The bird has a nest, the beast has a hole. Comparative analysis of the poems by I.A. Bunin “That star that swayed in dark water ...” and “The bird has a nest, the beast has a hole ...

How bitter was the young heart,

When I left my father's yard,

Say sorry to your home!

The beast has a hole, the bird has a nest...

How the heart beats sadly and loudly,

When I enter, being baptized, into a strange, hired house

With his old knapsack!

These poems, imbued with a sense of loneliness, homelessness and longing for Russia, were written by Bunin in exile, which began for him in 1921.
The theme of loneliness, homelessness, foreign land and homesickness. And also memories of his home, his father's yard, and everything that surrounds the hero is alien: a foreign country, foreign people, a strange house, a strange monastery ...

How does Bunin create a sense of hopelessness of the lyrical hero? The epithets "bitter", "sorrowful", "dilapidated". Comparison of a man with a bird and an animal that has a nest and a hole. An octave alternates long and short lines. What is achieved by this?

Facts are stated in long lines:“the bird has a nest...”, “I left my father’s yard...”, “the beast has a hole...”, “I enter, being baptized, into someone else’s rented house...”. BUT in short lines - feelings, escaping from the depths of the soul: “how bitter...”, “forgive me...”, “how the heart beats sadly and loudly...”.

Isolation from the homeland makes a person suffer, fills his soul with bitterness, pain, loneliness.

Two stanzas are the beginning and end of the “plot”, between which there is a whole life of wandering. The “shabby knapsack” is dilapidated not only from time to time. This belongs to the past, worn out memories.

love lyrics

The originality of Bunin is revealed in his love lyrics. Belonging to the twentieth century with its emotional structure, it is tragic, it contains a challenge and protest against the imperfection of the world. Beauty breeds love - a passion that makes a breakthrough in loneliness. Ultimately, love does not save you from loneliness. Having exhausted the "earthly" possibilities, love plunges the hero into a state of calm despair. Bunin's poem is permeated with this mood of restrained tragedy.

"Loneliness".

And the wind, and the rain, and the haze

Above the cold desert water.

Here life died until spring,

Until spring, the gardens are empty.

I am alone at the cottage. I'm dark

Behind the easel, and blowing through the window.

Yesterday you were with me

But you're already sad with me.

In the evening of a rainy day

You seem like a wife to me...

Well, goodbye! Sometime before spring

I will live alone - without a wife ...

Today they go on without end
The same clouds - ridge after ridge.
Your footprint in the rain at the porch
Fluffed up, filled with water.
And it hurts me to look alone
In the late afternoon gray darkness.

I wanted to shout out:
"Come back, I'm related to you!"
But for a woman there is no past:
She fell out of love - and became a stranger to her.
It would be nice to buy a dog.
1903

What is this little masterpiece about? About loneliness? Yes. And about the soul. About a lonely soul who is trying to break through her loneliness, because now it is painful for her.

The poem is addressed to a woman. It's like an unwritten letter. A farewell letter, not printed on paper, but only expressed to himself and in many ways to himself. This poem is about a woman, about love, and, ultimately, about the meaning of life. Here Bunin is extremely faithful to the existential theme.
The poem consists of four stanzas. The first line sounds rhythmically monotonous:

And the wind, and the rain, and the haze...

And immediately you imagine, you almost physically feel this painfully familiar autumn melancholy. How did the poet manage to so unobtrusively and quickly immerse the reader in the atmosphere of his poem? Of course, thanks to the multi-union (and ..., and ..., and ...) and the precisely chosen size - amphibrach.

The key words “wind”, “rain”, “haze” play a huge role here, creating a mood of homelessness. In the second line, this feeling is exacerbated by the “cold” metaphor “desert of water”. The third line seems to sound more tragic:

Here life died until spring...

“Life is dead” is an oxymoron. But there is a time limit for this death: “until spring”. And this is important, it is no coincidence that the author uses repetition. And if in the third line “until spring” was “lost” somewhere in the middle, then in the fourth line it is on this word that the logical stress falls.

The pictorial beginning gives way to the meditative:

I am alone at the cottage. I'm dark
Behind the easel, and blowing through the window.

So the hero is alone. This loneliness is homeless (“dark”, “blowing”). An easel is an attribute of an artist. But creativity does not save either.

Thus, the determining state of both the hero and nature is cold, emptiness (desolation). What is the cause, what is the effect? Does the hero yearn because nature has become homesick, or is it hard for him from something else, and therefore the world is seen as so homeless? (After all, Bunin has poems where autumn, rain are passed through a different prism.)

In the following lines, we easily find the answer:

Yesterday you were with me...

It turns out that yesterday was also a rainy day, but it was perceived differently, because "she was" and "seemed to be a wife." Bunin uses the default figure twice here. And behind these dots are opposite thoughts: the first one is what would happen if she stayed? The second - what will happen now and how to live alone?

And again there is this upper limit of emptiness, deadness - spring. Why spring? Perhaps everything is simple: in spring you can be alone, because it is difficult to feel alone among the many colors, polyphony, sunshine of the awakened (resurrected) nature.

But how hard it will be to live until spring, if it is only autumn now, and it is impossible to live even this day (today) ... The image of “today” in the third stanza expands to infinity:

Today they go on without end
The same clouds - ridge after ridge ...

And suddenly - from the clouds, from the sky, from infinity - to a very specific earthly detail:

Your footprint in the rain at the porch
Fluffed up, filled with water.

The image of the trace of a woman who has gone forever reveals the full depth of the suffering of the lyrical hero. And now he looks at the sky, and at this “sinking” trail. It's scary when there's no trace left. And there remains only a wound on the heart of the hero. That is why it hurts him to look into the “gray darkness”. The image of darkness, like the image of cold, is ambiguous:

Total darkness and cold! both inside and outside...

I wanted to shout out:
"Come back, I'm related to you!"

"Related." But this is stronger than “I love”... “Come back” – not only into the house, into space, but also (first of all) into the past in order to repeat it in the present. But he did not shout: he knew that he would not return. Felt like a stranger. This is perhaps the third antonymous pair within this poem (autumn - spring, yesterday - today, native - someone else's). But on the whole the poem is not contrasting. On the contrary, it is very integral in mood, in emotional tone. Only three splashes-exclamations and three pauses-defaults.

The ending of the poem outwardly seems to remove the tragedy. Maybe the hero really comes to terms with reality, finds the strength to continue to live:

Well! I'll light the fireplace, I'll drink...

Let's think: I'll flood the fireplace... To make it warmer and brighter? Or maybe I will flood - at the same time with this universal flood? Why, the hero is alone in this cold house in the middle of the desert ocean. He does not see the earth! He sees darkness, mist and... water...

And the house, the estate - an island? Or a sinking ship? Or maybe the ark? And the ancestral connection with the past (it is no coincidence that this is a feeling of kinship), and the memory of it will turn out to be saving in the earthly vale? ..

Prose.

features of poetics.

1. Synthesis of epic and lyrical principles (a combination of lyricism and descriptiveness).

2. Focus on the beautiful and tragic in individual human existence, on the "eternal themes" of being. Individual human life for him is wider and deeper than any social and ideological goals, because no socio-historical changes cancel the test of love and death in a person’s life, awareness of the joy and tragedy of being. Bunin writes about the mystery of human existence.

3. He endows many of his heroes with the ability to experience the ultimate fullness of life, the ability to treat nature as an eternal and unshakable value.

4. Substantive detailing of descriptions (“subject figurativeness”.

5. Special rhythmic and sound organization of the narration.

Using a system of figurative, lexical and sound repetitions.

6. Common methods of poetic speech - anaphora, inversion, gradation, syntactic parallelism.

7. Use of symbolic images.

"Sir from San Francisco"

A subtle lyricist and psychologist, Ivan Alekseevich Bunin in the story "The Gentleman from San Francisco" seems to deviate from the laws of realism, approaching the symbolist romantics. A true story about real life acquires the features of a generalized view of life. This is a kind of parable, created according to all the laws of the genre.

Through the image of the ship "Atlantis" the writer tries to convey the symbolic structure of human society. “The famous Atlantis looked like a grandiose hotel with all the amenities - with a night bar, with oriental baths, with its own newspaper - and life was very measured on it.” "Atlantis" is intended to please travelers from the New World to the Old and back. Here everything is provided for the well-being and comfort of wealthy passengers. Thousands of attendants fuss and work so that the prosperous public gets the most out of the trip. All around reigns luxury, comfort, tranquility. Boilers and machines are hidden deep in the holds, so as not to disturb the reigning harmony and beauty. The siren sounding in the fog is drowned out by a beautiful string orchestra.

Yes, and the prosperous public itself tries not to pay attention to annoying "trifles" that violate comfort. These people firmly believe in the reliability of the ship, the skill of the captain. They have no time to think about that bottomless abyss over which they float so carelessly and cheerfully. But the writer warns: not everything is as safe and good as we would like. No wonder the ship is called "Atlantis". The once beautiful and fertile island of the same name has gone into the abyss of the ocean, and what can we say about the ship - an infinitely small grain of sand in a huge stormy ocean.

The story is filled with a complex philosophical meaning, full of disturbing forebodings, new catastrophes.

Indeed, the proximity of the catastrophe is already predicted by the epigraph to the first edition: Woe to you, Babylon, strong city! (from the Apocalypse). In the future, the author removes this epigraph, but the feeling of the inevitability of terrible cataclysms remains.

The story is called "The Gentleman from San Francisco". What can you say about the title? Word the master in this phrase is the main one. It is multi-valued. Why instead of a name - an indirect definition?

1. With a surname or rank - a formula for a polite mention or appeal (to a person from the ruling classes; in writing it was usually abbreviated "Mr." or "Mr."; pre-revolutionary). Mister. Professor. Pass this on to Mr. Petrov. 2. A person who, in appearance, belongs to a privileged class (pre-revolutionary). 3. Lord, ruler, ruler. (Slaves obeyed their master.) In what sense is this word used in the title, then in the entire text?

"G mister from San Francisco” - the master of the situation, the master of life. One meaning, the first, develops into another. The escalation occurs as the story progresses.

What is the plot of the story? The story of a pleasure cruise of an elderly American who was tired of working to increase his well-being and went with his wife and daughter to rest in the Old World. The route compiled for two years was grandiose and included many countries of Europe and Asia. But the hero managed to carry out only a small part of it: he crossed the ocean on a comfortable ship "Atlantis", lived in Naples for a month and, fleeing the weather, moved to the island of Capri, where he was caught by sudden death.

Three implemented points of the plan made up three parts of the plot content.

Determine the components of the storyline.

Exposition - the plan and route of travel.

The plot is a violation of the expectations of the millionaire and his growing discontent.

Reception of anticipation of the denouement - “On the day of departure<…>Even in the morning there was no sun.

Climax scene = denouement - sudden and "illogical" death of the hero.

The story continues after the death of the hero, and it turns out that the story told is only part of the overall picture. Elements not motivated by the plot appear: a panorama of the Gulf of Naples, a sketch of a street market, colorful images of the boatman Lorenzo, two mountaineers, a generalizing lyrical description of a “joyful, beautiful, sunny country”. By this, the author emphasizes the unstoppable flow of life.

Final scene- a description of the famous liner "Atlantis", in the hold of which the master returns. She points to the circular composition of the story, which in turn is proof of the cyclical nature of being.

Everyday details permeate the plot, traditionally have a coloring of classical realism: a detailed description of the luxurious life of the “inhabitants of the upper decks” contrasts sharply with the mean pictures of the “unbearable tension” of the stokers. Everyday realities create a visible idea of ​​the life of slaves and masters.

The childhood of the future writer proceeded in the conditions of a dwindling life of the nobility, the finally ruined "noble nest" (the Butyrka farm of the Yelets district of the Oryol province). He learned to read early, from childhood he had a fantasy and was very impressionable.

Having entered the gymnasium in Yelets in 1881, he studied there for only five years, since the family did not have the funds for this, he had to complete the gymnasium course at home (he was helped to master the program of the gymnasium, and then the university, by his elder brother Julius, with whom the writer had the closest relationship ). A nobleman by birth, Ivan Bunin did not even receive a gymnasium education, and this could not but affect his future fate.

Central Russia, in which Bunin spent his childhood and youth, sunk deep into the soul of the writer. He believed that it was the middle zone of Russia that gave the best Russian writers, and the language, the beautiful Russian language, of which he himself was a true connoisseur, in his opinion, originated and was constantly enriched precisely in these places.

Literary debut

Since 1889, an independent life began - with a change of professions, with work both in provincial and metropolitan periodicals. Collaborating with the editorial office of the Orlovsky Vestnik newspaper, the young writer met the newspaper's proofreader Varvara Vladimirovna Pashchenko, who married him in 1891. The young spouses, who lived unmarried (Pashchenko's parents were against marriage), subsequently moved to Poltava (1892) and began to serve as statisticians in the provincial government. In 1891, the first collection of poems by Bunin, still very imitative, was published.

1895 - a turning point in the fate of the writer. After Pashchenko got along with Bunin's friend A.I. Bibikov, the writer left the service and moved to Moscow, where he made his literary acquaintances (with L.N. Tolstoy, whose personality and philosophy had a strong influence on Bunin, with A.P. Chekhov, M. Gorky, N. D. Teleshov, in which the young writer became a participant in the “environments”). Bunin made friends with many famous artists, his painting always attracted him, it is not for nothing that his poetry is so picturesque. In the spring of 1900, while in the Crimea, he met S. V. Rakhmaninov and the actors of the Art Theater, whose troupe toured in Yalta.

Climbing the Literary Olympus

In 1900, Bunin's short story "Antonov's Apples" appeared, later included in all anthologies of Russian prose. The story is distinguished by nostalgic poetry (mourning for the ruined noble nests) and artistic refinement. At the same time, "Antonov apples" were criticized for the incense of the blue blood of a nobleman. During this period, wide literary fame comes: for the collection of poems Falling Leaves (1901), as well as for the translation of the poem by the American romantic poet G. Longfellow "Song of Hiawatha"(1896), Bunin was awarded the Pushkin Prize by the Russian Academy of Sciences (later, in 1909, he was elected an honorary member of the Academy of Sciences). Even then, Bunin's poetry was distinguished by devotion to the classical tradition, this feature will continue to permeate all of his work. The poetry that brought him fame was formed under the influence of Pushkin, Feta, Tyutchev. But she possessed only her inherent qualities. So, Bunin gravitates towards a sensually concrete image; the picture of nature in Bunin's poetry is made up of smells, sharply perceived colors, and sounds. A special role is played in Bunin's poetry and prose by the epithet used by the writer, as it were, emphatically subjectively, arbitrarily, but at the same time endowed with the credibility of sensory experience.

Family life. Journey through the East

Bunin's family life, already with Anna Nikolaevna Tsakni (1896-1900), was also unsuccessful, in 1905 their son Kolya died.

In 1906, Bunin met Vera Nikolaevna Muromtseva (1881-1961), who became the writer's companion throughout his later life. Muromtseva, possessing outstanding literary abilities, left wonderful literary memoirs about her husband (“The Life of Bunin”, “Conversations with Memory”). In 1907, the Bunins went on a trip to the countries of the East - Syria, Egypt, Palestine. Not only bright, colorful impressions from the trip, but also the feeling of a new round of history that has come, gave Bunin's work a new, fresh impetus.

A turn in creativity. mature master

If in the earlier works - the stories of the collection "To the End of the World" (1897), as well as in the stories "Antonov apples" (1900), "Epitaph" (1900), Bunin refers to the topic of small-scale impoverishment, nostalgically tells about the life of impoverished noble estates , then in the works written after the first Russian Revolution of 1905, the theme of the drama of Russian historical fate becomes the main one (the stories The Village, 1910, Sukhodol, 1912). Both stories were a huge success with readers. M. Gorky noted that here the writer raised the question “... to be or not to be Russia?”. The Russian village, Bunin believed, was doomed. The writer was accused of a sharply negative reflection of the life of the village.

The “merciless truth” of Bunin’s letter was noted by a variety of writers (Yu. I. Aikhenvald, Z. N. Gippius and etc.). However, the realism of his prose is ambiguously traditional: the writer draws with persuasiveness and force the new social types that appeared in the post-revolutionary village.

In 1910, the Bunins undertook a journey, first to Europe, and then to Egypt and Ceylon. Echoes of this journey, the impression that Buddhist culture made on the writer, are felt, in particular, in the story "Brothers" (1914). In the autumn of 1912 - in the spring of 1913 again abroad (Trapezund, Constantinople, Bucharest), then (1913-1914) - to Capri.

In 1915-1916, collections of short stories "The Cup of Life", "The Gentleman from San Francisco" were published. In the prose of these years, the writer's idea of ​​the tragedy of the life of the world, of the doom and fratricidal nature of modern civilization is expanding (the stories "The Gentleman from San Francisco", "Brothers"). This goal is also served by the symbolic, according to the writer, the use in these works of epigraphs from the Revelation of John the Theologian, from the Buddhist canon, literary allusions present in the texts (comparison of the hold of the steamer in "The Gentleman from San Francisco" with the ninth circle of Dante's hell). The themes of this period of creativity are death, fate, chance. The conflict is usually resolved by death.

The only values ​​that have survived in the modern world, the writer considers love, beauty and the life of nature. But the love of Bunin's heroes is also tragically colored and, as a rule, doomed ("Grammar of Love"). The theme of the union of love and death, which conveys the utmost sharpness and intensity to the feeling of love, is characteristic of Bunin's work until the last years of his writing life.

The heavy burden of emigration

He took the February Revolution with pain, foreseeing the coming trials. The October coup only strengthened his confidence in the approaching catastrophe. The book of journalism "Cursed Days" (1918) became a diary of the events of the life of the country and the writer's reflections at that time. The Bunins leave Moscow for Odessa (1918), and then - abroad, to France (1920). The break with the Motherland, as it turned out later, forever, was painful for the writer.

The themes of the writer's pre-revolutionary work are also revealed in the work of the emigrant period, and even more fully. The works of this period are permeated with the thought of Russia, the tragedy of Russian history of the 20th century, the loneliness of modern man, which is only for a brief moment broken by the invasion of love passion (collections of stories "Mitina's Love", 1925, "Sunstroke", 1927, "Dark Alleys" , 1943, autobiographical novel "The Life of Arseniev", 1927-1929, 1933). The binarity of Bunin's thinking - the idea of ​​the drama of life, associated with the idea of ​​the beauty of the world - gives Bunin's plots the intensity of development and tension. The same intensity of being is palpable in Bunin's artistic detail, which has acquired even greater sensual authenticity in comparison with the works of early creativity.

In 1927-1930, Bunin turned to the short story genre (Elephant, Calf's Head, Roosters, etc.). This is the result of the writer's search for ultimate conciseness, ultimate semantic richness, semantic "capacity" of prose.

In exile, relations with prominent Russian emigrants were difficult for the Bunins, and Bunin did not have a sociable character. In 1933 he became the first Russian writer to be awarded the Nobel Prize. It was, of course, a blow to the Soviet leadership. The official press, commenting on this event, explained the decision of the Nobel Committee by the intrigues of imperialism.

During the century of doom A. S. Pushkin(1937) Bunin, speaking at the evenings in memory of the poet, spoke about "Pushkin's ministry here, outside the Russian land."

Didn't return home

With the outbreak of World War II, in 1939, the Bunins settled in the south of France, in Grasse, at the Villa Jeannette, where they spent the entire war. The writer closely followed the events in Russia, refusing any form of cooperation with the Nazi occupation authorities. He experienced the defeat of the Red Army on the eastern front very painfully, and then sincerely rejoiced at its victories.

In 1927-1942, Galina Nikolaevna Kuznetsova lived side by side with the Bunin family, who became a deep late affection of the writer. Possessing literary abilities, she created works of a memoir nature that most memorablely recreate Bunin's appearance ("Grasse Diary", article "In Memory of Bunin").

Living in poverty, he stopped publishing his works, being much and seriously ill, he nevertheless wrote a book of memoirs in recent years, worked on the book “About Chekhov”, published posthumously (1955) in New York.

Bunin repeatedly expressed a desire to return to his homeland, calling the decree of the Soviet government of 1946 "On the restoration of citizenship of the USSR subjects of the former Russian Empire ..." called "a generous measure." However, the Zhdanov decree on the magazines Zvezda and Leningrad (1946), which trampled A. Akhmatova and M. Zoshchenko, forever turned the writer away from the intention to return to his homeland.

In 1945 the Bunins returned to Paris. The greatest writers of France and other European countries highly appreciated the work of Bunin during his lifetime (F. Mauriac, A. Gide, R. Rolland, T. Mann, R.-M. Rilke, J. Ivashkevich, and others). The writer's works have been translated into all European languages ​​and some Eastern ones.

He was buried in the Russian cemetery of Saint-Genevieve-des-Bois, near Paris.

E. V. Stepanyan

Bunin, Ivan Alekseevich - Russian writer. Born in an old impoverished noble family, in which love for Russian literature, cult A. S. Pushkin, V. A. Zhukovsky, M. Yu. Lermontova, Ya. P. Polonsky combined with class prejudices, constant memories of the former greatness of the pillar noble family. Bunin spent his childhood on the family estate - on the Butyrki farm in the Oryol province, among the "sea of ​​bread, herbs, flowers", "in the deepest field silence." In 1881 he entered the Yelets gymnasium, but, without completing four classes, he continued his education under the guidance of his older brother Julius, an exiled member of the People's Will. Poverty, knocking on the estate, forced Bunin to leave the family nest in 1889. He worked as a proofreader, statistician, librarian, plunged into newspaper day labor ("Orlovsky Bulletin", "Kievlyanin", "Poltava Gubernskie Vedomosti"). Appeared in print in 1887 (poem "Over Nadson's Grave"). In 1891, the collection "Poems" was published in Orel, where among the imitations, landscape lyrics stand out, saturated with impressions from the native Oryol region. Bunin deeply poetically and with genuine knowledge inherent in a person who grew up in the countryside, reproduced the natural world. The collections Under the Open Air (1898) and the Pushkin Prize-winning Leaf Fall (1901) are an example of the improvement of verse in its "old" classical forms, continuing the traditions A. A. Feta, Ya. P. Polonsky, A. K. Tolstoy. Bunin's poetry is a song about the motherland, its "poor villages", vast forests in the "satin sheen of a birch forest." In the same thematic vein, Bunin’s early stories about a hungry, impoverished village (“Tanka”, “To the End of the World”, “News from the Motherland”), about half-abandoned estates where noble beans live out their lives (“On the Farm”, “In field"). By December 1895, Bunin's acquaintance with A.P. Chekhov, by 1899 - with M. Gorky, who attracted Bunin to cooperate in the Znanie publishing house, contributing to the growth of the democratic views of the young writer. And if Bunin's social indifference is still palpable in the best stories of this time - Antonov Apples (1900), Pines (1901), New Road (1901), then the later Chernozem (1904) was written in the best traditions "Knowledge" and is saturated with social problems. An elevated and strict rhythm combined with a plastic external depiction, unexpected metaphors, a real feast of aromas and colors, a unique artistic laconicism - these are the main features of Bunin's innovative poetics. “... He began to write prose in such a way,” Gorky summarizes in one of his letters, “that if they say about him: this is the best stylist of our time, there will be no exaggeration.” The pre-revolutionary work of Bunin reflected the collapse of the patriarchal landowner-peasant Russia in the conditions of rapidly developing bourgeois relations. The chronicle of the degeneration of the manor nobility was the story "Sukhodol" (1911). Starting with the story "The Village" (1910), the writer turns to a broad public theme. He perceives the fate of Russia as the fate of the Russian peasantry (the stories "Ancient Man", "Night Talk", "Merry Yard", "Ignat", "Zakhar Vorobyov", "Thin Grass"). The dark, backward Russia, the tragedy of a poor, spiritually destitute people, is captured in Bunin's stories with great artistic power. Episodes of wild and cruel village life sometimes acquire a naturalistic character from Bunin. Unable to see anything new in the countryside, Bunin, with his depiction of the inert peasant environment at the time after the defeat of the revolution of 1905, however, in the words of V. V. Vorovsky, "... a kind of study on the causes of memorable failures."

By this time, Bunin's outstanding talent was universally recognized. In 1909, the Academy of Sciences elected him an honorary academician. In the 900s, Bunin traveled a lot. The result of his trip to the East was a cycle of essays "Temple of the Sun" (1907-1911). In the 10s, Bunin's realistic method was improved, a new diverse theme invaded his work: the suffocating life of the bourgeoisie ("Good Life"), the city bottom with taverns and cheap rooms ("Loopy Ears"), penetration into the "dark alleys" of human passion ("Chang's Dreams"). Bunin's pre-revolutionary prose is permeated with a hostile attitude towards capitalist civilization ("The Gentleman from San Francisco", 1915), colonialism ("Brothers", 1914). Only in proximity to nature, to simple life, does the artist find a source of cleansing influence on a person. The pre-revolutionary legacy of Bunin, which refracted the diverse influence of the traditions of L. N. Tolstoy, I. S. Turgenev, N. V. Gogol, is a significant contribution to the realistic literature of the 20th century. Sometimes Bunin approached the line beyond which the creation of self-contained images begins, but he never switched to the aesthetic positions of modernism. A master of "small" forms - a story, a short story, a short story, Bunin was a subtle stylist who created a special "brocade" (multicolor, dense, patterned) language. Picturesqueness and rigor, musicality and expressiveness of the rhythmic pattern are characteristic of Bunin's prose. He is also known as a master of poetic translations, among which "Song of Hiawatha"(1896, 2nd edition 1898) G. Longfellow, J. Byron's philosophical dramas "Cain" (1905), "Manfred" (1904), "Heaven and Earth" (1909) and others.

Having met the October Revolution with hostility, Bunin emigrated to France in 1920 and subsequently published his works mainly abroad. He published articles directed against Soviet Russia. A crisis was brewing in Bunin's work in the 1920s. Isolation from the homeland limited the range of the artist, deprived him of ties with modernity. Bunin turned to the intimate, lyrical memories of his youth. The novel "The Life of Arseniev" (separate edition 1930, Paris; entered the one-volume book of Bunin's works, published in Moscow in 1961) seemed to close the cycle of artistic autobiographies related to the life of the Russian landed nobility. Bunin painted the beauty of Russian nature and Russian people (the stories "Mowers", "Bastes", "God's Tree"), resurrected the charm of old Moscow ("Far", "Favorable Participation"). The theme of death sounded more and more insistently in his works, acting as a resolver of all contradictions in stories about fatal passion (Mitina's Love, 1925; The Case of Cornet Elagin, 1927; the cycle of short stories Dark Alleys, New York, 1943). The heroes of these stories are people of a tragic temperament, but their intolerance for vulgarity is manifested only in sizzling, destructive love-passion. In later works, Bunin uses symbolism more often; the concrete-sensual form in his prose acquires an almost plastic tangibility. At the same time, everything social dissolves; remains love, suffering, longing for the ideal. In exile, Bunin created a purely pessimistic book about L. N. Tolstoy (“The Liberation of Tolstoy”, Paris, 1937), wrote “Memoirs” (Paris, 1950), which contains attacks against figures of Soviet Russian culture - M. Gorky, A. Blok, V. Bryusova, A. Tolstoy, as well as a book about A.P. Chekhov (New York, 1955). In 1933 Bunin was awarded the Nobel Prize.

The largely controversial heritage of Bunin has great aesthetic and educational value. He belonged to those realist artists who, in the words of M. Gorky, "felt the meaning of the ordinary with amazing power and perfectly depicted it." As a successor to the traditions of Russian literature of the 19th century, Bunin was one of the last major representatives of critical realism in Russia at the beginning of the 20th century.

Cit.: Under the open sky. Poems, M., 1898; Listopad, M., 1901; Sobr. soch., vols. 1-5, St. Petersburg, 1902-09; Full coll. soch., vols. 1-6, P., 1915; Sobr. cit., vols. 1-12, [Berlin], 1934-39; Dark Alleys, 2nd ed., Paris, 1946; Spring in Judea. Rose of Jericho, New York, 1953; Sobr. soch., vol. 1-5, M., 1956; Fav. works, M., 1956; Poems, 3rd ed., L., 1961; Tales. Stories. Memories, M., 1961.

Lit .: Vorovsky V.V., Bunin, in his book: Literary-critical. articles, M., 1956; Aikhenvald Yu. I., Silhouettes of Russian. writers, 3rd ed., c. 3, M., 1917; Batyushkov F. D., I. A. Bunin, in the book: Rus. literature of the XX century. 1890-1910, ed. S. A. Vengerova, [book. 7], M., [b. G.]; Gorbov D., Here and abroad, [M.], 1928; Mikhailovsky B.V., Rus. literature of the XX century. From the 90s of the XIX century. until 1917, M., 1939; Kastorsky S., Gorky and Bunin, "Star", 1956, No. 3; Baboreko A., Youthful novel by I. A. Bunin, almanac “Lit. Smolensk, 1956, No. 15; him, Chekhov and Bunin, in the book: Lit. inheritance, v. 68, M., 1960; Mikhailov O., Bunin's Prose, “Vopr. literature”, 1957, No. 5; him, Bunin and Tolstoy, in the book: Lev Nikolaevich Tolstoy. Sat. articles about creativity, [ed. N. K. Gudziya], [sb.] 2, M., 1959; Muromtseva-Bunina V. N., Bunin's Life, Paris, 1959; Nikulin L.V., Chekhov. Bunin. Kuprin. Lit. portraits, M., 1960; Sterlina I. D., Ivan Alekseevich Bunin, Lipetsk, 1960.

O. N. Mikhailov

Brief literary encyclopedia: In 9 volumes - Vol. 1. - M .: Soviet encyclopedia, 1962

Bunin Ivan Alekseevich - one of the greatest masters of the short story in modern Russian literature and an outstanding poet. Born in Voronezh, in the family of a small estate, but belonging to an old noble family. Appeared in print in 1888. In 1910-1911 Bunin created the story "The Village", which consolidated his position in the forefront of word artists. Since then, the skill of Bunin as a short story writer has been on the rise.

The artistic and social figure of Bunin is distinguished by exceptional integrity. The writer's belonging to the once dominant, and at the time of his birth, fading nobility, which was unable to apply to the capitalist situation in Russia at the end of the 19th and first decades of the 20th century, and even more so to the revolutionary, post-October situation, determined all the features of Bunin's work and his public behavior. In terms of his artistic direction, Bunin cannot be attributed entirely to any of the literary trends that dominated before the revolution. He is separated from the symbolists by a pronounced focus on realistic detail, on the life and psychology of the depicted environment, from social realists - extreme individualism in the approach to the described phenomena and emphasized aestheticism in the interpretation of realistic images. The combination of these features makes Bunin belong to the direction of the so-called "neorealism", a literary school that arose in the 1910s. and striving not only to continue the traditions of classical Russian realism, but also to rebuild them under a new, approaching symbolism, angle of view. In his most mature works (starting with the story "The Village", "Dry Valley" and ending with the short stories created in recent years - "Mitina's Love", "The Case of Cornet Elagin" - and the novel "The Life of Arseniev") Bunin clearly betrays his literary genealogy : motives of Turgenev, Tolstoy, Lermontov - prose, partly Saltykov-Shchedrin ("Poshekhonskaya antiquity") and S. Aksakov (especially in the linguistic and descriptive element) are heard very clearly in Bunin. However, their focus is different. Bunin very clearly reveals a connection with his kindred noble culture, which gave rise to those classical literary samples from which he comes. The feeling of the death of one’s class and the intense longing for its outgoing culture associated with this lead to the fact that under Bunin’s pen, these elements look by no means a simple repetition of what the classical period of Russian realism gave, but their independent reproduction, animated and sharpened by a new, deeply intimate interpretation. The development of the artistic manner of Bunin the novelist went just in the direction of emphasizing the motive of death, on the one hand, and in the direction of gradually unloading the short story from realistic, everyday signs, on the other. If in Bunin's early short stories (for example, "Antonov apples", 1901) the picture of the impoverishment of the nobility is given in objective, lyrically calm tones, then in "The Village" the motive for the death of this class and the peasant patriarchal world associated with it sounds tragic, and in "Sukhodil" it already appears painted in semi-mystical tones. A further step in this direction are such short stories by Bunin as "The Gentleman from San Francisco", "Chang's Dreams", "Brothers", where the same motive of inevitable death and the associated motive of the futility and meaninglessness of being are transferred to the plane of personal existence (moreover the class origin of these ideas is often obscured by the fact that the appearance of the characters is skillfully given the external features of representatives of other classes). Finally, in Bunin’s works of the emigrant period (“Mitina’s Love”, “The Case of Cornet Elagin”, “Transfiguration”), the motive of death appears in the most naked form, and the artist, as it were, bows before the inevitable end, openly proclaiming the value superiority of death over life and its “rude animality." This thematic orientation strictly corresponds to the compositional, figurative and stylistic implementation of Bunin's short stories. If Bunin's works on the eve of 1905 are given in the form of colorful, descriptive psychological essays and studies, then in the future more and more emphasis is placed on deepening the internal drama of situations and characters, emphasizing the integrity of the mood by more and more generous inclusion in the short story of mournful lyrical thinking on behalf of the characters or himself. author. In the emigrant period, this process ends with the fact that the demonstration of the everyday life and psychology of a certain, clearly limited social environment finally gives way to mournful lyrics on the theme of life and death, and in cases where the characters are still introduced, the author clearly pursues the goal of not so much dramatic the development of their characters, how much the transformation of these persons into carriers of a predetermined lyric-philosophical theme. In a number of cases, this is accompanied by an extreme decrease in the number of characters, an exclusive focus on two characters - participants in a tragic love affair, the meaning of which is the doom of genuine human feelings to a tragic end ("Mitina's Love", "The Case of Cornet Elagin", "Sunstroke" , "Ida"). In a number of other short stories, Bunin acts as a pure lyricist, turns the short story into a prose poem on the same lyrical and philosophical theme about the beauty of human feeling and its doom in earthly conditions. Thinking of this topic as a universal one, Bunin more and more unloads his images from the features of everyday life, looks for inspiration in the images of the past, drawing them from the religious and literary monuments of antiquity (the Bible, the Vedas), as well as from memories of the past life of the Russian nobility, which in the last works of the writer appears more and more idealized. This idealization of "heraldic" memories was especially fully expressed in the autobiographical novel "The Life of Arseniev", where the material of the former chronicle "Sukhodil" receives a new intimate-lyrical development. To what extent is this gradual advancement of Bunin's work in the indicated direction in all its stages determined by the course of development of class relations in the revolutionary era? At the moment, we can definitely state the fact of this dependence in rough terms. Thus, the influence of the revolution of 1905 and its defeat on Bunin's work is undeniable: the victory of reaction, instead of invigorating the consciousness of the nobility, which was under the direct blow of the revolution, actually set off even more sharply the doom of this class in its own eyes, since this victory did not could not be felt by the best representatives of the nobility as temporary; in addition, it was not won by the nobility, which had lost its creative powers long before the struggle, but by the bureaucratic state, which relied on the big bourgeoisie, that is, the social force, to which the noble strata, represented by Bunin, were more or less sharp, although powerless opposition. All this emphasized in the eyes of Bunin the complete futility of victory and determined the deepening of pessimism that is observed in his inter-revolutionary short stories. Further, the revolution of 1917 and its victorious conclusion served as an obvious and final impetus for Bunin to completely break away from modernity and to retreat to those mystical positions that he occupies in the works of the emigration era. From this point of view, Bunin’s very transition to emigration, his sharply embittered attitude towards Soviet Russia, expressed in newspaper feuilletons, speeches, some short stories (for example, “Non-urgent Spring”, “Red General”) and distinguishing Bunin even among émigré writers, seem to be only a practical conclusion, which, with fanatical consistency, was made by Bunin from his whole worldview.

Bunin's place in the history of Russian literature is very significant. The sharply expressed reactionary ideology of Bunin acquires the significance of the characteristic features of the noble class, which found complete expression under Bunin's pen. On the other hand, outstanding even for the classical period of Russian prose, the purity of the language, the distinctness of the inner drawing in the images and the perfect integrity of the mood - all these features of high skill inherent in Bunin as the finalist of the classical period of Russian noble realism, make Bunin's short stories complete literary samples.

In the realm of verse, Bunin's significance is less. Belonging to the type of plastic poets (the best book of poems by Bunin - a poem that received the Pushkin Prize of the Academy of Sciences, belongs entirely to landscape poetry), Bunin was a conservative in the field of poetic form. Coming from the lyrics Pushkin And Al. Tolstoy, Bunin did not try to introduce anything new into Russian verse and was averse to new achievements made by others. The clarity of the stroke characteristic of Bunin, which is the originality of Bunin's short story, in poetry has turned into a certain dryness that violates the depth of the lyrical feeling. However, some of Bunin's poems (the poem and some recent poems) must be recognized as outstanding examples of pictorial lyrics.

Bunin translated some examples of world literature into Russian. Among them are Byron's poems "Cain" and "Manfred". He also owns the only verse translation of Longfellow's poem in Russian literature. "Song of Hiawatha".

The last complete collection of Bunin's works in six volumes was published by Marx in 1915 (appendix to the Niva magazine). Guiz published a collection of pre-revolutionary stories by Bunin under the title "Chang's Dreams" (M. - L., 1928), and ZIF in 1928 published the same collection under the title "Thin Grass" (the content of both collections is different). "Book News" in 1927 republished Bunin's best short stories of the emigrant period: "Mitina's Love" (separate edition) and the collection "The Case of Cornet Elagin" (where, in addition to the short story of this name, "Sunstroke", "Ida", " Mordovian sarafan ", etc.).

Bibliography: Aikhenwald Yu., Silhouettes of Russian writers, vol. III, M., 1910; Kogan P., Essays on the history of modern Russian literature, vol. III, c. II, M., 1910; Bryusov V. Far and near, M., 1912; Batyushkov F., Russian literature of the XX century, ed. S. Vengerov, no. VII, M., 1918, ibid autobiographical. the note; Vorovsky V., Literary essays, M., 1923; Gorbov D., Here and Abroad, M., 1928 (Art. “Dead beauty and tenacious ugliness” and “Ten years of literature abroad”); Vladislavlev I.V., Russian writers, L., 1924, Him, Literature of the Great Decade, vol. I, M., 1928.

D. Gorbov

Literary Encyclopedia: In 11 volumes - [M.], 1929-1939

Comparative analysis of poems by I.A. Bunin

“That star that swayed in the dark water…” and

That star that swung in dark water

Under a crooked willow in a decayed garden, -

In the village where the young years went,

Where I waited for happiness and joy in my youth,

The bird has a nest, the beast has a hole.

When I left my father's yard,

Say "I'm sorry" to my home!

The beast has a hole, the bird has a nest.

How the heart beats, sadly and loudly,

When I enter, being baptized, into a strange, hired house

With his old knapsack!

Ivan Alekseevich Bunin ... It was his poet Alexander Tvardovsky who called him "in time the last classic of Russian literature." And he was, of course, right: Bunin corresponded to his great predecessors with the discovery of new spheres of the world, the secrets of human existence, the power of the word and the harmony of form.

Bunin - a prose writer and Bunin - a poet ... They cannot be opposed, because both the prose and the artist's poems with the same beauty and power allow the reader to "embrace" life as an instant: from blooming youth to the tragic loss of old age, from reckless striving for happiness and love to comprehension of the most intimate, making the best strings of the heart tremble.

One involuntarily thinks about the most complex problems of being when reading Bunin's artistically perfect poetry. How could he combine in the crystal of poetry the heat of feeling and the magnificent coldness of skill? The key to the puzzle, apparently, is that Bunin has a rare nature of feeling, a rich "palette" of flowers and inflorescences, a unique range of sounds.

Already in the nineties of the 19th century, Bunin developed his own poetic style, constantly looking for fresh touches, bold comparisons, following the traditions of Russian classical poetry. It is alien to the modernist influences of the turn of the century.

By the beginning of the 19th century, his landscape and philosophical lyrics acquire surprising concreteness and accuracy of designations; the poet chooses such combinations of words that, for all their simplicity, evoke a wave of associations in the reader.

Bunin's thematic poems are different: the beauty and harmony of nature; man, his fate, hopes and disappointments; human memory, at any time of the year and at any age, capable of reviving the past; Russia, "eternal" values ​​of life.

In the endless cycle of time, in the joyful renewal of nature, in the beauty of Russia, of his native land, Bunin draws colors for his poems.

A unique charm emanates from the poems, which convey a sad thought about the past, bright memories of a small homeland and sorrow for abandoned lands.

Among such works, two works stand out: and “The bird has a nest, the beast has a hole…”.

The first poem was written in 1891. Due to financial difficulties of the family, Ivan Alekseevich was forced to leave the place dear to his heart - the small estate of Ozerki in the Yelets district in the Oryol region.

Ozerkov's years of life brought the writer a lot of happiness and a charming sense of freedom and spiritual uplift. “I remember that at that time everything seemed charming to me: people, and nature, and an old house with colored windows, and neighboring estates, and hunting, and books ...,” Bunin wrote later.

That is why the “charm of the past days” and the loneliness of the current days sound with such artistic power in the poem.

And three decades later (1922) the famous appears. Turned as if to distant years, it is perceived as a mournful farewell to the motherland, as longing for a native nest, associated with the loneliness and homelessness of the lyrical hero. So tragically coincided with Bunin: entry into the second half of his life (he just turned a little over fifty) and departure from Russia to emigrate. Painful experiences about the combination of twists and turns of fate are reflected in this short poem, written already in a foreign land.

Both works are united by one theme - the theme of love for the motherland and the bitterness of separation from it.

The relationship of the poems is not only internal, but also external: they are close in form (each consists of two quatrains), they have the same number of poetic lines, the same way of rhyming.

The complex system of visual means in Bunin's poetics is primarily due to the subject of the image. Longing for their native places and the sad spiritual mood of the lyrical hero, caused by memories of their native places and years of youth, give the poem "The star that swung in the dark water...", individual paintings and images, romantic and realistic coloring at the same time. This is evidenced by the “star” picture so beloved by the poet: a distant star, an integral part of the overall picture of the world, emphasizes the inner meaning of what is happening.

And a purely Buninian technique - the reflection of stars in the depths of the water - is associated with the state of a person, with the feelings of a lyrical hero (in this context, with sad reflections on his native land forever abandoned):

A light that flickered in the pond until dawn, -

Now I will never find in heaven.

In the second quatrain, the tragic feelings of the lyrical hero increase: from the enchanting beauty of the night landscape, the author moves on to concrete images: a village, an old house, the first songs, a description of happiness and joy in youth, which did not come true. And how much despair and pain in the last line of the whole poem:

I will never go back now, never.

First quatrain of the second poem “The bird has a nest, the beast has a hole…” reveals the painful power of memories over the human soul. They give rise to bitterness and pain in the young heart of the hero. Father's yard, home... Sad farewell to the past...

How bitter was the young heart,

When I left my father's house...

The second quatrain is also a memory, but of recent times. Before the reader are capacious pictures and images that depict loneliness, the loss of a Russian person in a foreign land.

... When I enter, being baptized, into a strange, hired house

With his old knapsack.

Understanding the inner state of the soul of the lyrical hero of these two poems is helped by such an artistic device as a comparison of the past with what he is experiencing now: tenderness for his father's house, dreams of happiness before and disappointment, longing, restlessness in the present:

Bunin's poetics is characterized by concrete terms of space and time. Firstly, they leave no doubt about the authenticity of what is described, and secondly, these same realities also appear as carriers of various emotional experiences of the hero.

In the first poem, one can see specific scenes of action: “under a crooked willow in a decayed garden”, “an old house”, “in heaven”, “in a pond”. Time is indicated by such words as "before dawn", "now", "never".

These categories are represented in the second work by the words "nest", "burrow", "father's yard", "foreign house". Time is indicated in a peculiar way: by tenses of verbs (I left - I enter, it was - it beats).

A chain of tropes stretches through Bunin's stanzas, detailing and deepening the pictures and images, enhancing the sound of the lyrical "I".

In a poem "The star that swung in the dark water..." the metaphor "... a star that swayed in the dark water" helps to see the beauty of the night, and the author - to create the experience (sadness) of the lyrical hero. The purpose of including in the text the second metaphor "... where the young years went ..." is to emphasize the elusive passage of time in the life of every person.

Bunin's gift of rare pictorialism also manifested itself in the second poem: complex and strong human feelings are conveyed using the metaphor "... how bitter was the young heart."

The individuality of Bunin's poetic skill was also manifested in the selection of epithets, lyrical and metaphorical. They are few in these works, but carry a double artistic load.

In a poem "The star that swung in the dark water..." in the first stanza, epithets create romantic pictures of a beautiful night: “a light flickering in a pond”, “in a dead garden”, “under a crooked willow”, “old house”, “first songs” and at the same time emphasize the sadness of the lyrical hero from charm native places and the need to leave them.

In the second poem, the epithets are chosen in such a way as to emphasize the suffering of the lyrical hero: “... it was bitter for the young heart”, “father's” (yard), “alien, hired” (house), “dilapidated” (knapsack).

In the figurative system of the analyzed poems, it is necessary to note such a trope as a paraphrase. In a poem "The star that swung in the dark water..." in the first quatrain, in the first line the word "star" occurs, and in the third line this word is replaced by a descriptive phrase "... a light that flickered in the pond until dawn."

In the second verse “The bird has a nest, the beast has a hole…” the author uses such a technique as an allegory: “in a strange, rented house” and “with a shabby knapsack”. Hardly experiencing his departure from Russia, Bunin does not accept a foreign country for him, the bustle of Paris. All his former life remained in his homeland, his native graves, values ​​and shrines, without which the artist cannot exist, and the burden of the years he lived. Here it is, "a dilapidated knapsack!"

The aesthetic impact on the reader is achieved due to the expressiveness and completeness of the syntactic and intonational solutions inherent in Bunin's poetics.

The artistic expressiveness of each figure used in both poems helps the remarkable master of the word to achieve the musicality and rhythm of the verse. One can note the frequent repetitions of individual words and expressions, which reinforce the internal tension of the verse.

So in the poem "The star that swung in the dark water..." The word "never" is repeated three times. It preserves the rhythmic harmony and discipline of the lines - each one is like a string - and conveys the dramatic conflict of the lyrical hero, who is no longer destined to admire the starry skies of his native village, and separation from them is forever.

A technique such as repetition was used - a joint in the second quatrain of the same poem:

…To the old house where I composed my first songs,

Where I was waiting for happiness and joy in my youth ...

With its help, the artist conveys the details of the past, which meant so much to the lyrical hero.

In the second verse “The bird has a nest, the beast has a hole…” anaphora carries a special semantic load - the unity of command of the first and second quatrains (a slight rearrangement of words increases tension):

The beast has a hole, the bird has a nest...

The dynamics of the experiences of the lyrical hero is conveyed by the second anaphora (the second line of the first stanza and the second line of the second stanza):

…How bitter was the heart of the young, ...

…How the heart beats sadly and loudly ...

The intonation and vocabulary richness of Bunin's verse emphasize the size. In the first poem - this is a four-foot anapaest, in the second - the classic six-foot iambic, beloved by Bunin. The last line in the same poem is written in iambic tetrameter with spandee

IN “The bird has a nest, the beast has a hole…” rhyme in the first quatrain is cross, masculine, open; in the second - also cross, but inaccurate. For example, "burrow - yard" and "nest - house", "loudly - knapsack".

And the first poem was written using the same cross rhyme, masculine, open “water - a pond”, “I won’t find a garden”. The second quatrain is a ring (encircling) rhyme: the first is the fourth line “year - never”, the second from the third “composed - waited” and the rhyme is male, closed.

The connection of these poems is unconditional: they trace the same feeling - love for the motherland and separation from it. They are written in the amazingly expressive Bunin language. But there are some differences in content and form that should be noted.

“How can we forget our homeland? She is in the soul. I am a very Russian person. This does not pass over the years, ”- these words of Bunin are confirmed by the lines of the analyzed poems.

Both poems are perceived as creations of a great, original, Russian poet, singer of Russian nature, Russian land.

Bibliography

Afanasyeva V. On the work of Ivan Bunin / / Literature at school. - 1995.

Mikhailov O. Poetry of I.A. Bunin // Fiction. - 1990.

Smirnova L.A. Ivan Alekseevich Bunin. Life and art. M., 1991.

The plot of the poem by I.A. Bunin "The bird has a nest, the beast has a hole ..." lies in the fact that the young man says goodbye to his stepfather's house and homeland in general and goes on eternal wanderings in search of a "hearth". The work is ambiguous and contains both personal and social drama.

Leaving the family “nest” is due to the growing up of a young man: he is forced to start his own path, create his own hearth, but also leave his beloved country, where the old way of life is broken, and the new one does not bode well.

Such conclusions can be drawn, knowing the historical context of the work.

The poem is imbued with a feeling of sadness and longing and is built on the basis of the motive of loneliness. The lyrical hero parted with childhood, with a past life, but did not find himself in a new one, as can be seen from the lines: "I enter, being baptized, into someone else's doss house." A young man is forced to make a journey in search of a home alone, without companions. However, reading the first quatrain, we understand that the young man has a future ahead, although it is unknown and foggy. In the second part of the poem, the lyrical hero appears already matured. Although this is not said directly, but yesterday's youth turned into a vagabond, who never found his home. The hero is not expected anywhere, not loved - this is what forces him to wander around the world.

The first quatrain is more poetic than the second. Speaking about the past, the lyrical hero is probably experiencing nostalgia. The present is harsh enough, so the last stanza is in places like prose (“The beast has a hole, the bird has a nest”). However, in general, the rhyme is observed.

In a poem by I.A. Bunin has an interesting imagery: birds, animals, their dwellings, his father's yard, someone else's house and, of course, a dilapidated knapsack. Some of these things are quite symbolic. For example, a dilapidated knapsack is a “repository” not only for the material belongings of the hero, but also for the accumulated life experience and knowledge. That is why the bag is called dilapidated - for a long journey, she absorbed all the wisdom that comes with age.

Thanks to the use of images of a bird and an animal, a nest and a hole, the reader understands the mood of the lyrical hero: the man is sad because even the smaller brothers have a home, and he, a man, is doomed to vagrancy.

The father's house is also a symbol: the young man means not only the family hearth, but the whole Motherland as a whole; a rented house is a foreign country.

Reading the poem "The bird has a nest, the beast has a hole ...", it is impossible not to admire the talent of the writer of these lines. The composition of the work includes only two stanzas, but they contain a huge meaning. The poem is built on repetitions, which, firstly, creates the impression of “thoughts aloud” uttered by the lyrical hero, and secondly, it focuses on the most important details.

I am delighted with this work: the narrator was able to capture such a large time period (relative to human life), convey so many emotions in just eight lines. Indeed, brevity is the sister of talent.

Effective preparation for the exam (all subjects) -

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After the October Revolution, many famous writers left Russia, among whom was also. The famous Russian poet and writer took the change of power and the beginning of the civil war very painfully, so he decided to leave the country for a while. In the depths of his soul, he understood that he might be parting with Russia forever, and very soon this assumption was confirmed. However, from the first days, the bitterness of separation from his homeland haunted Bunin, and in 1922 he wrote a poem.

The first lines of this work indicate that the author is envious of the inhabitants of the forest who have their own home, albeit such an unreliable, unfurnished and devoid of attractiveness from a human point of view. However, it is there that they feel completely safe and are probably happy in their own way, which Bunin himself is deprived of. He notes that it was extremely difficult for him to make the decision to emigrate. "How bitter was the young heart when I left my father's court", - notes the author. For him, parting with Russia was the second tragic event in his life. After all, once, as a 17-year-old teenager, he already left his father's house to prove his independence to the whole world. Memories and fresh sensations piled on top of each other, causing Bunin's rather deep and prolonged depression, as well as the reason for writing a whole cycle of works both in prose and in rhyme, which the author dedicated to his experiences.

Trying to describe in words what he feels, Bunin notes: "How the heart beats sadly and loudly". He is oppressed not only by a feeling of longing for his native home, but also by a feeling of hopelessness, his own worthlessness and uselessness. After all, the author found himself in a foreign country with practically no means of subsistence, and he has no opportunity to call his own those rented furnished rooms in which from now on he is doomed to live for many years. The poet admits that every time he experiences a whole range of the most contradictory feelings when he enters "to someone else's rented house with his already dilapidated knapsack". The author will keep this feeling of doom in his soul until the end of his life and will make attempts to return to his homeland, if only in order to once again feel like a part of the land on which he was born. However, Bunin's dreams will not come true, because after the revolution Russia will become for him a forever lost country, that cradle of joy and tranquility that every person loses sooner or later due to various circumstances.

If this material does not have information about the author or source, then it was simply copied on the Internet from other sites and presented in the collection for information only. In this case, the lack of authorship suggests accepting what is written as just someone's opinion, and not as the ultimate truth. People write a lot, make a lot of mistakes - this is natural.