The writing
Everything passes...
Julius Caesar
A soft maple leaf meekly and tremblingly ascends with the wind and falls again on the cold earth. He is so lonely that he does not care where his fate takes him. Neither the warm rays of the gentle sun, nor the spring freshness of a frosty morning pleases him. This little leaf is so defenseless that he has to put up with the fate of fate and only hope that someday he will be able to find his refuge.
In I. A. Bunin's story "Sunstroke", the lieutenant, like a lonely leaf, wanders around a strange city. This is a story about love at first sight, about a fleeting infatuation, about the power of passion and the bitterness of parting. In Bunin's work, love is complex and unhappy. The heroes part, as if waking up after a sweet love dream.
The same thing happens with the lieutenant. The reader is presented with a picture of heat and stuffiness: a tan on the body, boiling water, hot sea sand, a dusty cab... The air is filled with love passion. A terribly stuffy, very hot hotel room during the day - this is a reflection of the state of lovers. The white lowered curtains on the windows are the border of the soul, and two unburned candles on the under-mirror are what may have been left here from the previous pair.
However, the time comes for parting, and a small, nameless woman, who jokingly called herself a beautiful stranger, leaves. The lieutenant does not immediately understand that love is leaving him. In a light, happy state of mind, he drove her to the pier, kissed her and carelessly returned to the hotel.
His soul was still full of her - and empty, like a hotel room. The scent of her good English cologne, her unfinished cup only added to the loneliness. The lieutenant hurried to light a cigarette, but cigarette smoke is not able to overcome longing and spiritual emptiness. Sometimes it happens that we understand what a wonderful person fate brought us together, only at the moment when he is no longer around.
The lieutenant rarely fell in love, otherwise he would not have called the experienced feeling a “strange adventure”, he would not have agreed with the nameless stranger that they both received something like a sunstroke.
Everything in the hotel room still reminded her of her. However, these memories were heavy, from one look at the unmade bed, the already unbearable longing intensified. Somewhere out there, behind the open windows, a steamer with a mysterious stranger was sailing away from him.
The lieutenant for a moment tried to imagine what the mysterious stranger was feeling, to feel himself in her place. She is probably sitting in a glassy white saloon or on the deck and looking at the huge river shining under the sun, at the oncoming rafts, at the yellow shallows, at the shining distance of water and sky, at all this immense expanse of the Volga. And he is tormented by loneliness, irritated by the bazaar dialect and the creak of wheels.
The life of the most ordinary person is often boring and monotonous. And only thanks to such fleeting meetings do people forget about everyday boring things, each parting inspires hope for new meeting, and there's nothing you can do about it. But where can the lieutenant meet his beloved in the big city? In addition, she has a family, a three-year-old daughter. It is necessary to continue to live, not to let despair take over the mind and soul, at least for the sake of all future meetings.
Everything passes, as Julius Caesar said. At first, a strange, incomprehensible feeling overshadows the mind, but longing and loneliness inevitably remain in the past, as soon as a person finds himself in society again, communicates with interesting people. New meetings are the best cure for parting. There is no need to withdraw into yourself, to think about how to live this endless day with these memories, with this inseparable torment.
The lieutenant was alone in this godforsaken town. He hoped to find sympathy for himself from those around him. But the street only reinforced the painful memories. The hero could not understand how one can calmly sit on the goats, smoke, and generally be careless, indifferent. He wanted to know if he was the only one so terribly unhappy in this whole city.
In the bazaar, everyone did nothing but praise their goods. All this was so stupid, absurd that the hero ran away from the market. In the cathedral, the lieutenant also did not find shelter: they sang loudly, cheerfully and decisively. No one cared about his loneliness, and the pitiless sun burned inexorably. The shoulder straps and buttons of his tunic were so hot that it was impossible to touch them. The severity of the lieutenant's inner feelings was aggravated by the unbearable heat outside. Yesterday, being under the power of love, he did not notice the scorching sun. Now, it seemed, nothing could overcome the loneliness. The lieutenant tried to find solace in alcohol, but his feelings cleared up even more from vodka. The hero so wanted to get rid of this love and at the same time he dreamed of meeting his beloved again. But how? He didn't know her last name or her first name.
The lieutenant's memory still retained the smell of her tan and canvas dress, the beauty of her strong body and the elegance of her small hands. For a long time looking at the portrait of some military man on the photo display, the hero thought about the question of whether such love is needed, if then everything everyday becomes scary and wild, is it good when the heart is struck by too much love, too much happiness. They say everything is good in moderation. The once strong love after parting is replaced by envy of others. The same thing happened to the lieutenant: he began to languish with tormenting envy of all non-suffering people. Everything around looked lonely: houses, streets... It seemed that there was not a soul around. From the former well-being, only thick white dust lay on the pavement.
When the lieutenant returned to the hotel, the room had already been cleaned and seemed empty. The windows were closed, the curtains drawn. Only a light breeze entered the room. The lieutenant was tired, besides, he was very drunk and lay with his hands behind his head. Tears of despair rolled down his cheeks, so strong was the feeling of a person's powerlessness in front of an omnipotent fate.
When the lieutenant woke up, the pain of loss dulled a little, as if he had parted with his beloved ten years ago. Staying in the room was unbearable. Money for the hero lost all value, it is quite possible that memories of the city bazaar and the greed of merchants were still fresh in his memory. Having generously settled with the cabman, he went to the pier and a minute later found himself on a crowded steamer following the stranger.
The action came to a denouement, but at the very end of the story, I. A. Bunin puts the final touch: in a few days, the lieutenant has aged ten years. Feeling in captivity of love, we do not think about the inevitable moment of parting. The more we love, the more painful our suffering becomes. This severity of parting with the person closest to you is incomparable. What does a person experience when he loses his love after unearthly happiness, if, due to a fleeting passion, he ages ten years?
Human life is like a zebra: the white stripe of joy and happiness will inevitably be replaced by black. But the success of one person does not mean the failure of another. We need to live with an open mind, giving joy to people, and then joy will return to our lives, more often we will lose our heads with happiness, rather than languish in anticipation of a new sunstroke. After all, there is nothing more unbearable than waiting
The difficult life of Ivan Alekseevich left an imprint on his works, but in spite of everything, the theme of love runs like a red stripe through all his work.
In 1924, Bunin began to write a cycle of works that were very closely related to each other. These were separate stories, each of which was an independent work. These stories are united by one theme - this is the theme of love. Bunin combined five of his works in that cycle: "Mitya's Love", "Sunstroke", "Ida", "Mordovian Sundress", "The Case of Cornet Elagin". They describe five different cases of love arising out of nowhere. The same love that strikes at the very heart, overshadowing the mind and subjugating the will.
This article will focus on the story "Sunstroke". It was written in 1925 when the writer was in the Alpes-Maritimes. How the story was born later, the writer told Galina Kuznetsova, one of his lovers. She, in turn, wrote it all down in her diary.
A connoisseur of human passions, a man capable of erasing all boundaries before a wave of feelings, a writer who owned the word in perfect elegance, inspired by a new feeling, easily and naturally expressed his thoughts as soon as any idea was born. Any object, any event or natural phenomenon could serve as a stimulus. The main thing is not to waste the received feeling, and to fully surrender to the description, without stopping, and perhaps not completely controlling yourself.
The plot of the story
The storyline of the story is quite simple, although we should not forget that the action takes place a hundred years ago, when morals were completely different, and it was not customary to write about it openly. On a wonderful warm night, a man and a woman meet on the ship. They are both warmed up with wine, there are magnificent views around, the mood is good and romance is everywhere. They communicate, after that they spend the night together in the nearest hotel and leave when morning comes.
The meeting is so amazing, fleeting and unusual for both that the main characters did not even recognize each other's names. This madness is justified by the author: "Neither one nor the other has ever experienced anything like this in all his life."
The fleeting meeting impressed the hero so much that he could not find a place for himself after parting, the next day. The lieutenant realizes that only now he understood what happiness can look like when the object of all desires is nearby. After all, for a moment, let this night, he was the most happy man on the ground. The tragedy of the situation was added by the realization that most likely he would not see her again.
At the beginning of the acquaintance, the lieutenant and the stranger did not exchange any data, they did not even recognize each other's names. As if dooming yourself to a single communication in advance. Young people retired with one single purpose. But this does not discredit them, they have a serious justification for their act. The reader learns about this from the words of the main character. After spending the night together, she seems to conclude: “It’s like an eclipse has come over me ... Or, rather, we both got something like a sunstroke ...” And this sweet young woman wants to believe.
The narrator manages to dispel any illusions about the possible future of a wonderful couple and reports that the stranger has a family, a husband and a little daughter. BUT main character, when he caught himself, assessed the situation and decided not to lose such a beloved object of personal preferences, he suddenly realizes that he cannot even send a telegram to his night lover. He does not know anything about her, neither her name, nor her last name, nor her address.
Although the author did not pay attention detailed description women, the reader likes her. I would like to believe that the mysterious stranger is beautiful and smart. And this incident should be perceived as a sunstroke, nothing more.
Bunin probably created the image of a femme fatale who represented his own ideal. And although there is no detail either in appearance or in the inner content of the heroine, we know that she has a simple and lovely laugh, long hair because she uses stilettos. The woman has a strong and elastic body, strong small hands. Her well-groomedness can be indicated by the fact that a subtle aroma of perfume is felt close to her.
Semantic load
In his work, Bunin did not specify. There are no names in the story. The reader does not know on which ship the main characters sailed, in which city they made a stop. Even the names of the characters remain unknown. Probably, the writer wanted the reader to understand that names and titles are not important when it comes to such an exalted feeling as falling in love and love. It cannot be said that the lieutenant and the married lady have a great secret of love. The passion that flared up between them, most likely, was initially perceived by both as an affair during a trip. But something happened in the soul of the lieutenant, and now he cannot find a place for himself from the surging feelings.
From the story you can see that the writer himself is a psychologist of personalities. This is easy to track by the behavior of the main character. At first, the lieutenant parted with his stranger with such ease and even joy. However, after some time, he wonders what it is about this woman that makes him think about her every second, why now the whole wide world is not dear to him.
The writer managed to convey the tragedy of unfulfilled or lost love.
The structure of the work
In his story, Bunin described, without affectation and embarrassment, a phenomenon that the common people call treason. But he was able to do it very subtly and beautifully, thanks to his writing talent. In fact, the reader becomes a witness of the greatest feeling that has just been born - love. But it happens in reverse chronological order. The standard scheme: eyeing, acquaintance, walks, meetings, dinners - all this is thrown aside. Only the acquaintance of the main characters that took place immediately leads them to the climax in the relationship between a man and a woman. And only after parting, satisfied passion suddenly gives birth to love.
“The feeling of the pleasures he had just experienced was still alive in him, but now the main thing was a new feeling.”
The author conveys feelings in detail, placing emphasis on such trifles as smells and sounds. For example, the story describes in detail the morning when the market square is open, with its smells and sounds. And the sound of bells can be heard from the nearby church. It all seems happy and bright, and contributes to unprecedented romance. At the end of the work, all the same seems to the hero unpleasant, loud and irritable. The sun no longer warms, but burns, and you want to hide from it.
In conclusion, one phrase should be quoted:
“The dark summer dawn was dying out far ahead, gloomy, sleepy and multi-colored reflected in the river ... and the lights scattered in the darkness all around floated and floated back”
This is what reveals the concept of love of the author himself. Once Bunin himself said that there is no happiness in life, but there are some happy moments that need to be lived and appreciated. After all, love can appear suddenly, and disappear forever. Sadly, in Bunin's stories, the characters constantly part. Perhaps he wants to tell us that there is great meaning in separation, because of it love remains deep in the soul and diversifies human sensitivity. And it really does feel like a sunstroke.
The writing
Bunin considered the book "Dark Alleys" - a cycle of stories about love - to be his most perfect creation. The book was written during the Second World War, when the Bunin family found itself in an extremely difficult situation (conflicts with the authorities, the virtual lack of food, cold, etc.). The writer made in this book an attempt unprecedented in artistic courage: he wrote thirty-eight times (such is the number of stories in the book) "about the same thing." However, the result of this amazing constancy is striking: every time a sensitive reader experiences the recreated picture (seemingly known to him) as absolutely new, and the sharpness of the “feeling details” communicated to him is not only not dulled, but, it seems, only intensifies. In terms of themes and stylistic features, the collection "Dark Alleys" adjoins the story "Sunstroke" created back in 1927.
The narrative technique of Bunin's later works is distinguished by a striking combination of noble simplicity and sophistication. "Sunstroke" begins - without any pre-emptive explanation - with a vaguely personal sentence: "After dinner, we left the bright and hotly lit dining room on deck ...". The reader still does not know anything about the upcoming event or about its participants: the very first impressions of the reader are associated with sensations of light and heat. Images of fire, stuffiness, sunshine will support throughout this six-page story " high temperature» Narratives. The heroine's hand will smell like a tan; in a “pink” kosovorotka a hotel footman will meet a young couple, and a hotel room will turn out to be “terribly stuffy, hotly heated”; the “unfamiliar town” will be saturated with heat, in which you will have to burn yourself from touching the buttons of your clothes and squint from the unbearable light.
Who is “she”, where and when does the action take place? Perhaps the reader, like the main character, will not have time to realize this: in Bunin's story, all this will be pushed to the periphery of the only important event - "too much love", "too much happiness." The story, devoid of exposition, will end with a laconic epilogue - a short sentence, in which the lieutenant, who feels like he has aged ten years, will forever freeze.
The transience of the incident that served as the basis for the plot is emphasized in "Sunstroke", as in other later works of Bunin, by the fragmentation, dottedness of the story about love rapprochement: separate details, gestures, fragments of dialogue are selected and as if hastily assembled. The tongue twister says about the parting of the lieutenant with the “beautiful stranger”: “easily agreed”, “drew to the pier”, “kissed on deck”, “returned to the hotel”. In general, the description of the meeting of lovers takes a little more than one page of text. This compositional feature Bunin's works about love - the selection of the most significant, critical episodes, the high plot "speed" in the transfer of the love story - allows many literary historians to talk about the "novelistic" nature of Bunin's late prose. Very often (and quite reasonably) researchers directly call these works of his short stories. However, Bunin's works are not limited to a dynamic story about the ups and downs of love.
The repetitive "formula" of the plot - a meeting, a quick rapprochement, a blinding flash of feelings and an inevitable parting, sometimes accompanied by the death of one of the lovers - precisely because of its repetition ceases to be "news" (the literal meaning of the Italian word "novella"). Moreover, as a rule, already the initial fragments of the text contain the author's indications not only of the transience of the upcoming event, but also of the future memories of the characters. In Sunstroke, a similar indication follows immediately after the mention of the first kiss: "... Both ... for many years then remembered this moment: neither one nor the other had ever experienced anything like this in their entire lives." Noteworthy is the “grammatical inaccuracy”, possibly deliberately made by Bunin in this sentence: the verb “experienced” should have been used in plural. A possible explanation is the author's desire for the ultimate generalization: regardless of social, psychological, and even gender differences, the characters in Bunin's stories embody one consciousness and one worldview.
Let us pay attention to how, within the framework of one sentence, “wonderful moment” and “whole life” are conjugated and turn out to be values of the same order. Bunin writes not only about love, the scale of all earthly human existence is important for him, he is attracted by the mysterious fusion of “terrible” and “beautiful”, “miracle” and “horror” of this life. That is why the love plot often turns out to be only a part of the work, coexisting with fragments of a meditative nature.
Almost five of the total six pages of the text of "Sunstroke" describe the state of the lieutenant after parting with a stranger. Actually, the novelistic plot is only a preamble to the hero's lyrically rich reflections on the mystery of life. The intonation of these reflections is given by a dotted line of recurring persistent questions that do not imply an answer: “Why prove it?”, “What to do now?”, “Where to go?”. As we can see, the series of events of the story is subordinated to the universal problems of eternal "joys and sorrows". The growing feeling of immensity and - at the same time - the tragic irretrievability of the experienced happiness constitutes the compositional core of the story in "Sunstroke".
Bunin's focus on the "eternal" questions of human existence, on the existential problems of being, does not make love stories philosophical: the writer does not like logical abstractions, does not allow philosophical terminology into his texts. The foundation of Bunin's style is not a logically consistent development of thought, but an artistic intuition of life, which finds expression in almost physiologically perceptible descriptions, in complex "patterns" of light and rhythmic contrasts.
The experience of life is the material of Bunin's stories. What is the subject of this experience? At first glance, the narrative in his stories is oriented towards the point of view of the character (this is especially noticeable in "Clean Monday", the story in which is told from the perspective of a wealthy Muscovite, outwardly distant from the author). However, the characters, even if they are endowed with signs of individuality, appear in both analyzed stories as a kind of mediums of some higher consciousness. These characters are characterized by "ghostliness": they are like the shadows of the author, and therefore the descriptions of their appearance are extremely concise. The portrait of the lieutenant in "Sunstroke" is made in a deliberately "depersonalizing" manner: "He ... looked at himself in the mirror: his face is an ordinary officer's face, gray from sunburn, with a whitish, sun-bleached mustache and bluish white eyes. ..". We only learn about the narrator of Pure Monday that he “was handsome at that time for some reason, southern, hot beauty ...”
Bunin's characters were given exceptional sharpness of sensual reactions, which was characteristic of the author himself. That is why the writer almost never resorts to the form of an internal monologue (this would make sense if the character's mental organization were significantly different from the author's). The author and the characters (and after them the readers) of Bunin's stories see and hear in the same way, they are equally amazed at the infinity of the day and the transience of life. Bunin's manner is far from Tolstoy's methods of "dialectics of the soul"; it is also unlike Turgenev's "secret psychologism" (when the writer avoids direct assessments, but allows one to judge the state of the hero's soul by skillfully selected external manifestations of feeling). The movements of the soul of Bunin's heroes defy logical explanation. The characters seem to have no power over themselves, as if they are deprived of the ability to control their feelings.
In this regard, Bunin's predilection for impersonal verb constructions in character state descriptions. “We had to escape, to occupy ourselves with something, to distract ourselves, to go somewhere ...” - he conveys the state of the hero of “Sunstroke”. “... For some reason, I definitely wanted to go there,” the narrator of Pure Monday testifies about visiting the Marfo-Mariinsky Convent, where he will see his beloved for the last time. The life of the soul in the image of Bunin is beyond the control of reason, inexplicable, it languishes with the mystery of the meaning hidden from mortals. The most important role in the transfer of "emotional whirlwinds" experienced by the characters is played by the methods of lyrical "infection" (associative parallels, rhythmic and sound organization of the text).
Vision, hearing, taste and temperature sensations of the lieutenant in "Sunstroke" are extremely sharpened. That is why the whole symphony of smells is so organic in the story (from the smells of hay and tar to the smells of “her good English cologne ..., her suntan and canvas dress”), and the details of the sound background (“soft knock” of the steamer hitting the pier ; the sound of bowls and pots sold at the market; the noise of “boiling and running forward water”), and gastronomic details (botvinya with ice, lightly salted cucumbers with dill, tea with lemon). But the states of the character most expressively described in the story are associated with a sharp perception of the luminous and radiant sun. It is precisely from the details of light and temperature, again and again presented in close-up and giving distinctness to the inner rhythm of the story, that the "brocade" verbal fabric of "Sunstroke" is woven. Bringing together, focusing these energetic verbal threads, Bunin, without any explanation, without appealing to the consciousness of the character, conveys the ecstasy of the moments he experiences. However, the psychological state of the lieutenant turns out to be not only a fact of his inner life. The inseparability of beauty and horror; joy, from which “the heart was simply torn to pieces,” turn out to be objectively existing characteristics of being.
The writer turns in his late prose not to the rationally comprehended facets of life, but to those spheres of experience that allow, at least for a moment, to touch the mysterious, metaphysical depths of being (metaphysical is that which is beyond the limits perceived by man). natural phenomena; that cannot be rationally comprehended). This is precisely the sphere of love for Bunin - the sphere of unsolved mystery, unspokenness, opaque semantic depth. The love experience in the image of the writer is associated with an unprecedented rise in all the emotional abilities of a person, with his exit into a special - contrasting with the everyday flow of life - dimension. This is the true dimension of being, in which far from everyone is involved, but only those who are given a happy (and always the only) opportunity to experience the painful joy of love.
Love in Bunin's works allows a person to accept life as the greatest gift, to acutely feel the joy of earthly existence, but this joy for the writer is not a blissful and serene state, but a tragic feeling, colored with anxiety. The emotional atmosphere of the stories is created by the interaction of the motifs of love, beauty and inevitable finiteness, the short duration of happiness, which are stable in Bunin's late prose. Joy and torment, sadness and jubilation are fused in Bunin's later works into an indissoluble whole. "Tragic major" - this is how the pathos of Bunin's stories about love was defined by the critic of the Russian abroad Georgy Adamovich: places, the sun is the sun, love is love, good is good.
The writing
The title of a poetic work is always important, because it always points them to the main character of its characters, in which the thought of the work is embodied, or directly to this thought.
V. G. Belinsky
The theme of "Sunstroke" (1925) is an image of love that suddenly seizes a person and remains in his soul the brightest memory for life. The idea of the story is in that peculiar understanding of love, which is connected with the writer's philosophical views on a person and his life. Love, from the point of view of Bunin, is the moment when all the emotional abilities of a person become aggravated and he breaks away from the gray, unsettled, unhappy reality and comprehends a “wonderful moment”. This moment quickly passes, leaving in the soul of the hero regret about the irretrievability of happiness and gratitude that it still happened. That is why the short-term, piercing and delightful feeling of two young people who accidentally met on a steamer and parted forever in a day is compared in the story with a sunstroke. This is what the heroine says: "We both got something like a sunstroke ...".
It is interesting that this figurative expression is confirmed by the real suffocating heat of the described day. The author gradually builds up the impression of heat: the steamer smells hot of the kitchen; the “beautiful stranger” is going home from Anapa, where she sunbathed under the southern sun on the hot sand; the night when the heroes got off the ship was very warm; the footman in the hotel is dressed in a pink kosovorotka; in a hotel room heated during the day, it is terribly stuffy, etc. The day following the night was also sunny and so hot that it was painful to touch the metal buttons on the lieutenant's tunic. The town irritatingly smells of various bazaar food.
All the experiences of the lieutenant after a fleeting adventure really resemble a painful condition after a sunstroke, when (according to medical indications) a person, as a result of dehydration of the body, feels headache, dizziness, irritability. However, this excited state of the hero is not the result of overheating of the body, but a consequence of the realization of the significance and value of the empty adventure that he has just experienced. It was the brightest event in the life of the lieutenant and the “beautiful stranger”: “both of them remembered this moment for many years: neither one nor the other had ever experienced anything like this in their entire lives.” So for Bunin, a moment of happiness and a whole life become values of the same order. The writer is attracted by the "mystery of being" - a combination of joy and sadness, miracle and horror.
The story "Sunstroke" is short, and five of the six pages are occupied by a description of the lieutenant's experiences after parting with the "beautiful stranger". In other words, it is not interesting for Bunin to draw various vicissitudes of love (they have already been drawn in Russian and world literature thousands of times) - the writer comprehends the meaning of love in human life, without exchanging for enticing little trinkets. Therefore, it is interesting to compare the image of love in Bunin's story "Sunstroke" and in Chekhov's story "The Lady with the Dog", especially since literary critics note the similarity of the plots of these works.
Both Chekhov and Bunin show a gray, ordinary life that stifles human feelings, but they show it in different ways. Chekhov shows the nightmare of the surrounding life, drawing its vulgarity; Bunin - depicting a moment of true passion, that is real life, according to the writer, which is so unlike the gray routine. Chekhovsky Gurov, returning to Moscow, cannot tell anyone about his acquaintance with Anna Sergeevna. Once, however, he admits to his card partner that he met a charming woman in the Crimea, but in response he hears: “And just now you were right: sturgeon is with a smell!” (III). The above phrase made Gurov horrified by his usual life, because he realized that even "in an educated society" few people care about high feelings. And Bunin's heroes are seized by the same fear and despair as Gurov. At the moment of happiness, they consciously fence themselves off from everyday life, and Bunin, as it were, says to readers: "Now think for yourself what your usual existence is worth compared to the wonderful moments of love."
Summing up, it should be recognized that in Bunin's story, a sunstroke became an allegory high love that only a person can dream of. Sunstroke demonstrates both artistic principles and philosophical views writer.
Bunin's philosophy of life is such that for him the moment when a person immediately knows the happiness of love (as in "Sunstroke") or the meaning of being is revealed to him (as in "Silence"), a moment of happiness strikes Bunin's heroes, as sunstroke, and the rest of life is held only by deliciously sad memories of him.
However, it seems that such a philosophy devalues the rest of a person's life, which becomes just a vegetation between rare moments of happiness. Gurov in "The Lady with the Dog" knows no worse than Bunin's "beautiful stranger" that after several happy days everything will end in love (II), the prose of life will return, but he is beaten by Anna Sergeevna and therefore does not leave her. Chekhov's heroes do not run away from love, and thanks to this, Gurov was able to feel that "now that his head has turned gray, he fell in love, properly, for the first time in his life" (IV). In other words, "The Lady with the Dog" only begins where "Sunstroke" ends. Bunin's heroes have enough passionate feelings for one brightly emotional scene in a hotel, while Chekhov's heroes try to overcome the vulgarity of life, and this desire changes them, makes them nobler. The second life position seems to be more correct, although rarely does anyone succeed.
Bunin's artistic principles, which are reflected in the story, include, firstly, an uncomplicated plot, interesting not with exciting twists and turns, but with inner depth, and secondly, a special subject depiction, which gives the story credibility and persuasiveness. Thirdly, Bunin's critical attitude to the surrounding reality is expressed indirectly: he draws an extraordinary love adventure in the ordinary life of the heroes, which shows in an unattractive way their entire habitual existence.
The story "Sunstroke", Ivan Alekseevich Bunin wrote in 1925, while in the Maritime Alps. This story, like many other works by Bunin written in exile, has a love story. The author in this work shows that mutual feelings can stir up a series of love experiences.
Bunin thought a lot about the title of the story. There were two poorly chosen titles for the story, which the author himself considered simple and completely obvious. They did not reflect Bunin's mood, the first reported on the ongoing events, the second indicated the possible name of the heroine. So the writer had the idea of the third and most successful title "Sunstroke". This name simply screamed about the feeling that the main character experienced, such a sudden, vivid feeling that instantly captures a person and, as it were, incinerates him to ashes.
In the work, the author does not give a clear description of the heroes of the story, everything is extremely blurry, no names, no age. In this way, the writer seems to elevate his main characters above environment, conditions and time. The characters in the story are the lieutenant and his companion. Being previously unfamiliar, after spending one day together, they felt such a sincere, immaculate feeling that they had not experienced before. But on the way, the lovers encountered obstacles and intrigues of fate, they involuntarily said goodbye. Bunin wanted to show that gray everyday life is very harmful for love, they only destroy it.
Bunin tells of a fleeting romance that arose between a lieutenant and a married lady. He delves into all the subtleties of the inflamed passion that arose between the heroes, who, after spending the night, without even knowing each other's names, are forced to part. The lieutenant was so subdued by his fellow traveler that after parting he felt melancholy and spiritual emptiness. Sitting in an empty cabin, he felt that he had aged ten years. But the most aggravated his state of confusion and bewilderment. He did not know how to find the lady of his heart and confess to her about his feelings and does not see more life without her.
Bunin's style of narration is very "dense". He is a craftsman of a short genre, in a small volume he manages to fully reveal all the images of his characters and convey the whole essence of his plan and plot.
I. A. Bunin never told about happy love. The story "Sunstroke" is no exception. He believed that the union of souls is a completely different feeling, incommensurable with passion. True love comes and goes as suddenly as a sunstroke.
Option 2
The story "Sunstroke" was written by I. A. Bunin in 1925, during his fruitful work on a whole series of stories on similar topics. This was greatly facilitated by the environment in which the writer lived, the beauty of the surrounding nature of the Alpes-Maritimes.
In this story, Bunin, in a poetic, figurative manner, depicted how easily a feeling of attraction sometimes flares up between a man and a woman, and what a trace or even a scar it can leave in fate. This theme is very consonant with the general mood of the society of that time.
The heroes of the work are nameless, we can only present them in in general terms. He is a lieutenant, she is a beautiful stranger. They get to know each other in a light, relaxed atmosphere of a dinner on a ship, go out on deck together. Mutual feeling has already arisen, it pushes the heroes to a reckless act. They are unable to resist him. And each other and the world perceived only by the senses. The hero cannot resist the "little woman" carried away by the "smell of a tan". The heroine feels extraordinary joy, her mood rings with “simple light laughter”. Their actions are impetuous and fast, they rush to possess each other as the only goal in life.
Morning returns to inevitable reality. The heroine is "fresh, as at seventeen, simple, cheerful, and - already reasonable." Interestingly, it is the woman who plays the leading role in this story, and it is she who concludes that everything that happened is a “sunstroke”.
The story is literally saturated with descriptions of landscapes and changes in pictures of the surrounding nature. It seems that nature itself is a participant, the main eyewitness and "censor" of everything that happens to the characters.
If at the beginning of the story we see "a deck flooded with the sun", then all further landscapes are immersed in darkness. The result of the meeting, as a consequence of the "sunstroke" is internal devastation, a feeling of irreparable loss, a painful perception of the immutability of the world and people. The impossibility of developing further relations is not realized at first, they seem to be in shock from what happened. The stranger "easily" leaves, the lieutenant "easily" sees her off. But both have already undergone a destructive process. Just as the literal sun, capable of warming, can deal a painful blow, so the all-consuming passion is far from true warmth and happiness. It is not surprising that "the lieutenant ... felt ten years older."
In "Sunstroke" Bunin portrayed love as a passion that has no future, which does not illuminate, but strikes the hearts of heroes and anyone can fall under this blow.
Analysis 3
We don't know anything about the heroes of this short story. He is a lieutenant. Judging by the mention of the deserts of Turkestan, it returns from the extreme south Russian Empire. She is a young lady who somewhere has a husband and a three-year-old daughter. Of the characters in the story, one can also mention the lackey "in a pink shirt" and a cheerful cabman. In the evening, he drove two people to the hotel, and on the next steamer he brought up one officer in a cab. That's all. The rest of the story space is occupied by a description of the sensations of a young rake in a sun-hot Volga town.
Why didn't she want to continue the journey together? Apparently, she understood the difference between the passion that gripped them, and love. Then the vulgarity of an illegal relationship between a married woman and a young officer would begin. From this we can draw another conclusion: she is older and more experienced. The love adventure will remain a secret, remembering which it will not be so boring for her to while away the winter evenings in some provincial town. And what happened to them will never happen again. Further, if they do not part, "everything will be spoiled."
The lieutenant's throwing around an unfamiliar town deserves a separate discussion. Everything seems to him too ordinary, boring compared to what he just experienced. Perhaps it is too early to call him a rake. The young man is in love. It might be the first time this has happened to him. The sun blinds him, the air chokes him. But he is sincerely mistaken. Beautiful woman gave him a feeling of happiness. And it's good that it's not for long. Now he knows what it is, but has not yet experienced disappointment. She gave him a future.
Probably, a beautiful stranger is not so happy family life. Otherwise, she would not have gone to the resort alone. Girls were married early, and she did not have time to experience anything like this before she went down the aisle. That evening, for the first time, she gave vent to her feelings. What gives rise to so many assumptions and impressions after reading just a few pages? After all, the usual everyday situation is described. But the author paid such attention to subtle, seemingly insignificant details that the story, as it were, becomes larger due to this, depicting not a provincial town and two people who accidentally got off the steamer there, but the whole country. One can say about the painting of Bunin, who wrote both the picture and the story at the same time. But on this pictorial canvas, not only the external features of the heroes are visible, but also their subtlest experiences.
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