The story of I. A. Bunin " Cold autumn was written on May 3, 1944. In this work, the author writes about the theme of love and the theme of time. At first glance, it may seem that the work is written in historical theme, but in fact, the story in the story acts only as a background, and the most important thing is the feelings of the heroine and her tragic love.
The work poses the problem of memory, personal reflection of events in the mind of the heroine. Her memory turns out to be stronger than all historical catastrophes, and despite the fact that she lived a stormy life, in which there were a lot of events and many wanderings, the only thing that happened in her life was that cold autumn evening that she remembers.
Bunin's characters are given in dotted lines. It's not even proper bright characters, individualities, and silhouettes of people, types of that era. The story is told in the first person, from the perspective of the main character. The world, history in the work are shown through her eyes. The whole story is essentially her confession. Therefore, everything in the story is imbued with her personal feeling and worldview, her assessments.
During the farewell, the heroine's fiance with a feeling of love utters the words to her: "You live, rejoice in the world, then come to me." And at the end of the work, the heroine repeats these words, but with bitter irony and as if with an unexpressed reproach: “I lived, I was glad, now I will come soon.”
The image of time is very important in the story. The whole story can be divided into two parts, each of which has its own way of temporal organization. The first part is a description of a cold evening and the heroine's farewell to her fiancé. The second part is the rest of the heroine's life after the death of her fiancé. The second part at the same time fit in one paragraph, despite its voluminousness of the events described in it. In the first part of the story, time has a specific character, and in the text of the work one can find the exact dates and hours of the events: “on the fifteenth of June”, “in a day”, “on Peter's day”, etc. The heroine remembers exactly the sequence of events, and remembers the smallest the details that happened to her then, what she did, what her parents and fiancé did. In the second part of the story, time is abstract. These are no longer specific hours and minutes, but 30 years that have flown by unnoticed. If in the first part of the story the amount of time taken is small - only one evening, then in the second part it is a huge period of time. If in the first part of the story time passes very slowly, then in the second part it flies, respectively, like one instant. The intensity of the heroine's living, her feelings is higher in the first part of the story. About the second part of the story, according to the opinion of the heroine herself, we can say that this is an “unnecessary dream”.
Both parts are unequal in scope of the scope of reality. Objectively, more time has passed in the second part, but subjectively it seems to the heroine that in the first. The story also contrasts two spatial macro-images - "home" and "foreign land".
The space at home is a concrete, narrow, limited space, while a foreign land is an abstract, wide and open space: "Bulgaria, Serbia, Czech Republic, Belgium, Paris, Nice ...". The house is described exaggeratedly concretely, with many details that emphasize its comfort and warmth: “samovar”, “hot lamp”, “small silk bag”, “golden icon”. The image of a foreign land, on the contrary, is imbued with a feeling of cold: “in winter, in a hurricane”, “hard hard work”.
The landscape is very important in the text. This is a description of a cold evening: “What a cold autumn! .. Put on your shawl and hood ... Look - between the blackening pines As if a fire is rising ...” Bunin uses the technique of psychological parallelism, since the landscape in this passage is a reflection of the feelings of the characters, their experiences. This landscape also portends the tragic events that will happen to the heroes. It is imbued with contrasts: red (“fire”) and black (“pines”). It creates in the characters and the reader a feeling of heaviness, melancholy, grief. This landscape can also symbolize the world and personal catastrophe that will happen a little later. Time and space are closely intertwined in a story. The local, closed and specific time in the first part corresponds to the local, closed space - the image of the house. And the abstract and broad time in the second part corresponds to the same image of a foreign land. Therefore, the reader may come to the conclusion that Bunin draws two opposed chronotopes in his story.
The main conflict in the story is the conflict between the tragic time and the feelings of the individual.
The plot in the story develops linearly: first there is a plot of the action, then its development, the climax is the death of the hero. And at the end of the story - the denouement, the approach of the heroine to death. The whole plot of Bunin's work could be deployed on a wide novel canvas. However, the writer chooses small form story. The plot is organized according to the principles of a lyrical rather than non-epic work: attention is focused on the feelings of the heroine, the intensity of her inner experiences, and not on external events.
The image of "cold autumn" is the leitmotif of the story. This is very multifaceted image. It stands in the center of the work and is placed in the title. On the one hand, this is a specific image of autumn, on the other hand, it is a symbol of the tragic life, an impending thunderstorm, and, finally, it is a symbol of the old age of the heroine herself, her approaching death.
The genre of the work can be defined as the genre of a lyrical story, because the main thing here is not just a chain historical events, as in an epic work, and their reflection in the human mind, as is characteristic of lyrics.
Bunin's story "Cold Autumn" expresses the tragic concept of love and human life. Bunin talks about the transience of happiness and love in life, that they easily collapse under the influence of external circumstances. These external circumstances, history even turn out to be unimportant. The heroine managed to survive the death of her fiancé, but she still believes that he is waiting for her and they will see each other someday. The main idea is expressed in last words heroine: “But what happened in my life? And I answer myself: only that cold autumn evening. Has he ever been? Still, there was. And this is all that was in my life - the rest is an unnecessary dream.
Lidia Ivanovna NORINA - Honored Teacher of the Russian Federation, teacher of gymnasium No. 10 in Novosibirsk.
I'm doomed to know longing...
Analysis of the story by I.A. Bunin "Cold Autumn"
And the analysis of the story should begin with a fairly traditional, but effective form - the teacher reading the text itself. As you know, a teacher who reads aloud becomes the first interpreter of a work, placing its semantic accents with the help of voice and intonation. Bunin's story is small in volume, and reading it at the beginning of the lesson is all the more advisable because it does not take much time.
The next stage of the lesson is the “teacher's word”, which is necessary both as an introduction and as a reminder to students about the main topics. Bunin's prose(a lecture on the writer's work and analysis of poems have already been held earlier).
It is advisable to begin the analysis of the text by highlighting the basic motives and artistic techniques in the story. These points are pre-written on the board.
The plot and characters.
Chronotope: existential and everyday space and time, real and cosmic.
Coloring and “tactility” of the text.
motives(love, death, memory, life).
At home, the students had to find manifestations of these motives in the text and write out as many examples as possible for each of the points. As the lesson progresses, the diagram on the board will expand and be supplemented by observations made in the lesson. The teacher needs to emphasize the fundamental sequence of topics recorded on the board.
The teacher's first question is:
- What is the plot of the story? State it in a few sentences.
There is a certain he, there is a she - they love each other; the wedding was to take place. The girl is very afraid of losing him. He is killed in the war. And then all her life (thirty years) she retains the memory of a single evening - their happiest meeting.
It is necessary to start with what lies on the surface of the text, which can be perceived by any ordinary consciousness. Students find out that the plot is too simple, which means that the meaning needs to be looked for deeper.
If schoolchildren do not pay attention to an important feature of Bunin's love prose - the lack of names for the heroes, designating them only with pronouns (a special method of Bunin, emphasizing the generalization of the fate of people, the tragedy of all), you can ask a provocative question: why, when retelling the plot, do you constantly make a “speech mistake” - repeat the pronouns “he” and “she”?
From the ordinary level of perception of the text, we proceed to work with artistic categories.
Any literary text, as you know, corresponds to the universal categories - space and time, which acquire a symbolic meaning in the text. How is this work “constructed”, what chronotopes can we single out and how are they related to each other?
One of the students draws up a diagram, and the rest comment on the text. Gradually such a picture emerges.
- The house as a temple and a talisman and its subsequent destruction; accordingly, life is like a journey and wandering.
- Way like life path one person and as a historical vector of Russia at the beginning of the 20th century.
- Finally, a house devoid of spatial boundaries, a house located outside the earthly world. This is the space where the heroine aspires to her beloved, this is a movement towards immortality: “And I believe, fervently believe: somewhere he is waiting for me - with the same love and youth as in that evening ". “You live, rejoice in the world, then come to me ... "" I lived, I was glad, now I will come soon." Together with the students, the teacher notes the key words of the fragment: "somewhere", “that evening”, "to me". Thus, Bunin translates earthly space into cosmic space, linear time into eternal time.
· Time as an instant (human life) and as eternity. Bunin's eternity is always cyclical and indestructible. So, the heroine says at the end of the story about their only evening: "And that's all that was in my life - the rest is an unnecessary dream." The teacher draws the attention of high school students to the words “sleep” and “unnecessary”.
Why is life called a dream?
The motif of life as a dream (in the Buddhist sense) is generally characteristic of Bunin's poetics. Life is an illusion, but a sad and tragic illusion.
Who is to blame for this tragedy? War? Revolution? God? Wrong social order?
Bunin is non-social, therefore, war, and revolution, and history for him are only partial manifestations of world evil, which is indestructible. The whole story is an attempt by the writer to understand and comprehend how the world's evil affects the fate of an individual. Let's remember again: the heroes have no names, and this is a confirmation that different human destinies are the same, that a person is a toy in the hands of fate.
Then the teacher focuses the attention of high school students on another important temporal aspect of the work:
- Please note that the whole story is written as a memory of the heroine about the past. What motive in connection with such construction of artistic time appears in the text?
Memory. In the chaos of the world, it is a salvation from oblivion. Memory, according to Bunin, is no less, but more real than the flow of reality. It is always associated with culture, which is the preservation of everything that goes into oblivion.
The teacher can read a number of poems by Osip Mandelstam (for example, from the cycle "Stone"), in which the so-called "cultural memory" is most clearly manifested - a special kind of poetic category that served Mandelstam as the basis of his attitude to the values of culture. Such an appeal to a “foreign” voice will make it possible to pave the way for the study of the poetics of acmeism, as well as to compare the “two memories” of the great artists of the word.
- What artistic means does Bunin use to emphasize the reality of memory and the unreality of reality? As you know, Bunin is a master of describing subtle human sensations and states of nature. And in this he is close to impressionism.
First of all, color painting, light painting and “tactility”. Also in the work we see the direct inclusion of a poetic quotation. As for impressionism, the hero in the story seems to be deliberately reading Fet's poem to his beloved, since it is in Fet's work that there are many impressionistic features.
- Let's work with these categories: name the main colors, descriptions of the physical sensations of the characters and determine the meanings of Fet's lines quoted by the hero in the context of the story (one student writes out the words on the board: “color”, “tactility”, “intertext”).
Color and light. Students name the words for colors and give their symbolic interpretation using the “Dictionary of Symbols”: “black”, “brilliant”, “red”, “sunny”, “mineral-shining stars”, “sparkling sun”. Black color - the tragedy of man, a premonition of trouble. Red is the color of blood and also tragedy, a color that marks a future catastrophe. Golden (autumn) is associated with nature. Combining, the colors emphasize the inseparable connection of human sensations with the natural principle. Schoolchildren note that the epithet “brilliant” (“luminous”, “sparkling”) combines such artistic details as stars (“shiny stars”), house windows (“like ... in autumn shine windows of the house”), the eyes of the heroine (“how the eyes shine”) and draw a conclusion about the unity of everything in the world: nature, man, inanimate objects (house).
Many words in the story are devoted to the feelings of the characters. The name itself - "Cold Autumn" - is not only a designation of the cold season, but also metaphorically - the coldness of this world in relation to man, all the same world evil. High school students name words and phrases related to the theme of cold: “windows fogged up from steam”, “surprisingly early and cold autumn”, “rubbed the glass with a handkerchief”, “ice stars”, “sparkling frost”.
As for Fet, it is both a symbol of Russian pre-revolutionary antiquity, and a poetic understanding of nature, and finally, the acceptance of death, eternity. Fet does not have freezing and dying, but an eternal grandiose movement in a circle; It is not for nothing that the word “fire” is used in the poem - the antithesis of the cold and icy world.
- What other traditional motifs are found in the text?
Love and death. Love, according to Bunin, is also a touch of eternity, and not a path to earthly happiness, in the art world Bunin cannot find happy love. Bunin's love is outside the laws of time and space, and therefore death not only does not destroy love, but is its continuation in eternity. Despite the short duration of love, it still remains eternal - it is indestructible in the memory of the heroine precisely because it is fleeting in life. It is no coincidence that the story ends with the motive of love: “But, remembering everything that I have experienced since then, I always ask myself: yes, but what did happen in my life? And I answer myself: only that cold autumn evening.
Finishing the analysis of the story, we note that its ending is open to further interpretations. Therefore, as homework let's give a short essay-essay, the theme of which will be the words of the heroine at the end of the story: "And that's all that was in my life - the rest is an unnecessary dream."
The theme of love in the story "Cold Autumn" is closely connected with the themes of life and death, nature, emigration, and the spiritual evolution of the individual. The heroine of the story cherished all her life the memory of one evening of love, the evening on the eve of the departure of her beloved to the front of the First World War, where he soon died. Having lived her life, she clearly understood the main thing: “But what did happen in my life? Only that cold autumn evening, the rest is an unnecessary dream.
The premonition of the tragedy is palpable from the very first lines of the story: the motive of love is inextricably linked with the motive of death: “In June of that year, he visited our estate” - and in the very next sentence: “On June 15, Ferdinand was killed in Sarajevo.” "On Peter's Day, he was declared my fiancé" - and then: "But on the nineteenth of July, Germany declared war on Russia." The story becomes not so much the background of the narrative, but rather the acting force, invading the personal fate of the heroes and forever separating the lovers.
The spiritual memory of the heroine in the smallest detail resurrects that distant autumn evening - the evening of farewell, which is destined to become the main event in her life. The characters experience a sense of ongoing tragedy, sad separation, bad weather, hence the “exaggeratedly calm tone”, insignificant phrases, fear of discovering their sadness and disturbing their loved ones. In the light of the thirty years that have passed since that evening, even the small silk bag that the mother of the heroine embroidered for her beloved becomes especially significant. artistic time the story is drawn into one point - the point of this evening, every detail of which, every word said then, is lived in a special way, felt.
And then the development of events significant for the heroine seemed to stop. All that's left is "the course of life". After the death of a loved one, the heroine no longer lived, but lived the time allotted to her, so thirty years mean nothing to her: they are shown in a kaleidoscope of events presented schematically. The events are only enumerated, there are no clarifying, capacious details, such as a "silk bag" - everything somehow became unimportant, faceless, unremarkable: a personal tragedy swallowed up the tragedy of Russia, merged with it. The heroine was left completely alone; in the whirlwind of historical events, she lost all her loved ones. Life seems to her an “unnecessary dream”, death not only does not frighten, but also turns out to be desirable, because in it there is a reunion with her beloved: “And I believe, fervently believe: somewhere out there he is waiting for me - with the same love and youth like that evening."
"Clean Monday"
The time of the story "Clean Monday" is 1913, Anna Akhmatova would later call this era "spicy" and "disastrous".
Moscow life in the short story turns out to be not only a plot outline, but also an independent hero - it is so bright, fragrant and multifaceted. This is Moscow “Shrovetide”, in which the morning smells “both of snow and from bakeries”, “gas in the lanterns” is lit in the dusk, “carriage sledges are rushing”, “boughs in hoarfrost stand out with gray coral on golden enamel”. This is the Moscow of "Clean Monday" - the Moscow of the Novodevichy, Chudov, Zachatievsky monasteries, the chapel of the Iberian Mother of God, the Martha and Mary Convent. This is a bright, strange city, in which the Italian side by side with something Kyrgyz, luxurious restaurants and "pancakes with champagne" - with the Mother of God Three-Handed. Heroes go to Andrey Bely's lectures, "skewers" of the Art Theater, read historical novel Bryusov "Fiery Angel". And right there - the Rogozhsky schismatic cemetery, Kremlin cathedrals, "pre-Petrine Rus'", "Peresvet and Oslyabya", "a sense of the motherland, its antiquity." Everything came together in this bright, wonderful city, recreated by the sad memory of Bunin the emigrant. In one temporary O th point concentrates not only the past and present, but also the future of Russia, about which the characters do not yet know, but the author already knows everything. Russia is shown at the peak of its brightness - and at the same time on the verge of great catastrophes, world wars and revolutions.
Festiveness and anxiety, as the main stylistic dominants of the story, were also reflected in the love of the main characters. In this marvelous, illuminated by the radiance of the Cathedral of Christ the Savior and the snows of the outgoing winter, the city of Bunin "settled" a beautiful girl - the embodiment of captivating, bright beauty and mystery. She, outwardly given to all the pleasures of the "Shrovetide" life, is spiritually directed to the world of "Clean Monday", therefore, in the perception of the hero - a sweet, kind young man who sincerely loves her, but still does not fully understand - she forever remained an unsolvable mystery. He could only accept, but not understand her choice, to bow her head before her spiritual depth and step aside - with endless heartache. This choice was painful for her too: "... it is useless to prolong and increase our torment", "except for my father and you, I have no one in the world ... you are my first and last." The heroine refused not from love, but from the “spicy”, “Shrovetide” life, for her it turned out to be a narrow life, predetermined by wealth, beauty and youth.
The spiritual path of the heroine did not coincide with her love - this reflects the tragic worldview of Bunin himself, his conviction in the drama of human existence. The cycle "Dark Alleys", created by Bunin in exile, recreates Russia that has perished forever, living only in the writer's memoirs, and therefore it is no coincidence that light sadness is combined with tragic anxiety.
In June of that year, he was a guest at our estate - he was always considered our man: his late father was a friend and neighbor of my father. On June 15, Ferdinand was killed in Sarajevo. On the morning of the sixteenth they brought newspapers from the post office. Father left the office with a Moscow evening newspaper in his hands into the dining room, where he, mother and I were still sitting at the tea table, and said: Well, my friends, war! Austrian crown prince killed in Sarajevo. This is war! On Peter's Day, a lot of people came to us - it was my father's name day - and at dinner he was announced as my fiancé. But on the nineteenth of July, Germany declared war on Russia... In September, he came to us for just a day - to say goodbye before leaving for the front (everyone then thought that the war would end soon, and our wedding was postponed until spring). And then came our farewell party. After supper, as usual, a samovar was served, and, looking at the windows fogged up from its steam, the father said: — Surprisingly early and cold autumn! We sat quietly that evening, only occasionally exchanging insignificant words, exaggeratedly calm, hiding our secret thoughts and feelings. With feigned simplicity, my father said about autumn. I went to the balcony door and wiped the glass with a handkerchief: in the garden, in the black sky, pure ice stars sparkled brightly and sharply. Father was smoking, leaning back in an armchair, gazing absently at a hot lamp hanging over the table, mother, in glasses, was diligently sewing up a small silk bag under its light - we knew what kind - and it was touching and creepy. Father asked: “So you still want to go in the morning, and not after breakfast?” “Yes, if you will, in the morning,” he replied. “It’s very sad, but I haven’t quite finished the housework yet. Father sighed lightly. - Well, as you wish, my soul. Only in this case, it’s time for mom and me to sleep, we certainly want to see you off tomorrow ... Mom got up and crossed her future son, he leaned towards her hand, then to the hand of his father. Left alone, we spent a little more time in the dining room - I decided to play solitaire - he silently walked from corner to corner, then asked: - Do you want to walk a little? My heart was becoming more and more difficult, I answered indifferently:- Fine... Dressing in the hallway, he continued to think something, with a sweet smile he remembered Fet's poems:What a cold autumn!
Put on your shawl and hood...
Look - between the blackening pines
As if the fire is rising...
Meshcheryakova Nadezhda.
Classic.
Download:
Preview:
Analysis of the story by I. A. Bunin "Cold Autumn".
Before us is the story of I. A. Bunin, which, among his other works, has become classical Russian literature.
The writer turns to ordinary, at first glance, types of human characters, so that through them, their experiences reveal the tragedy of an entire era. Comprehensiveness and accuracy of each word, phrase ( character traits Bunin's stories) manifested themselves especially clearly in the story "Cold Autumn". The name is ambiguous: on the one hand, the time of the year is quite specifically called when the events of the story unfolded, but in a figurative sense “cold autumn”, like “ Clean Monday"- this is a period of time, the most important in the life of heroes, this is also a state of mind.
The story is told from the perspective of the main character.
The historical framework of the story is wide: they cover the events of the First World War, and the revolution that followed it, and the post-revolutionary years. All this fell to the lot of the heroine - a blooming girl at the beginning of the story and an old woman close to death at the end. Before us are her memoirs, similar to a generalizing life outcome. From the very beginning, events of world significance are closely connected with the personal fate of the characters: “war breaks into the sphere of“ peace ”. “... at dinner, he was announced as my fiancé. But on July 19 Germany declared war on Russia…”. The heroes, anticipating trouble, but not realizing its true scale, still live in a peaceful regime - calm both internally and externally. “Father left the office and cheerfully announced: “Well, my friends, war! Austrian crown prince killed in Sarajevo! This is war! - so the war entered the life of Russian families in the hot summer of 1914. But here comes the "cold autumn" - and before us it seems that the same, but in fact already different people. About them inner world Bunin tells with the help of dialogues, which play a particularly important role in the first part of the work. Behind all the on-duty phrases, remarks about the weather, about “autumn”, there is a second meaning, subtext, unspoken pain. They say one thing - they think about another, they say only for the sake of maintaining a conversation. Quite Chekhov's technique - the so-called "undercurrent". And the fact that the distraction of the father, the diligence of the mother (like a drowning man clutching at a straw for a “silk bag”), the indifference of the heroine are feigned, the reader understands even without a direct explanation of the author: “only occasionally they exchanged insignificant words, exaggeratedly calm, hiding their secret thoughts and feelings". Over tea, anxiety grows in the souls of people, already a clear and inevitable premonition of a thunderstorm; the same “fire rises” - the ghost of war looms ahead. In the face of adversity, secrecy increases tenfold: “My heart was getting harder, I responded indifferently.” The harder it is inside, the more indifferent the heroes become outwardly, avoiding explanations, as if it is easier for them all, until the fatal words are spoken, then the danger is more vague, the hope is brighter. It is no coincidence that the hero turns to the past, the nostalgic notes of “The Times of Our Grandparents” sound. The heroes yearn for a peaceful time, when they can put on a “shawl and a hood” and, embracing, take a calm walk after tea. Now this life is collapsing, and the heroes are desperately trying to keep at least an impression, a memory of him, quoting Fet. They notice how the windows “shine” in an autumnal way, how “mineral” the stars shine (these expressions acquire a metaphorical coloring). And we see what a huge role the spoken word plays. Until the groom performed the fatal "If they kill me." The heroine did not fully understand the full horror of what was to come. “And the stone word fell” (A. Akhmatova). But, frightened, even by a thought, she drives her away - after all, her beloved is still there. Bunin, with the precision of a psychologist, exposes the souls of the characters with the help of replicas.
As always with Bunin, nature plays an important role. Starting with the name "Cold Autumn" dominates the narrative, the refrain sounds in the words of the characters. Contrasted with internal state people "joyful, sunny, sparkling with frost" morning. Mercilessly "bright and sharp" sparkle "ice stars". How the stars "shine eyes." Nature helps to feel more deeply the drama of human hearts. From the very beginning, the reader already knows that the hero will die, because everything around points to this - and above all the cold - a harbinger of death. "Are you cold?" - asks the hero, and then, without any transition: "If they kill me, will you ... not immediately forget me?" He is still alive, and the bride is already blowing cold. Premonitions - from there, from another world. “I will be alive, I will always remember this evening,” he says, and the heroine, as if she already knows what she will have to remember, is why she remembers the smallest details: “Swiss cape”, “black branches”, head tilt ...
The fact that the main character traits of the hero are generosity, disinterestedness and courage is indicated by his remark, similar to a poetic line, sounding heartfelt and touching, but without any pathos: “Live, rejoice in the world.”
And the heroine? Without any emotions, sentimental lamentations and sobs, she tells her story. But not callousness, but fortitude, courage and nobility are hidden behind this secrecy. We see the subtlety of feelings from the scene of separation - something that makes her related to Natasha Rostova, when she was waiting for Prince Andrei. Narrative sentences predominate in her story, scrupulously, to the smallest detail, she describes the main evening of her life. Doesn't say, "I cried," but notes that the friend said, "How the eyes are shining." He talks about misfortunes without pity for himself. Describes the "sleek hands", "silver nails", "golden laces" of his pupil with bitter irony, but without any malice. In her character, the pride of an emigrant coexists with resignation to fate - are these not traits of the author himself? A lot of things coincide in their lives: the revolution fell to his lot, which he could not accept, and Nice, which could never replace Russia. The French girl shows features younger generation, generations without a motherland. Having chosen several characters, Bunin reflected the great tragedy of Russia. Thousands of elegant ladies who have turned into "women in bast shoes." And "people of a rare, beautiful soul" who put on "worn Cossack zipuns" and lowered "black beards." So gradually, following the “ring, cross, fur collar” people lost their country, and the country lost its color and pride. The ring composition of the story closes the circle of the heroine's life: it's time for her to "go", to return. The story begins with a description of the “autumn evening”, ends with a recollection of it, and the sad phrase sounds like a refrain: “You live, rejoice in the world, then come to me.” We suddenly find out that the heroine lived only one evening in her life - that very cold autumn evening. And it becomes clear why, in fact, in such a dry, hurried, indifferent tone, she told about everything that happened after - after all, it was all just an “unnecessary dream”. The soul died along with that evening, and the woman looks at the remaining years as if they were someone else’s life, “as with the soul they look from a height at the body they abandoned” (F. Tyutchev). Real love according to Bunin - love - a flash, love - a moment - triumphs in this story. Bunin's love constantly breaks off at the most seemingly bright and joyful note. Circumstances interfere with her - sometimes tragic, as in the story "Cold Autumn". I recall the story "Rusya", where the hero really lived for only one summer. And circumstances intervene not by chance - they "stop the moment" until love is vulgarized, died, so that the memory of the heroine retains "not a plate, not a crucifix", but the same "shining gaze", full of "love and youth", so that life-affirming beginning, "hot faith" was preserved.
Fet's poem runs through the whole story - the same technique as in the story "Dark Alleys".
