretical and practical significance of the research. We believe that the data obtained by us in the process of study expand and systematize already available ideas about the ideological and artistic peculiarities of "Dark Alley", about the style of I.A. Bunin in general, about the Buninsk philosophical concept, about the perception of the writer of the world and man.

It seems that the results of this study can also find practical application: used in the practice of school and university teaching (in courses on the history of Russian literature of the 20th century, as well as in special courses, seminars, in the lessons of Russian literature devoted to the work of the Great Russian writer), when drawing up relevant teaching aids. The data obtained during the work may also serve as a basis for further studies of the cycle I.A. Bunina "Dark Alleys".

Approbation of work. The main provisions and conclusions of this study have already been reflected in the following publications:

1. Love as an expression of the entity of the person in the cycle of stories I.A. Bunin "Dark Alleys" // Scientific Review: Collection of articles of the Association of Young Scientists Dagestan - Makhachkala, 2004. №5.

2. The topic of love in creativity I. A. Bunin and Haruki Murakami (on the example of the cycle of the "Dark Alleys" and novels "Norwegian forest", " South of the border, west from the sun") // Scientific Review: Collection of articles of the Association of Young Scientists Dagestan - Makhachkala, 2006. Issue №33.

3. Motive in the cycle I.A. Bunin "Dark Alleys" // Questions of the Humanities - No. 6 (33) - Moscow, 2007.

4. Symbolism of space in the cycle I.A. Bunin "Dark Alleys" // Izvestia Russian State Pedagogical University. A.I. Herzen. №22 (53): Postgraduate Notebooks: Scientific Journal - St. Petersburg., 2007.

5. Feature of monologues and dialogues in the cycle I.A. Bunin "Dark Alleys" // Problems of the Dialogism of verbal art - Sterlitamak, 2007. And tested on the All-Russian (with international participation) of the scientific and practical conference " Problems of the dialogism of verbal art"(Sterlitamak, Republic of Bashkortostan, October 2007).

In addition, the individual results of this study were applied in the lessons of Russian literature dedicated to the creativity of I.A. Bunin, in the 11th grades of High School No. 52 Makhachkala and at the Scientific and Practical Conference "Step to the Future" (2004).

Structure of work. This study consists of introducing, the introductory chapter to the main part of the work, three chapters, divided into sections and subsections, conclusions and bibliography. The total work is equal to 180 pages of typewritten text, which is explained by the breadth of the story, as well as the presence of sufficiently volumetric quotes, the use of which is necessary in the process of achieving the goal set in this study.

Style as unity of content and form

In 1942 in Grassia I.A. Bunin told his attached to Andrei Sedoy: "Last year I wrote" Dark Alleys "- a book about love. She lies in the table. Where to give it? Take with you to America - maybe it will be possible to print "4. The cycle of stories, published initially in New York with a circulation of 600 copies and published in Paris in 1946, became a landmark event of the entire creativity of the writer. The book was accepted ambiguously. Some contemporaries of Bunin admired her, she embarrassed by her eroticism. So, Adamovich, A. Tvardovsky, F. Stepun "Dark Alleys" were struck by their originality, naturalistic "spice", lean and the power of feelings, and the historian M.M. Karpovich, former editorial secretary " Modern notes"M.V. Vishnyak, Pros.Is GD. Grebenshchikov talked about the "fall" of the old writer, noting that from " proud Olympic from Orlovsky Nobor"It began to split" distributing spirit"five. "Why did None of the veneers of the Bunign dreamed of writing to him that the last number of his stories is the coquetry of bad tone and a document that is overwhelmed with all the perversion of his pride and nobility?" - Writes GD. Grebenshchikov M. Aldanov, which with riunin connects close friendship6. And Aldanov himself, dividing the opinion of Grebenshchikov, speaks about the "dark alley": "I myself do not sympathize with His" Blind "7. Buo Nino same accusations industion low instincts"And in the frivolism of the description of love scenes strongly rejected, paying attention, first of all, on the tragedy of all the works of the cycle. Indeed, anyone, even a tiny story of the book - about love, but about the love of tragic. So, perhaps, no one else wrote about this feeling to Bunin. And in general, "occupied by the resolution of philo-sofic-moral problems," said O. Mikhailov - Russian literature

4 Maltsev Yu.V. Bunin-M.: Sowing, 1994. P. 70.

5 Mikhailov O.N. Bunin's life: Only the word life is given. P. 426.

8 Maltsev Yu.V. Decree. slave Pp. 72. As if it was ashamed for a long time to pay exceptional attention to love or even. I rejected it as unworthy "temptation" 9. Bunin for all opened this mysterious area, devoting a whole book to her. Moreover, quiet love happiness, as well as the drama dissolved in the ordinaryness, is rejected by a writer. Love at the Bunin (and more details about this will be discussed below) - " easy breath ", Ready to disappear in a moment, appears in the" Fatal Minutes "10. This is the most worthy reward. This is a short flash, illuminating the lives of lovers and at the same time leading them to the "critical" edge, behind which -Night. It is here, in the last book, in our opinion, I.A. Bunin revealed completely. It was in her that he invested himself, all his skills, all his talent. And it was in it that the greatest stylist of the 20th century was manifested, a thinly feeling word, masterfully owning them.

What is the bunin-stylist in the "Dark Alley"?

As noted in his "style theory" V. Sokolov, the word "style" is not a monopoly of any one science11. It is widely used in linguistics, literary criticism, aesthetics. V.V. Vinogradov wrote about this: "In the field of art and literary studiesLinguistics It is difficult to find the term more multi-valued and disgraceful and appropriate concept, more unnecessary and subjectively indefinite than the term "style" and the concept of style "12. Earlier, all the concept of style has developed in philology. The style here, as V. Sokolov notes, initially - this is a syllable, warehouse of speech, the use of language in poetry, in a speech, artistic, historical prose, is fine-expressive means of language, in particular, numerous trails and syntactic figures, these are different types and Speech forms. The philological interpretation of the style, in turn, is divided into literary critic and linguistic

9 Mikhailov ON Bunin's life: Only the word life is given. P. 428.

11 Sokolov A.N. Style theory - M.: Art, 1968. P. 3.

12 Vinogradov V.V. Problems of authorship and theory of styles - M.: Goslitizdat, 1961. S. 7. Scoop. The Vinogradovskiy definition of the language style sounds as follows: "Style is a socially conscious and functionally determined, internally combined set of techniques of use, selection and combination of speech communication tools in the field of one or another nationwide language, correlate with the other methods of expression that serve for Other purposes, perform other functions in the speech social practice of this nation. "13 And if the science of language in the interpretation of the concept of "style" appeals to the sphere, which "is the content of rhetoric and pigerts, to expressive language means in the broad sense of the word, to those phenomenons of language that go beyond phonetics, lexicology, grammar, and are determined by various conditions and objectives of the use of speech "14, then literary studies approaches it more widely. Style, from the point of view of literary critons (A.B. Esina, G. N. Pospelova), is the "aesthetic unity of all elements of the artistic form, which has a certain originality and expressing well-known meaningfulness" 15, in other words, the style is a kind of aesthetic integrity of the work , which implies the subordination of all elements of the form of a single aquatic pattern, the presence of a certain organizing principle. This organizing principle notes A. B. Esin, must penetrate the entire structure of the form, determining the nature and functions of any element from the composition to speech. On the peculiar unity of the form and content in the work from the point of view of the style also paid attention to A.N. Sokolov, arguing that the style is and the category of ideological. "The need, by virtue of which the law of style requires just such a system of elements, not only artistic and especially not only formal. It goes back to the ideological content of the work. Hu.

13 Vinogradov B.B. Decree. slave S. 7. Y Sokolov A.N. Decree. slave P. 10.

15 Esin AB Principles and techniques for analyzing the literary work - M.: Publisher Flint, Science Publishing House, 2003. P. 177. The right pattern of style is based on ideological patterns. Therefore, a complete understanding of the artistic meaning of the style is achieved only when applying to its ideological basics. Following the artistic meaning of the style, we appeal to its ideological meaning "16. This thought is developing G.N. Pospelov: "If a literary style is a property of a figurative form of works at all of its levels, up to an intonational-syntactic and rhythmic system, then the question of factors that create a style within the work, to answer as if not difficult. This is the content of the literary work from all of its parties "17. Thus, the style in a literary understanding is a peculiar unity of the content and form of the work, which indicates V.A. Kovalev: "Style covers different directions

18 forms and contents "(language, images of heroes, ideological content, composition). The style is characterized by the presence of style dominant, in the system of which its integrity is manifested with the greatest pristentness. Among the stylistic dominant, which can become the most common properties of various sides of the artistic form, highlight the story, descriptions, psychologism, fiction, livestobia, monologism, dissection, etc. Here, as it seems to us, as applied to the cycle, the collection as some kind of integrity can be included and the genre, what will be discussed below. At the same time, speaking about the style of the literary work, it is impossible not to note such an integral sign as originality, originality. Under originality, here should be understood as an individual author's style, which we recognize at any level - from the primary perception to a detailed analysis of the work. And at the same time, as A.B. Eustin, identify the style with originality is not true. Not all originality can be called style. Sheets, Hegel, separating the style and manner paid attention to this. So, according to the thought of

16 Sokolov A.H. Decree. slave P. 42.

17 Pospelov G.N. Problems of literary style - M., 1970. P. 61.

18 Sokolov A.H. Decree. slave P. 18. Those, style is the highest level of art development. This is such an original artistic form, which rests on the deep originality of the content, on an innovative and objectively faithful "word about the world." The manner (here is a kind of originality - our notes) - a lower stage of art. She either can reach sufficiently high aesthetic perfection, or, leaving "nature" and thus from " solid cognition"May become more empty and insignificant19. Based on such a concept, we can talk about the division of writers and poets into two groups: -Existers are original and in shape, and in content, others are mainly in shape. The first, as A.B. notes Eustin, "The originality of the style is called to the life of an innovative, not fitted in the" old beef "the concept of peace and man, in the second - the need to be anyone else. Easily identifiable not only Pushkin, Gogol, Tolstoy, Dostoevsky. But lakes, Zagoskin, Naston, Northerner, Hippius, Evtushenko. In the first case, we have the actual style, in the second it is more appropriate to talk about the manner "20.

Bunin in "Dark Alley" is unique, originally in everything, it is enough to note that at least that this cycle opens the page of Noviodalism in the history of literature. Avenues not only in the "Dark Alley" not only the author's idea tragic love And the short-term of earthly happiness. Original cycle genre structure, composition, language - all that, as noted above, actually creates style. Consider in more detail these features.

19 Esin AB Decree. slave P. 182.

20 there. P. 20.

Conclusion of dissertation on the topic "Russian literature", Shcherbitskaya, Irina Vladimirovna

Conclusion

So, "Dark Alleys" - signal work In the work of I.A. Bunina, a peculiar result of his life. This, in our opinion, the book in which the writer manifested itself is the most bright - as a stylist, as a writer, as a philosopher. This is a storehouse of his life observations, reflections, creative quest. That is why she until "now causes lively interest from specialists-literary criticism, and a simple reader.

This study is devoted to the stylistic features of the cycle. And the style is considered by us with literary The point of view, that is, the stylistic features are detected at all levels of the literary work. In this work, it is stipulated by us in the introductory chapter. This study includes three chapters in which the genre-composite level, the meaningful side and the speech structure of the book, and on the basis of the analysis carried out, we have made the following conclusions.

The first story, according to which the cycle is called - a peculiar stylistic pattern, which the entire book is subordinated. He plays a role. It concentrates the range of issues that, worry the writer and which he is trying to answer the whole book. Here for the first time the image of dark alleys appears. What are dark alleys for I.A. Bunin? This is an image symbol. Symbol of love. The feelings of the brightest, most valuable in a person's life. The feelings connecting the divine and devilish, feelings of the destructive and creating, initially tragic, but still standing in order to experience it. This postulate marked in the first story passes through the whole cycle, from the work to the work. And the image of dark alley turns into a kind of dominant that connects all stories, novels, miniatures of the book into a single whole.

In addition to the presence of a submarine plot line in rod novels, their cinematic character can be distinguished. Moreover, this peculiar "movie" concerns the part of the novel, where he is talking about the joint happiness of the heroes. The action develops very rapidly and really resembles a movie frame. This is not by chance, it seems to once again resemble how soon terrible happiness is.

In addition, and this applies to the novel "Caucasus", I.A. Bunin resorts to the following: he introduces the character (Heroian husband), originally perceived as a secondary, but as the action turns ^ into the discharge of the main. A separate storyline is connected with it. Initially perceived as an obstacle on the path of heroes, fortunately, in the end, he becomes a victim - his love for his wife. The tragic junction of this storyline, the openness of the finals of the heroes lover line ultimately prepare the interchange of the underwater storyline, reveal the copyright: the happiness of two loving flash, a short moment, but it is worth it. To test it. Looks like introduced secondary character And in traditional novels ("Muse", "Antigona"). But here the individual storyline is not connected with it. This character (prevented the "Muse", the old maid in the "antigonus") performs the role of an obstacle on the path of heroes to happiness, tools in the hands of fate.

In the traditional Buninsky Novel, everything is subordinated to canons: sharpness, speed of action, a short time gap, which takes place, an economical figurative system, simplified conflict. The exception of the composition "only the presence of extensive descriptions, which has already been noted. In addition, some novels ("Kuma") also characterize cinematographicity. So, the novel "Kuma" is already being built as a scenario: remarks denoting the place of action and heroes, telling about their lives, dialogue, remarks again talking about " unexpected happiness"- their proximity, finals. And again, such a construction further emphasizes the swiftness and at the same time value of this happiness, which each of them will still remember.

So, working on "dark alleys", I.A. Bunin wanted to show what the most important thing in human life. And this main thing turned out to be a tragic, sometimes joining the mind and pushing on crimes, but still standing in order to experience it. In order to show all the power of this feeling, all his facets, the Master appeals to the most appropriate, in his opinion, genre form - Novella. But not this one interests the author. Checking on the spiritual and moral consistency of the sense of all life of the hero is also one of the Buninsky tasks. That is why the writer addresses K. Zhanru story. And, as a novel, transforms it. The most important feature of the Bunin stories included in the "Dark Alleys" is the structure of the "genre in the genre", the combination of the stories itself with Novella. Such a structure is implemented in works, where the plot is subordinated to the motive of memory ("Rusya", "Ballad", "River Tavern"). And here directly memories of heroes are worn novelistic Character, which allows you to even more brightly emphasize their value. In addition, the feature of the Buninsky stories is that the action takes place for a sufficiently large period of time (in "Ruse", for example, this is for many years, in the "ballad" - a combination of a modern author of reality with ancient deep), and the presence, as in Novellaes, descriptions. Moreover, as for the latter, but in the stories they are even more extensive.

As for lyric miniatures, they can be safely called the invention of I.A. Bunin, especially a description of a descriptive character. If the thumbnails narratives ("wolves", "swing", "Smaragd", "Durughter", "Beauty", "Second Coffee Plant"), based on the rethinking of ordinary everyday events and under construction on a fixed-based basis, are similar to Turgenev poems in prose, That in the miniatures of descriptions find the Bunina-Novator. Both "Kamarg", and "one hundred rupees", and the "chapel" are paintings, with the difference that is written by the Word. So, indeed, we have not written. In essence, this descriptions used by the master in themelles and stories reached higher Point his completeness; Independence., In each of them - the culmination of bu-nino feelings - admiration for the beauty of a woman, nature. In general, the lyrical miniatures of the cycle are peculiar sketches to, the canvas, called "Dark Alleys", because it is in them. The concentrated "form is contained; the author's ideas that introduced the conceptual importance into the cycle, which caused the dynamics of its plot development. It is the ultimately asks for the tone to other works of the book.

As we see, in the "Dark Alley", I. Bunin works actively with the genre: he skillfully mixes them, transforms, goes beyond the frames of the canons, but does not violate the integrity of the work itself. And this is one of the features of his style.

The features of the Bunin style note and "at the level of the plot, and they are associated with genre features. This is, above all, multi-frequencynot peculiar to small genre. In the "Dark Alley" we find two ("Natalie"), or even three, four ("Zoyka and Valeria", "Heinrich") scene lines; And this is not counting the subtext ("Caucasus", "in Paris", "Clean7 Monday", "Eael Ganskaya" ^ "in Paris"). All of them are organically intertwined with each other, W will ultimately form a single whole - the work in which the author's philosophical concept of love is revealed, happiness, the Buninskaya system of values, the "I" of the writer. "In addition to multi-world works," Dark alleys "include works where the action is strongly limited. These are miniatures narrative character. They are a dialogue ("swing", "Smaragd"), or a monologue ("Second Coffee Plant", "Wolves") of heroes. This is explained as follows. As already noted, lyrical miniatures are a kind of concentrate of copyrighted thoughts, views and feelings. I.A. Bunin does not want to be the last instance, the author-Demiurge, does not want to lead the heroes of his works. They must live an independent life. And at the same time his feeling, understanding of the world, his life experience Writer Walno convey to the reader. I.A. Bunin wants to be heard for whom he writes. And to express yourself, not positioning my own "I" openly, you can in the heroes, their words, we are "Oil, that, in fact, makes a writer.

In general, the Buninsky plot is traditional, includes all the plot components, chronological. The flow of time is violated only in works subordinate to the motive of memory, and even then only when the hero is deepening in his memories. The course of the time of the memoirs themselves is not violated. And this is justified, because even more emphasizes the value, the importance of the heroes themselves.

The genre and plot features of the works constituting the cycle "Dark Alleys", the author's concept of philosophy of love and happiness; The number of features of the chronotop book also implemented in them. This is, first of all, the symbolism of art time and space. I.A. Bunin NE. Either time does not choose randomly. Everything carries him certain semantic load. Everything serves as a specific symbol.

As for space, the cycle is present and open and limited varieties. Open space in "Dark Alley" is, first of all, the road. And often it is a symbol of life heroes ("Dark alleys", "late hour") or the life of only starting ("beginning"). On the way, the heroes go, go to their happiness, on the way they leave him ("Stepa", Tanya, "Spring, in Judea", "Antigona", "Natalie", "Zoyka and Valery"). With this space I.A. Bunin in the cycle is closely connected and the closed space of transport - the train car ("beginning", "Kamarg", "Heinrich"), the motor ship (" Business Cards"), Station (" Heinrich "," Caucasus "," Tanya "), roadside hotel (" Dark Alleys "). It is very important, since it is here that the heroes together and happy - in the carriage of the train, the hero "beginning" for the first time in his life falls in love with a woman, in a close compartment happy family happiness

Glebov and Elena ("Heinrich"), in the cabin of the ship acquires his fleeting happiness of the heroine " Business cards" But why it is the closed space associated with I.A. Bunin with happy moments of heroes? It symbolizes peculiar small worldok two lovers, protected by him around the world, the world, where there is only them and more than anyone. For a time, a certain one more - fate, God is only their territory; Territory of love. And1 are, they are on it, exactly as much as their love happiness should last. That is why stopping, railway station, the ladder is invariably connected with the separation of people, and the world, open spaceon which they exit - their further life is spoiled. In addition, it corresponds to the author's concept: happiness can not last in the conditions of the earthly everyday life. It is concentrated in a small Mirka of two lovers, and stronger love, the higher its concentration. But this little world is so arranged universe, it can not exist forever. At some point he collapses under the pressure of everydayness, and everything that was in it is sprayed on the expanses of the universe. The same idea is emphasized by the symbolism of time in the cycle.

In the "Dark Alley" only two of its categories - the past and present. The future u I.A. Bunin no. Heroes are happy or here and now ("swing"), or were happy once (works subordinate to the motive of memory). These hopes for what will be, is absurd, for love and events are incompatible. And yet the past U I.A. Bunin prevails. Why? Thus, the value of human love is emphasized again. Twenty, thirty, fifty years, like the author himself, heroes remember their beloved, remember the way it was yesterday ("Cold Autumn", "late hour"), in small details, details. And they recognize that the meaning of all of their earthly existence, the rest is "unnecessary sleep".

In addition to these two categories, we find and quite a specific time (daily, calendar, historical, religious). Moreover, it is also chosen by the author not by chance, but carries a certain semantic load. So, for example, the time is the historic - the First World War, the seventeenth year - the cause of the partition of the heroes (Tanya, "Cold Autumn"), for a farewell Sunday and Clean Monday of the Great Honor of the Heroine Novella " Clean Monday"Makes the final choice of his life path and goes into the monastery, in the fall, when nature dies, see in last time In the life of the heroes of the "cold autumn" and in the fall, Galya and the artist ("Galya Ganskaya") are separated. As you can see, choosing the time of action in I.A. Bunin is carried out as part of his philosophical concept of love and happiness. This is what is given over and this is only a moment compared to eternity. From these positions, we can talk about the presence of another type of time in the cycle - endless - eternity, in which, perhaps, maybe long happiness.

Cycle topics. All works of the book - about love, about everything related to her, about its dark and light sides, about her divine and devilish principles. In world literature, we find many masterpieces dedicated to this feeling, but as I.A. Bunin, no one wrote about love. So thoroughly, in detail, nobody described her scrupulously. In the "Dark Alley" Love Multicolia: the first attraction ("Start", Zoyka and Valeria), lust ("foolish", "overnight"), selling love ("Madrid", "Spring, in Judea", "One hundred rupees "), Love-Passion (" Steamer "Saratov", "Galya Ganskaya"), Love-despair ("Revenge", "in Paris", " Business Cards") And, of course, real, genuine love, for life (" Cold Autumn "," Late Hour "," Natalie "," Rusya "). I.A. Bunin is a feeling and reward, and punishment. It and constructively, makes a person cleaner, better, kinder ("Antigona", "Henry", "Natalie"), and at the same time devastating - the animals of instincts awakens in it, pushes into a crime ("Saratov's steamer", "Overnight", " Dubki "). It revives life ("Revenge",

In Paris, "), and Rubit (Galya Ganskaya, Zoyka and Valeria). But, in spite of everything, it is worth it to survive, feel. And each hero of the "Dark Alley" confirms this example. Ultimately the minute of life, consecrated by love, are the most bright in the life of Buninsky heroes. Why? Because for the writer himself, love is the most important thing in life. All that survived I.A. Bunin - all sorrow and joy, all tragedies and happy minutes, - was reflected in the "Dark Alleles". In life there were more tragedies, probably, therefore, tragedies are more and in the book. Love u I.A. Bunina is generally tragic. In no product of the "dark alley", the characters do not live happily and happily. Yes, it is impossible. Happiness can not be long. It is a flash, a short moment. The heroes partitioned not because love passes. On the contrary, love can last as much as a person lives. And the reason for the parting thief is sometimes-served, at first glance, the judicial stupidity. But if you look deeper, it becomes clear that there can be no other way. I.A. Bunin. So predetermined over - in the conditions of earthly days, happiness will be vehicles. In a similar interpretation of human relationships, love, happiness is the originality of the writer, it is not disliked on others, his style.

Speaking of the motives of "Dark Alley", it should be noted that here I.A. Bu Ning Original, unique. Unique in that combines, it would seem incompatible - love, happiness and death. They follow the "Dark Alley" hand in hand. Why? Because the death of I.A. Bunin is perceived as the end of everything. Yes, it is often precisely it is the cause of partitioning of heroes ("Heinrich", "in Paris", "late hour"), the end and so short happiness, but parting, the earth's happiness. At the same time, death is also hope for a meeting in another, eternal life ("Cold Autumn", "in Paris", "late hour"), which, ultimately, the master is genuine. It was in that, eternal life, perpetual happiness, to which the heroes are striving for. And it is that faith in it, "as well as unreasonable love give them the strength to live. With these motifs, both the motive of memory is closely connected. Memories are filled, without exaggeration, each product of the cycle (" Rusya "," In one familiar street"," River Tavern "). They are associated with the bright moments of the life of heroes, consecrated by love and happiness. Why are heroes so tremendous to memories? They find out the meaning of their lives after everything passes. In addition, the attitude of the heroes to memory is the attitude towards it and I.A. Bunin, who believed that the memory is the only thing that does not die. This is a kind of equivalent of eternity, infinity. And in the context of "Dark Alley" - some bridge between people separated by death. Love, death, memory - all this u I.A. Bunina is subordinate to fate. It is Rock says "never" the happiness of two loving. Why this happens, no one is given to anyone. This is laid in the very being, according to ^ I.A. Bunin, in its original catastrophicity, in phonicity, the fragility of everything that it seemed to be unshakable.

In addition to the designated above, I.A. Bunin actively introduces the motive of the road into the cycle. On the road there are meetings and partitioning of heroes ("Stepa", "Heinrich"), love ("beginning") is born and the fleeting proximity happens (" Business Cards"). In essence, this is a symbol of human life, with all its sores and joys. And as a kind of variation on the topic - Motif Alley (Garden, Park). This is a sign image that appears already in the title of the cycle. And this symbol is a symbol of Buninsky love. "All important events in the life of heroes are taking place in the alley - farewell; Recognition, explanations. In the allele, in the garden truly happy heroes (Zoyka and Valeria, "Cold Autumn"). But Alley U I.A. Bunina is static - it is always dark. Like the road, this is a kind of human being. And the more static it is, the brighter moments, illuminated by love. And also, in the context of the whole book, this is a symbol of human love, tragic and happy at the same time.

With the leading motif of love in the "Dark Alley", an erotic motive is associated with an important, in our opinion, from the point of view of the author's style. This is the scene of the proximity of the heroes, the scene of the exposure of the heroine before this proximity. It was for eroticism that I.A. was accused Bunin in frivolism. But Buninskaya erotica did not go. The author virtuoso balances on that edge, which separates the beautiful from naturalism, and this is his skill. Bundy erotic symbolic. The proximity, which, as a rule, occurs on the nature of nature, is a peculiar culmination of relations between two lovers, after which they become one whole, husband and wife. This is the merger of a person with nature, a peculiar return to the origins, complete, harmony with the world. Study scenes are also symbolic. And here the author more detailed than in the description of the scenes of proximity. This is not by chance. As a rule, it is exposed in the works of the cycle of the heroine, the scene is given by the eyes of the hero. And here not only admiration, admiring the beautiful female body. Here is the knowledge of the hero of his beloved, her genuine, "I", for having dropped clothes, the heroine resets the mask of conventions, becomes his own.

The figurative system of "Dark Alley" is also original. In the best traditions of small genre forms, it is economical (two main characters, two or three characters). However, in the very creation of images I.A. Bunin unique. In the center ^ attention J writer is a hero and heroine, he and she, loving friend friend. But still the woman is crucial. Female images dominate the book, and this is another stylistic feature of the cycle. Women's images are more representative, while male - static. And this is quite justified, since the woman is the eye of the eyes of a man, a man in love. Since the works of the cycle reflect not only mature love, but also her birth T ("Natalie", "Rusya", "Start"), it imposes an imprint and on the image of the heroine. In particular, the portrait is never drawn by I.A. Bunin completely. As the action develops, the movement of the narration is again and again returns to the heroine. Initially, a pair of strokes, then - all new and new details. So sees a woman not so much the author, so he learns his beloved hero himself. The exception is made, perhaps, for the heroine miniature "Kamarg" and "One hundred rupees", where portrait characteristics are not broken and make up the work itself. But here in front of the writer another goal. In fact, a portrait portrait portrait. Here - admiration for a woman, her beauty. This is a kind of anthem so perfect Divine Creation. Creating their women, I.A. Bunin does not regret the words-colors. What is just not resorting to I.A. Bunin! Bright epithets, taper comparisons, light, color, even sounds transmitted in words, create so perfect portraits that it seems, the heroine is about to revive and come down from the pages of the book. A whole gallery of female images, women of different types and social layers, virtuous and slutty, naive and sophisticated, very young and elderly, but all beautiful. And the heroes are aware of this, and the conscious, retreating into the background, admiring them and giving the opportunity to admire the reader. And this admiration for a woman is a kind of motive in a number of others that connect all the works of the cycle to the whole. v As for the speech structure of the book, here the stylistic features appear the most bright. The analysis of the speech reservoir "Dark Alley" allowed to detect the following.

All works of the book have a monologue character, which is why they prevail the speech of one of the characters - the narrator either a character hero. But despite this, they are still not homogeneous - does not belong only to them. It contains into themselves the speech of other characters. For these purposes I.A. Bunin is widely used by receptions of depicted and improper-direct speech. This is explained by the fact that the author is trying to escape from the pressure of one of the characters above the others, gives the opportunity to be more active, to manifest itself, thereby giving the narrative of greater objectivity. In addition, due to the use of methods of depicted and improper-direct speech, the smoothness of the narrative, created by the wide use of deployed proposals and its corresponding content - the history of love. It should be noted that in the narration there are quite a lot of extensive descriptions. I.A. Bunin as an artist word is unable to deny themselves in them. Numerous metaphors, comparisons, personification, visual epithets. There is no feeling of them. Jumble. On the contrary, they are used so skillfully that paintings are landscapes, portraits, - created with their help as if come to life. The reader is transferred inside the work, becomes its participant. And it is in this that the author's skill of ownership of the word is manifested.

As for the relationship of monologues and dialogues in the "Dark Alley", then, despite the general monologue tone of the narrative, they are equal to their significance. Of course, a monologue prevails in a quantitative relationship in the book. This is explained by the fact that "dark alleys" - the Bunskaya-book of the results, where the author sought to reveal his understanding of the world, man, his being, sought to convey all his accumulated experience. In each of the heroes, the author himself lies. In essence, this is the book I.A. Bunin about himself. Therefore, the monologue is given here. Moreover, even those works that begin as dialogues are gradually acquired by monologue ("Galya Ganskaya", "beginning", "Ballad"). Heroes tell about themselves, rethinking their lives, acts, remember bright moments. Most often it happens alone with him, so I.A. Bunin prefers the monologue inner. But at a certain point, the bunin heroes are so merged with the past that there are a conversation with him, and the monologue acquires the character of the facing ("cold autumn", "late, hour"). "And this once again emphasizes how expensive the past Bunin's heroes.

The main feature of the Buninsky dialogue is the gradual turning into a monologue, when one of the interlocutors becomes a passive listener, giving the opportunity to otherwise speak out, pour out the soul, in some way to confess. Often the Buninsky dialog looks like a play, in the sense that important role Remarkets play, and sometimes, motivating the said, they become the main thing of the pronounced phrases ("Kuma"). Truth is born in the dispute. Here is the purpose of the Bunisky dialogue. And the author follows this postulate, precisely in the dialogue revealing his "I".

Based on this, we can say that I.A. Bunin in "Dark Alley" is not a demiurge. He does not manage his heroes, he does not lead them actions, he gives them freedom. And at the same time is not a third-party observer, a Bartov scriptor. The writer is constantly present in pro-removing. Yes, it does not position openly his "I", but also does not abstract from the events taking place in the book. He does not impose his opinion to the reader, but not silent. I.A. Bunin is dissolved in their heroes. All that the writer wanted to say in the book, he says, but the mouth of her actors. I.A. Bunin delicately feels this unbelief boundary between obsession and complete abstraction and does not break it.

Thus, the main styling feature of the "Dark Alley", as, however, and all the creativity of I.A. Bunin - balancing on the edge, which is called harmony.

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