In June of that year, he was a guest at our estate - he was always considered our man: his late father was a friend and neighbor of my father. On June 15, Ferdinand was killed in Sarajevo. On the morning of the sixteenth they brought newspapers from the post office. Father left the office with a Moscow evening newspaper in his hands into the dining room, where he, mother and I were still sitting at the tea table, and said: Well, my friends, war! Austrian crown prince killed in Sarajevo. This is war! On Peter's Day, a lot of people came to us - it was my father's name day - and at dinner he was announced as my fiancé. But on the nineteenth of July, Germany declared war on Russia... In September, he came to us for just a day - to say goodbye before leaving for the front (everyone then thought that the war would end soon, and our wedding was postponed until spring). And then came our farewell party. After supper, as usual, a samovar was served, and, looking at the windows fogged up from its steam, the father said: — Surprisingly early and cold autumn! We sat quietly that evening, only occasionally exchanging insignificant words, exaggeratedly calm, hiding our secret thoughts and feelings. With feigned simplicity, my father said about autumn. I went to the balcony door and wiped the glass with a handkerchief: in the garden, in the black sky, pure ice stars sparkled brightly and sharply. Father was smoking, leaning back in an armchair, gazing absently at a hot lamp hanging over the table, mother, in glasses, was diligently sewing up a small silk bag under its light - we knew what kind - and it was touching and creepy. Father asked: “So you still want to go in the morning, and not after breakfast?” “Yes, if you will, in the morning,” he replied. “It’s very sad, but I haven’t quite finished the housework yet. Father sighed lightly. - Well, as you wish, my soul. Only in this case, it’s time for mom and me to sleep, we certainly want to see you off tomorrow ... Mom got up and crossed her future son, he leaned towards her hand, then to the hand of his father. Left alone, we spent a little more time in the dining room - I decided to play solitaire - he silently walked from corner to corner, then asked: - Do you want to walk a little? My heart was becoming more and more difficult, I answered indifferently:- Fine... Dressing in the hallway, he continued to think something, with a sweet smile he remembered Fet's poems:

What a cold autumn!
Put on your shawl and hood...

“No hood,” I said. — And what next? - I do not remember. It seems so:

Look - between the blackening pines
As if the fire is rising...

- What fire? — Moonrise, of course. There is some rustic autumn charm in these verses: “Put on your shawl and bonnet...” The times of our grandparents... Oh, my God, my God!- What you? Nothing, dear friend. Still sad. Sad and good. I very-very love you... Having dressed, we went through the dining-room to the balcony, and descended into the garden. At first it was so dark that I held on to his sleeve. Then black boughs began to appear in the brightening sky, showered with minerally shining stars. He paused and turned towards the house. “Look how very special, in autumn, the windows of the house shine. I will be alive, I will always remember this evening ... I looked and he hugged me in my Swiss cape. I pulled the shawl away from my face, tilted my head slightly so that he kissed me. He kissed me and looked into my face. “The eyes are shining,” he said. - Are you cold? The air is very wintry. If they kill me, you won't forget me right away, will you? I thought: “What if the truth is killed? and will I really forget it in some short time - after all, everything is forgotten in the end? And hastily answered, frightened by her thought: - Do not say that! I won't survive your death! After a pause, he spoke slowly: “Well, if they kill you, I will wait for you there. You live, rejoice in the world, then come to me. I cried bitterly... He left in the morning. Mama put around his neck that fateful pouch that she had sewn up in the evening—it contained a golden icon that her father and grandfather had worn in the war—and we crossed it with a kind of impetuous despair. Looking after him, we stood on the porch in that stupefaction that always happens when you see someone off for a long time, feeling only an amazing incompatibility between us and the joyful, sunny, sparkling frost on the grass that surrounded us in the morning. After standing, they entered the deserted house. I went through the rooms with my hands behind my back, not knowing what to do with myself now and whether I should sob or sing at the top of my voice ... Killed him - what a strange word! - a month later, in Galicia. And thirty years have passed since then. And much, much has been experienced over these years, which seem so long, when you carefully think about them, sort through in your memory all that magical, incomprehensible, incomprehensible neither by mind nor heart, which is called the past. In the spring of 1918, when neither father nor mother was alive, I lived in Moscow, in the basement of a tradeswoman on the Smolensk market, who kept mocking me: “Well, Your Excellency, how are your circumstances?” I was also engaged in trade, selling, as many sold then, to soldiers in hats and unbuttoned greatcoats, some of what was left with me - either some kind of ring, then a cross, then a fur collar beaten by moths, and here, trading on the corner Arbat and the market, met a man of a rare, beautiful soul, an elderly retired military man, whom she soon married and with whom she left in April for Yekaterinodar. We went there with him and his nephew, a boy of about seventeen, who also made his way to the volunteers, for almost two weeks - I am a woman, in bast shoes, he is in a worn Cossack zipun, with a black and gray beard let go - and we stayed on the Don and on Kuban more than two years. In winter, in a hurricane, we sailed with a myriad of other refugees from Novorossiysk to Turkey, and on the way, at sea, my husband died of typhus. After that, I had only three relatives left in the whole world: my husband's nephew, his young wife and their girl, a child of seven months. But my nephew and his wife sailed away after some time to the Crimea, to Wrangel, leaving the child in my arms. There they went missing. And I lived for a long time in Constantinople, earning for myself and for the girl with very hard black labor. Then, like many, wherever I wandered with her! Bulgaria, Serbia, the Czech Republic, Belgium, Paris, Nice... The girl grew up a long time ago, stayed in Paris, became completely French, very pretty and completely indifferent to me, worked in a chocolate shop near the Madeleine, wrapped boxes in satin with her sleek hands with silver nails. paper and tied them with gold cords; but I lived and still live in Nice than God sends ... I was in Nice for the first time in 1912 - and could I think in those happy days what it would one day become for me! And so I survived his death, recklessly saying once that I would not survive it. But, remembering everything that I have experienced since then, I always ask myself: yes, but what happened in my life after all? And I answer myself: only that cold autumn evening. Has he ever been? Still, there was. And this is all that was in my life - the rest is an unnecessary dream. And I believe, fervently believe: somewhere out there he is waiting for me - with the same love and youth as on that evening. “Live, rejoice in the world, then come to me ...” I lived, rejoiced, now I will come soon. May 3, 1944

Meshcheryakova Nadezhda.

Classic.

Download:

Preview:

Analysis of the story by I. A. Bunin "Cold Autumn".

Before us is the story of I. A. Bunin, which, among his other works, has become classical Russian literature.

The writer turns to ordinary, at first glance, types of human characters, so that through them, their experiences reveal the tragedy of an entire era. The comprehensiveness and accuracy of each word, phrase (characteristic features of Bunin's stories) manifested itself especially clearly in the story "Cold Autumn". The name is ambiguous: on the one hand, the time of the year when the events of the story unfolded is quite specifically called, but in a figurative sense, “cold autumn”, like “Clean Monday”, is a period of time, the most important in the life of heroes, this is also a state of mind.

The story is told from the perspective of the main character.

The historical framework of the story is wide: they cover the events of the First World War, and the revolution that followed it, and the post-revolutionary years. All this fell to the lot of the heroine - a blooming girl at the beginning of the story and an old woman close to death at the end. Before us are her memoirs, similar to a generalizing life outcome. From the very beginning, events of world significance are closely connected with the personal fate of the characters: “war breaks into the sphere of“ peace ”. “... at dinner, he was announced as my fiancé. But on July 19 Germany declared war on Russia…”. The heroes, anticipating trouble, but not realizing its true scale, still live in a peaceful regime - calm both internally and externally. “Father left the office and cheerfully announced: “Well, my friends, war! Austrian crown prince killed in Sarajevo! This is war! - so the war entered the life of Russian families in the hot summer of 1914. But here comes the "cold autumn" - and before us it seems that the same, but in fact already different people. Bunin talks about their inner world with the help of dialogues that play a particularly important role in the first part of the work. Behind all the on-duty phrases, remarks about the weather, about “autumn”, there is a second meaning, subtext, unspoken pain. They say one thing - they think about another, they say only for the sake of maintaining a conversation. Quite Chekhov's technique - the so-called "undercurrent". And the fact that the distraction of the father, the diligence of the mother (like a drowning man clutching at a straw for a “silk bag”), the indifference of the heroine are feigned, the reader understands even without a direct explanation of the author: “only occasionally they exchanged insignificant words, exaggeratedly calm, hiding their secret thoughts and feelings". Over tea, anxiety grows in the souls of people, already a clear and inevitable premonition of a thunderstorm; the same “fire rises” - the ghost of war looms ahead. In the face of adversity, secrecy increases tenfold: “My heart was getting harder, I responded indifferently.” The harder it is inside, the more indifferent the heroes become outwardly, avoiding explanations, as if it is easier for them all, until the fatal words are spoken, then the danger is more vague, the hope is brighter. It is no coincidence that the hero turns to the past, the nostalgic notes of “The Times of Our Grandparents” sound. The heroes yearn for a peaceful time, when they can put on a “shawl and a hood” and, embracing, take a calm walk after tea. Now this life is collapsing, and the heroes are desperately trying to keep at least an impression, a memory of him, quoting Fet. They notice how the windows “shine” in an autumnal way, how “mineral” the stars shine (these expressions acquire a metaphorical coloring). And we see what a huge role the spoken word plays. Until the groom performed the fatal "If they kill me." The heroine did not fully understand the full horror of what was to come. “And the stone word fell” (A. Akhmatova). But, frightened, even by a thought, she drives her away - after all, her beloved is still there. Bunin, with the precision of a psychologist, exposes the souls of the characters with the help of replicas.

As always with Bunin, nature plays an important role. Starting with the name "Cold Autumn" dominates the narrative, the refrain sounds in the words of the characters. The “joyful, sunny, sparkling frost” morning contrasts with the internal state of people. Mercilessly "bright and sharp" sparkle "ice stars". How the stars "shine eyes." Nature helps to feel more deeply the drama of human hearts. From the very beginning, the reader already knows that the hero will die, because everything around points to this - and above all the cold - a harbinger of death. "Are you cold?" - asks the hero, and then, without any transition: "If they kill me, will you ... not immediately forget me?" He is still alive, and the bride is already blowing cold. Premonitions - from there, from another world. “I will be alive, I will always remember this evening,” he says, and the heroine, as if she already knows what she will have to remember, is why she remembers the smallest details: “Swiss cape”, “black branches”, head tilt ...

The fact that the main character traits of the hero are generosity, disinterestedness and courage is indicated by his remark, similar to a poetic line, sounding heartfelt and touching, but without any pathos: “Live, rejoice in the world.”

And the heroine? Without any emotions, sentimental lamentations and sobs, she tells her story. But not callousness, but fortitude, courage and nobility are hidden behind this secrecy. We see the subtlety of feelings from the scene of separation - something that makes her related to Natasha Rostova, when she was waiting for Prince Andrei. Narrative sentences predominate in her story, scrupulously, to the smallest detail, she describes the main evening of her life. Doesn't say, "I cried," but notes that the friend said, "How the eyes are shining." He talks about misfortunes without pity for himself. Describes the "sleek hands", "silver nails", "golden laces" of his pupil with bitter irony, but without any malice. In her character, the pride of an emigrant coexists with resignation to fate - are these not traits of the author himself? A lot of things coincide in their lives: the revolution fell to his lot, which he could not accept, and Nice, which could never replace Russia. The French girl shows the features of the younger generation, a generation without a homeland. Having chosen several characters, Bunin reflected the great tragedy of Russia. Thousands of elegant ladies who have turned into "women in bast shoes." And "people of a rare, beautiful soul" who put on "worn Cossack zipuns" and lowered "black beards." So gradually, following the “ring, cross, fur collar” people lost their country, and the country lost its color and pride. The ring composition of the story closes the circle of the heroine's life: it's time for her to "go", to return. The story begins with a description of the “autumn evening”, ends with a recollection of it, and the sad phrase sounds like a refrain: “You live, rejoice in the world, then come to me.” We suddenly find out that the heroine lived only one evening in her life - that very cold autumn evening. And it becomes clear why, in fact, in such a dry, hurried, indifferent tone, she told about everything that happened after - after all, it was all just an “unnecessary dream”. The soul died along with that evening, and the woman looks at the remaining years as if they were someone else’s life, “as with the soul they look from a height at the body they abandoned” (F. Tyutchev). According to Bunin, true love - love - a flash, love - a moment - triumphs in this story. Bunin's love constantly breaks off at the most seemingly bright and joyful note. Circumstances interfere with her - sometimes tragic, as in the story "Cold Autumn". I recall the story "Rusya", where the hero really lived for only one summer. And circumstances intervene not by chance - they "stop the moment" until love is vulgarized, died, so that the memory of the heroine retains "not a plate, not a crucifix", but the same "shining gaze", full of "love and youth", so that life-affirming beginning, "hot faith" was preserved.

Fet's poem runs through the whole story - the same technique as in the story "Dark Alleys".

The man lived a long life. It had many hardships and losses. But before his death, he remembers only one day. Decades separate it from this day, but it seems to be the only one that matters. Everything else is an unnecessary dream. The tragic fate of a Russian emigrant is told in Bunin's "Cold Autumn". Analysis of a small work only at first sight may seem like a simple task. The writer, using the example of one story, told the tragic fate of the Russian nobles, who were forced to leave their homeland after the revolution.

Analysis of Bunin's story "Cold Autumn" according to plan

How to start this task? An analysis of Bunin's story "Cold Autumn" can be started with a short biographical note. It is permissible to state a few words about the author at the end, as is done in this article. The main thing that should certainly be present in the artistic analysis of Bunin's "Cold Autumn" is the mention of important historical events that took place in Russia in 1914-1918.

Analysis plan "Cold Autumn" Bunin:

War.
Farewell evening.
Parting.
Smolensk market.
Kuban.
Emigration.

War…

The story is told in the first person - from the perspective of a woman who remembers her youth. True, the reader will learn later that the main character is in nostalgic thoughts. Events take place in the family estate. In Russia, it becomes known about the assassination of Ferdinand in Sarajevo. Two months later, the engagement of a girl and a young man whom she has long loved and will love until the last days of her life will be celebrated in the house. And on that day it will become known: Germany has declared war on Russia. The war has begun.

At the end of June 1914, the Austrian Archduke was assassinated in Sarajevo. This event became a formal pretext for war. In those days, many in Russia were convinced that Germany would not attack Russia. Nevertheless, it happened. But even when the war began, people believed that it would not last long. No one suspected how large-scale and long this armed conflict would be.

When analyzing Bunin's Cold Autumn, it is very important to pay attention to the historical background. The events that followed after the assassination of the Archduke changed the whole world. On the eve of the war in Russia, the nobles made up 1.5% of the total population. This is about two million people. Some, who made up the majority, emigrated. Others remained in Soviet Russia. It was not easy for both.

farewell party

Why is it necessary to make an excursion into history when analyzing Bunin's "Cold Autumn"? The fact is that the style of the writer is rather concise. He says very little about his characters. You need to have at least a superficial knowledge of what happened at the beginning of the last century in Russia and in the world as a whole. Who is the main character? Probably the daughter of a hereditary nobleman. Who is her lover? White officer. In 1914 he went to the front. It happened in September. In 1914 it was an early and cold autumn.

Bunin, when analyzing the work, it is worth mentioning this, he does not name the names of his heroes. The writer has always been true to his principle: not a single superfluous word. It doesn't matter what the name of the heroine's lover is. It is important that that farewell evening was remembered by her forever.

Parting

How was that day? Mother sewed up a small silk pouch. The next day, she had to hang it around the neck of her failed son-in-law. In that bag of gold scapular, which inherited from her father. It was a quiet, autumn evening, filled with boundless, disappointing sadness.

On the eve of parting, they went out into the garden for a walk. Suddenly he remembered Fet's poems, which begin with the words "What a cold autumn ...". The analysis of Bunin's work should begin with reading the story itself. It has a lot seemingly minor details which reveal the depth of the experiences of the main character. He quoted Fet's poems and, perhaps, thanks to these lines, she remembered all her life that the autumn of 1914 was very cold. In fact, she did not see anything around. I was just thinking about the upcoming breakup.

In the morning she saw him off. The girl and her parents, who loved the young man like their own son, looked after him for a long time. They were in a state of stupefaction, typical of people who see someone off for a long separation. He was killed a month later in Galicia.

The Galician battle began on August 18 and lasted more than a month. The Russian army won. Since then, Austria-Hungary has not risked any major operations without the help of German troops. It was an important stage in the First World War. There is no exact information about how many Russian officers and soldiers died in this battle.

Smolensk market

Four years have passed. There is no father or mother of the main character. She lived in Moscow, not far from the Smolensk market. Like many, she was engaged in trade: she sold what she had left from the old days. On one of these gray days, the girl met a man of amazing kindness. It was a middle-aged retired officer who soon married her.

After the October Revolution, civil ranks and estates no longer existed. The nobles also lost their landed property, which was for many the main source of livelihood. It was also difficult to find new sources due to class discrimination.

When analyzing Bunin's text "Cold Autumn" it is worth quoting a few quotes. In her short Moscow period, the heroine lived in the basement of a merchant, who addressed her only as “your excellency.” These words were, of course, not respect, but mockery. Representatives of the nobility, who a few years ago lived in huge luxurious estates, suddenly found themselves on the very bottom of social life. Justice has triumphed - something like that thought those who had cringed before them yesterday.

in the Kuban

Life in Russia became more unbearable every day. Former nobles were heading further and further from Moscow. The main character and her husband lived in the Kuban for more than two years. Together with them was his nephew - a very young man who dreamed of becoming a volunteer. As soon as the opportunity presented itself, they, along with other refugees, headed for Novorossiysk. From there to Turkey.

Emigration

The heroine tells about what happened after the death of her lover as a strange, incomprehensible dream. She got married, then went to Turkey. The husband died of typhus on the way. She didn't have any relatives left. Only the husband's nephew and his wife. But they soon went to Wrangel, in the Crimea, leaving her a seven-month-old daughter.

She traveled with the child for a long time. She was in Serbia, and in Bulgaria, and in the Czech Republic, and in France. Settled in Nice. The girl grew up, lives in Paris, has no childish feelings for the woman who raised her.

In 1926, about a thousand Russian refugees lived in Europe. A fifth of them remained in France. Longing for the homeland, which no longer exists - this is the basis of the spiritual torment of the Russian emigrant.

You live, rejoice ...

30 years have passed. The woman understood: that distant and close autumn evening was real in her life. The following years passed like a dream. Then, the day before his departure, he suddenly spoke of death. "If they kill me, you live longer, and I'll wait for you there" - these were his last words, which she remembered for the rest of her life.

Bunin's story about the unbearable pain of a man separated from his homeland. This is a work about loneliness, the terrible losses that the war brought.

Many works of Ivan Bunin are permeated with nostalgia. The writer left Russia in 1920. Abroad, he was engaged in literary creativity, in 1933 he received the Nobel Prize. He remained stateless until the last days of his life. The story "Cold Autumn" was published in 1944. The writer died 11 years later. Buried in the cemetery Sainte-Genevieve-des-Bois.

The theme of love in the story "Cold Autumn" is closely connected with the themes of life and death, nature, emigration, and the spiritual evolution of the individual. The heroine of the story cherished all her life the memory of one evening of love, the evening on the eve of the departure of her beloved to the front of the First World War, where he soon died. Having lived her life, she clearly understood the main thing: “But what did happen in my life? Only that cold autumn evening, the rest is an unnecessary dream.

The premonition of the tragedy is palpable from the very first lines of the story: the motive of love is inextricably linked with the motive of death: “In June of that year, he visited our estate” - and in the very next sentence: “On June 15, Ferdinand was killed in Sarajevo.” "On Peter's Day, he was declared my fiancé" - and then: "But on the nineteenth of July, Germany declared war on Russia." The story becomes not so much the background of the narrative, but rather the acting force, invading the personal fate of the heroes and forever separating the lovers.

The spiritual memory of the heroine in the smallest detail resurrects that distant autumn evening - the evening of farewell, which is destined to become the main event in her life. The characters experience a sense of ongoing tragedy, sad separation, bad weather, hence the “exaggeratedly calm tone”, insignificant phrases, fear of discovering their sadness and disturbing their loved ones. In the light of the thirty years that have passed since that evening, even the small silk bag that the mother of the heroine embroidered for her beloved becomes especially significant. The artistic time of the story is drawn into one point - the point of this evening, every detail of which, every word said then, is lived in a special way, felt.

And then the development of events significant for the heroine seemed to stop. All that's left is "the course of life". After the death of a loved one, the heroine no longer lived, but lived the time allotted to her, so thirty years mean nothing to her: they are shown in a kaleidoscope of events presented schematically. The events are only enumerated, there are no clarifying, capacious details, such as a "silk bag" - everything somehow became unimportant, faceless, unremarkable: a personal tragedy swallowed up the tragedy of Russia, merged with it. The heroine was left completely alone; in the whirlwind of historical events, she lost all her loved ones. Life seems to her an “unnecessary dream”, death not only does not frighten, but also turns out to be desirable, because in it there is a reunion with her beloved: “And I believe, fervently believe: somewhere out there he is waiting for me - with the same love and youth like that evening."

"Clean Monday"

The time of the story "Clean Monday" is 1913, Anna Akhmatova would later call this era "spicy" and "disastrous".

Moscow life in the short story turns out to be not only a plot outline, but also an independent hero - it is so bright, fragrant and multifaceted. This is Moscow “Shrovetide”, in which the morning smells “both of snow and from bakeries”, “gas in the lanterns” is lit in the dusk, “carriage sledges are rushing”, “boughs in hoarfrost stand out with gray coral on golden enamel”. This is the Moscow of "Clean Monday" - the Moscow of the Novodevichy, Chudov, Zachatievsky monasteries, the chapel of the Iberian Mother of God, the Martha and Mary Convent. This is a bright, strange city, in which the Italian side by side with something Kyrgyz, luxurious restaurants and "pancakes with champagne" - with the Mother of God Three-Handed. The heroes go to Andrei Bely's lectures, the "skits" of the Art Theater, read Bryusov's historical novel "The Fiery Angel". And right there - the Rogozhsky schismatic cemetery, Kremlin cathedrals, "pre-Petrine Rus'", "Peresvet and Oslyabya", "a sense of the motherland, its antiquity." Everything came together in this bright, wonderful city, recreated by the sad memory of Bunin the emigrant. In one temporary O th point concentrates not only the past and present, but also the future of Russia, about which the characters do not yet know, but the author already knows everything. Russia is shown at the peak of its brightness - and at the same time on the verge of great catastrophes, world wars and revolutions.

Festiveness and anxiety, as the main stylistic dominants of the story, were also reflected in the love of the main characters. In this marvelous, illuminated by the radiance of the Cathedral of Christ the Savior and the snows of the outgoing winter, the city of Bunin "settled" a beautiful girl - the embodiment of captivating, bright beauty and mystery. She, outwardly given to all the pleasures of the "Shrovetide" life, is spiritually directed to the world of "Clean Monday", therefore, in the perception of the hero - a sweet, kind young man who sincerely loves her, but still does not fully understand - she forever remained an unsolvable mystery. He could only accept, but not understand her choice, to bow her head before her spiritual depth and step aside - with endless heartache. This choice was painful for her too: "... it is useless to prolong and increase our torment", "except for my father and you, I have no one in the world ... you are my first and last." The heroine refused not from love, but from the “spicy”, “Shrovetide” life, for her it turned out to be a narrow life, predetermined by wealth, beauty and youth.

The spiritual path of the heroine did not coincide with her love - this reflects the tragic worldview of Bunin himself, his conviction in the drama of human existence. The cycle "Dark Alleys", created by Bunin in exile, recreates Russia that has perished forever, living only in the writer's memoirs, and therefore it is no coincidence that light sadness is combined with tragic anxiety.

Lidia Ivanovna NORINA - Honored Teacher of the Russian Federation, teacher of gymnasium No. 10 in Novosibirsk.

I'm doomed to know longing...

Analysis of the story by I.A. Bunin "Cold Autumn"

And the analysis of the story should begin with a fairly traditional, but effective form - the teacher reading the text itself. As you know, a teacher who reads aloud becomes the first interpreter of a work, placing its semantic accents with the help of voice and intonation. Bunin's story is small in volume, and reading it at the beginning of the lesson is all the more advisable because it does not take much time.

The next stage of the lesson - “the word of the teacher”, is necessary both as an introduction and as a reminder to students about the main themes of Bunin's prose (a lecture on the writer's work and an analysis of poems have already been held earlier).

It is advisable to begin the analysis of the text by highlighting the basic motives and artistic techniques in the story. These points are pre-written on the board.

The plot and characters.

Chronotope: existential and everyday space and time, real and cosmic.

Coloring and “tactility” of the text.

motives(love, death, memory, life).

At home, the students had to find manifestations of these motives in the text and write out as many examples as possible for each of the points. As the lesson progresses, the diagram on the board will expand and be supplemented by observations made in the lesson. The teacher needs to emphasize the fundamental sequence of topics recorded on the board.

The teacher's first question is:

- What is the plot of the story? State it in a few sentences.

There is a certain he, there is a she - they love each other; the wedding was to take place. The girl is very afraid of losing him. He is killed in the war. And then all her life (thirty years) she retains the memory of a single evening - their happiest meeting.

It is necessary to start with what lies on the surface of the text, which can be perceived by any ordinary consciousness. Students find out that the plot is too simple, which means that the meaning needs to be looked for deeper.

If schoolchildren do not pay attention to an important feature of Bunin's love prose - the lack of names for the heroes, designating them only with pronouns (a special method of Bunin, emphasizing the generalization of the fate of people, the tragedy of all), you can ask a provocative question: why, when retelling the plot, do you constantly make a “speech mistake” - repeat the pronouns “he” and “she”?

From the ordinary level of perception of the text, we proceed to work with artistic categories.

Any literary text, as you know, corresponds to the universal categories - space and time, which acquire a symbolic meaning in the text. How is this work “constructed”, what chronotopes can we single out and how are they related to each other?

One of the students draws up a diagram, and the rest comment on the text. Gradually such a picture emerges.

The house as a temple and a talisman and its subsequent destruction; accordingly, life is like a journey and wandering.
The path as the life path of one person and as a historical vector of Russia at the beginning of the 20th century.
Finally, a house devoid of spatial boundaries, a house located outside the earthly world. This is the space where the heroine aspires to her beloved, this is a movement towards immortality: “And I believe, fervently believe: somewhere he is waiting for me - with the same love and youth as in that evening ". “You live, rejoice in the world, then come to me ... "" I lived, I was glad, now I will come soon." Together with the students, the teacher notes the key words of the fragment: "somewhere", “that evening”, "to me". Thus, Bunin translates earthly space into cosmic space, linear time into eternal time.

· Time as an instant (human life) and as eternity. Bunin's eternity is always cyclical and indestructible. So, the heroine says at the end of the story about their only evening: "And that's all that was in my life - the rest is an unnecessary dream." The teacher draws the attention of high school students to the words “sleep” and “unnecessary”.

Why is life called a dream?

The motif of life as a dream (in the Buddhist sense) is generally characteristic of Bunin's poetics. Life is an illusion, but a sad and tragic illusion.

Who is to blame for this tragedy? War? Revolution? God? Wrong social order?

Bunin is non-social, therefore, war, and revolution, and history for him are only partial manifestations of world evil, which is indestructible. The whole story is an attempt by the writer to understand and comprehend how the world's evil affects the fate of an individual. Let's remember again: the heroes have no names, and this is a confirmation that different human destinies are the same, that a person is a toy in the hands of fate.

Then the teacher focuses the attention of high school students on another important temporal aspect of the work:

- Please note that the whole story is written as a memory of the heroine about the past. What motive in connection with such construction of artistic time appears in the text?

Memory. In the chaos of the world, it is a salvation from oblivion. Memory, according to Bunin, is no less, but more real than the flow of reality. It is always associated with culture, which is the preservation of everything that goes into oblivion.

The teacher can read a number of poems by Osip Mandelstam (for example, from the cycle "Stone"), in which the so-called "cultural memory" is most clearly manifested - a special kind of poetic category that served Mandelstam as the basis of his attitude to the values of culture. Such an appeal to a “foreign” voice will make it possible to pave the way for the study of the poetics of acmeism, as well as to compare the “two memories” of the great artists of the word.

- What artistic means does Bunin use to emphasize the reality of memory and the unreality of reality? As you know, Bunin is a master of describing subtle human sensations and states of nature. And in this he is close to impressionism.

First of all, color painting, light painting and “tactility”. Also in the work we see the direct inclusion of a poetic quotation. As for impressionism, the hero in the story seems to be deliberately reading Fet's poem to his beloved, since it is in Fet's work that there are many impressionistic features.

- Let's work with these categories: name the main colors, descriptions of the physical sensations of the characters and determine the meanings of Fet's lines quoted by the hero in the context of the story (one student writes out the words on the board: “color”, “tactility”, “intertext”).

Color and light. Students name the words for colors and give their symbolic interpretation using the “Dictionary of Symbols”: “black”, “brilliant”, “red”, “sunny”, “mineral-shining stars”, “sparkling sun”. Black color - the tragedy of man, a premonition of trouble. Red is the color of blood and also tragedy, a color that marks a future catastrophe. Golden (autumn) is associated with nature. Combining, the colors emphasize the inseparable connection of human sensations with the natural principle. Schoolchildren note that the epithet “brilliant” (“luminous”, “sparkling”) combines such artistic details as stars (“shiny stars”), house windows (“like ... in autumn shine windows of the house”), the eyes of the heroine (“how the eyes shine”) and draw a conclusion about the unity of everything in the world: nature, man, inanimate objects (house).

Many words in the story are devoted to the feelings of the characters. The name itself - "Cold Autumn" - is not only a designation of the cold season, but also metaphorically - the coldness of this world in relation to man, all the same world evil. High school students name words and phrases related to the theme of cold: “windows fogged up from steam”, “surprisingly early and cold autumn”, “rubbed the glass with a handkerchief”, “ice stars”, “sparkling frost”.

As for Fet, it is both a symbol of Russian pre-revolutionary antiquity, and a poetic understanding of nature, and finally, the acceptance of death, eternity. Fet does not have freezing and dying, but an eternal grandiose movement in a circle; It is not for nothing that the word “fire” is used in the poem - the antithesis of the cold and icy world.

- What other traditional motifs are found in the text?

Love and death. Love, according to Bunin, is also a touch of eternity, and not the path to earthly happiness; in Bunin's artistic world, happy love cannot be found. Bunin's love is outside the laws of time and space, and therefore death not only does not destroy love, but is its continuation in eternity. Despite the short duration of love, it still remains eternal - it is indestructible in the memory of the heroine precisely because it is fleeting in life. It is no coincidence that the story ends with the motive of love: “But, remembering everything that I have experienced since then, I always ask myself: yes, but what did happen in my life? And I answer myself: only that cold autumn evening.

Finishing the analysis of the story, we note that its ending is open to further interpretations. Therefore, as homework let's give a short essay-essay, the theme of which will be the words of the heroine at the end of the story: "And that's all that was in my life - the rest is an unnecessary dream."

What is the mood of the story cold autumn. Analysis of I. Bunin's story "Cold Autumn" (collection "Dark Alleys"). Two main parts of the story