Holistic analysis of the prose text. I.A. Bunin "Beauty". Analysis of Bunin's story beauty essay

The story "Beauty" is one of the 38 short stories in the "Dark Alleys" cycle. This cycle is the central event of Bunin's work in recent years. This is the only book of its kind in Russian literature where everything is about love. There is both rough sensuality and playfulness here, but the theme of pure and beautiful love passes through the beam. “The Spirit penetrates the flesh and ennobles it”, “Where I stand, it cannot be dirty,” says Love through the author.
The story "Beauty" was written on September 28, 1940. The writer was 70 years old. He has already gone through a lot, experienced and seen even more, he is an experienced and wise person, an artist recognized by the world. And a story of 5 paragraphs ... It would seem a simple plot. The widowed elderly official married a young beauty who disliked his seven-year-old son from his first marriage and forced him first from the bedroom into the living room, then from the sofa to the floor, and the boy resigned himself ...
The very expression "beauty hated" is paradoxical as a combination of admiration and hatred, ideal and hatred. And here - "quietly hated" - is also a combination of incongruous, since hatred is a feeling out of the ordinary, strong. The adverb “calmly” conveys that this is not alien to the beauty, this is peculiar to her, this is familiar to her.
We see confirmation that the beauty of the hero is imaginary, repulsive, mental ugliness is hidden behind external attractiveness. Being a stepmother, she demonstrates complete indifference to the boy.

Bunin Ivan Alekseevich (1870-1953)

Biography of I.A. Bunin
Russian writer: prose writer, poet, publicist. Ivan Alekseevich Bunin was born on October 22 (according to the old style - October 10), 1870 in Voronezh, in the family of an impoverished nobleman who belonged to an old noble family.
Literary fame came to Ivan Bunin in 1900 after the publication of the story "Antonov apples". In 1901, the symbolist publishing house "Scorpion" published a collection of poems "Falling Leaves". For this collection and for the translation of the poem by the American romantic poet G. Longfellow "The Song of Hiawatha" (1898, some sources indicate 1896), the Russian Academy of Sciences Ivan Alekseevich Bunin was awarded the Pushkin Prize. In 1902, the first volume of I.A. Bunin. In 1905, Bunin, who lived in the National Hotel, witnessed the December armed uprising.

The last years of the writer were spent in poverty. Ivan Alekseevich Bunin died in Paris. On the night of November 7-8, 1953, two hours after midnight, he died: he died quietly and calmly, in his sleep. On his bed lay a novel by L.N. Tolstoy "Resurrection". Ivan Alekseevich Bunin was buried at the Russian cemetery of Saint-Genevieve-des-Bois, near Paris.
In 1927-1942 Galina Nikolaevna Kuznetsova was a friend of the Bunin family. In the USSR, the first collected works of I.A. Bunin was published only after his death - in 1956 (five volumes in the Ogonyok Library).

We live in an era of rapid change. Everything changes: life itself, people and, of course, the school. Teachers of literature in general and of literature in particular are faced with new tasks. Among them are not only the study of literary works and the comprehension of literature as an artistic value, but also the formation of the spiritual world of a person, his worldview, the cultivation of the need for systematic meaningful reading as a necessary condition for the spiritual and moral improvement of the individual.

The main goal of teaching literature at school is named “soul formation through speech formation”. “The task of the teacher is to help the student master the methods of independent work with information. Such a strategy is one way to turn teaching into a learner-centered”(1). What does "person-centered" mean? This means that the student is in the center of attention not only as an object of education, but as its subject. He is initiative and independent in learning, studies meaningfully, his curiosity is encouraged. He is accustomed to interact with information, process information, comprehend, use it and give out his information. He is trained to think critically.

This is precisely what the innovative educational technologies of cooperative learning, problem-based learning, discussion organization and others that have spread recently are working for.

In literature lessons, information, or the object of critical thinking, critical analysis, is a literary text. There have always been many methods of text analysis. We are interested in the experimentally tested methods of “double (triple) diary” and “cluster”. We will use them in our future work. And to this end, we should update these concepts. The essence of these techniques is revealed in sufficient detail in the manuals of Ermakova G.A., head. Department of Multilingualism and Literary Education ChRIO.

These approaches are based on the following theses.

1. Every artistic text, every artistic Word is a combination of the secret and the obvious. The obvious always lies on the surface, it is visible, recognizable, audible, understandable. But it is much more interesting to learn, to know the secret in the obvious. Here is how Ermakova G.A. writes about this: “Recognizing the secret in the obvious is a lot of work, a difficult task - but solvable. Recognition of the hidden power of the Word, that is, the transcendent, is the generation of interest in a literature lesson. We must not forget: every word carries power, every word carries a deep psychological meaning; our task is to cognize this transcendent, that which is “on the other side” of the Word, which is invisible, but knowable” (2).

The quotation given in this work from the collected works of L. N. Tolstoy is also interesting: “Each artistic word ... causes countless thoughts, ideas and explanations ...”

It is important not only to understand the word, but to interpret it correctly, to reveal everything that is hidden, hidden behind it. And this implies a large basic amount of knowledge, a high general culture. Therefore, it obliges both the teacher and the student to be in a state of constant search, the work of thought. After all, how to see the invisible if you are unfamiliar with a writer, author, have not comprehended the peculiarities of his worldview, his life and work. Otherwise, there is always the possibility of misinterpretation or insufficient depth of analysis and knowledge.

2. According to literary critics B. I. Yarkho and M. L. Gasparov, any text has three levels: 1) ideological and figurative, 2) lexical, 3) phonic.

And when analyzing a text, you need to consistently analyze all three levels. At the first level, all the main and important images of the text are examined and their interpretation is given. At the second, lexical, level, the vocabulary and means of expression are analyzed, and the phonic level requires an analysis of the features of the sound of the text.

These three levels are interconnected, interact and lead us to the idea of ​​the text, to the mentality of the soul, the worldview of the author.

I would like to quote here the words of Ermakova G.A.: “In the artistic world… everything is significant, because all the images, all the tropes, the speech of the characters, their replicas, their appearance, the environment where they live, everything is subordinated to one thing – the author’s intention…”.

Analyzing works of art, I always remind them that the writer comes up with a text, he is free to choose characters, give them names, endow them with this or that character, make them act one way or another. So why does he choose this particular name? Is this the right time? Why does the hero do this particular thing? Why does it end up like this? This means that the writer wants to bring to us some of his thoughts, ideas. Which? What does he want to tell us? With such a formulation of the question, students are more willing and more actively involved in the process of creative analysis. They are interested in thinking, finding an explanation of the author's intention.

We now briefly outline the essence of these methods.

1. “A cluster is a graphic (in the form of drawings) form of information representation, where separate blocks are interconnected by semantic lines. Blocks are distributed according to the volume of their content according to the “cherry” principle. The form can be the most diverse” (1).

The concept under discussion, the image, is placed in the center. Around are “orbital words”: definitions (adjectives, pronouns) used by the author to characterize this image; motives (verbs, participles, participles) showing the actions of the named image; circumstances (adverbs, nouns with prepositions) under which these actions are carried out.

After each word, you can give its interpretation, or reveal the hidden meaning of the word. What did the author mean by using this or that word, what stands behind it, what associations does it evoke.

Such schematization helps to fully reveal the image. This work must be done both individually and collectively. By composing his cluster, the student learns to think, and by sharing his discoveries with the class, he is enriched. This is how students learn together. Mutual learning is an interesting and effective process.

The method of building a cluster can be applied at the level of ideological and figurative text analysis. This is the comprehension phase of the text.

The second suggested technique is to keep a “double diary” (“triple diary”). With this reading, the notebook sheet is divided into two (or three) columns. The part of the text that made a great impression (quote) is written on the left, and comments on it, the interpretation of this quote (words, expressions, sentences) are written on the right. The thoughts caused by the quote, the reasoning about this, the associations that have arisen are recorded here. Such work is also carried out individually, in pairs and in a group. This is the phase of reflection on the text.

Analysis of the ideological and figurative level of the story

In this part of my work, I will try to analyze, using the above methods, a prose work from the 11th grade program. I chose for analysis one story by I. A. Bunin from the cycle “Dark Alleys” - the short story “Beauty”. Why Bunina? The choice is not random.

In 1933, I. A. Bunin was the first Russian writer to be awarded the Nobel Prize - “... for the truthful artistic talent with which he recreated a typical Russian character in fiction.” Artistic talent ... A feature of Bunin - the artist is a reverent attitude to the word. “Who and why obliged me,” he asks in the story “Cicadas”, “to bear the burden without rest, painful, exhausting, but inevitable, to constantly express my feelings and thoughts, ideas, and express not simply, but with accuracy, beauty , a force that should enchant, delight, give people sadness or happiness?”(3).

In the essay “Ivan Bunin”, K. G. Paustovsky spoke about the writer’s work in this way “The more I read Bunin, the clearer it becomes that Bunin is inexhaustible”(4). At any age, a person can read and reread his works and make discoveries. This is the classic.

The story “Beauty” is one of the 38 short stories in the “Dark Alleys” cycle. This cycle is the central event of Bunin's work in recent years. This is the only book of its kind in Russian literature where everything is about love. There is both rough sensuality and playfulness here, but the theme of pure and beautiful love passes through the beam. “The Spirit penetrates the flesh and ennobles it”, “Where I stand, it cannot be dirty,” says Love through the author.

The story “Beauty” was written on September 28, 1940. The writer was 70 years old. He has already gone through a lot, experienced and seen even more, he is an experienced and wise person, an artist recognized by the world. And a story of 5 paragraphs ... It would seem a simple plot. The widowed elderly official married a young beauty who disliked his seven-year-old son from his first marriage and forced him first from the bedroom into the living room, then from the sofa to the floor, and the boy resigned himself ...

“What is there to explore?” the student will ask. Meanwhile, it is these two factors mentioned above: the wisdom of the writer and the simplicity of the plot that give us an incentive for a deep analysis of the story. Well, I. A. Bunin could not tell only about this. This story is an iceberg. Most of the iceberg is hidden under water. And we are starting to “immerse” in the work.

The first reading puts a riddle in front of us, and it is in the title. Why "Beauty"? After all, the story is not about her at all! In five paragraphs, this hero is given the least attention: only 4 sentences! The official-father is even more - 5, and the rest of the work tells about the boy. It is he who is put at the center of the story, and it would be more legitimate to give the short story a title - “Boy”. Coincidence or thoughtlessness? Of course not. There is also a hidden agenda here. And the students are given the task: in the course of reading and analysis to explore the mystery of the title of the work. Intrigued, reread the story. What horizons will we open in the course of work, what reefs will we meet on the way, which coast will we land on?

At the first stage - the study of the ideological and figurative level. As we agreed at the beginning, we use the “Cluster” and “Double Diary” techniques. At the stage of comprehending the text, we build clusters.

There are three central images in the story: an official, a beauty, a boy. This can be seen on the first reading as well. But let's patiently write down all the key words of the text.

• In the first paragraph, we will meet such keywords - nouns: official- ward - widower - gorgeous– daughter – boss – price – glasses – fistula - house- look - relationship - official – gorgeous- hands.
• In the second paragraph : gorgeous – boy– father- fear - son – boy– nature – presence – word - house.
• In the third paragraph: wedding - bedroom - sofa - living room - room - dining room - furniture - sleep - night - sheet - blanket - floor - gorgeous- maid - disgrace - velvet - sofa - floor - mattress - chest - mistress - corridor.
• In the fourth: boy- loneliness - light - house- life - day - corner - living room - blackboard – houses- book - pictures - mother - floor - sofa - tub - palm tree - bed - corridor - chest - dobrishko.

Now let's follow the multiplicity of the use of words: often this is of great importance. In this story, the following nouns are more common: beauty - 4 times, official-father - 4 times, boy-son - 4 times, house - 3 times.

These keywords name the central images and require detailed analysis. In addition, all key nouns can be divided into the following semantic groups:

• words expressing family relationships and relationships between people (daughter, widower, boss, father, son, mother, beauty, mistress, maid);
• words related to the concepts of “house” (house, bedroom, sofa, floor, chest, etc.)
• words expressing the state of a person, feelings (loneliness, fear, sleep, ugliness, and others);
• words expressing philosophical concepts (nature, life, relationships, view).

After we have designated the central images, we can start building clusters. When drawing clusters, we reread the text very carefully.

At the “Thinking” stage, we will try to give our own interpretation of the key phrases, sentences of the story. To do this, we use the “double diary” method.

So we read the story of I. A. Bunin “Beauty” and let's summarize, we will answer once again the questions that arose at the beginning.

The short story "Beauty" touches on the theme of true and imaginary beauty, the theme of the Motherland, the theme of loneliness. The main mood of Bunin's work, starting from the 20s, is the loneliness of a person who finds himself "in a strange, rented house", far from the land that he loved "to the pain of the heart." “In the living water of the heart, in the pure moisture of love, sadness and tenderness, I immerse the roots and stems of my past - and here again, again my cherished cereal marvelously vegetates,”- Bunin wrote in the story “Rose of Jericho”, which opened his first foreign collection under the same name (1924)” (5)

O. N. Mikhailov in his book “Literature of the Russian Diaspora” cites I. Bunin’s diary entries from the early 40s. “...terrifying loneliness”, “poverty, wild loneliness, hopelessness, cold, dirt - these are the last days of my life”, “dumb, quiet sadness, loneliness, hopelessness”, - this is how the writer spoke about his condition. “This cry of despair is “SOS!” - directed “to nowhere” and therefore even more terrible,- writes O. N. Mikhailov. And in the story the boy is only seven years old. How long will he be in this position and condition? Is there a gap at the end of the tunnel, any hope for warmth and affection?

Touching on these three topics, what does Bunin want to tell us? In other words, what is the idea of ​​the story? I think we will have to return to the beginning of our reasoning and the title of the work. Remember, the question was posed: “Why does the story have such a name?” Now I understand that the idea is connected precisely with the beauty. And the writer wants to say that there cannot be a beautiful woman or a country (power) that is so harsh and cruel with children, even if they are not native. I came to this conclusion after a detailed study of the content of the work.

Analysis of the lexical level of the text.

But our analysis is not yet complete. And so we turn to the analysis of the lexical level, where we consider the lexical composition and means of expression used by the writer.

In the course of the analysis of the content, we have already noted several antitheses (“widower” - “married”, “elderly” - “young”, the cold atmosphere of the house - a tub with a palm tree), and the antithesis is an artistic opposition, this is the use of words and concepts that are opposite in meaning . “In the 900s, Bunin's work developed his own special way of depicting the phenomena of the world and the spiritual movements of man through contrasting comparisons. This is not only revealed in the construction of individual images, but also penetrates into the system of the artist's visual means, becoming one of the essential artistic principles of his work.” (5, p. 707).

In addition to the cases mentioned above antitheses, in the text we will meet antonyms: “high” - “small”, “excellently built” - “consumptive physique”, “wore glasses” - “had a sharp-sighted look”. This contrasting comparison can also be seen in the construction of sentences: “He was silent and modest, and she knew her own worth” - this is the antithesis of states. Here we see an example syntactic parallelism- several compound sentences with the adversative union "a".

Based on the figurative meaning of words epithets(“live” boy, “affectionate” boy, “restless” dream, “round” loneliness”), comparisons(“He seemed ... uninteresting in all respects, like many provincial chiefs ”), metaphor(“He… broke into a fistula”), lexical repetitions(“and here”, “and the boy”, “perfectly”, etc.), anaphora(“He was silent…”, “He was thin…”). All these figurative and expressive means are used by the writer in this story.

“The opinion of Bunin has long been established as one of the greatest stylists in Russian literature. In his work (both in prose and in poetry), those features of Russian literature that the writer himself considered “most precious” in it were clearly manifested - “elusive artistic accuracy and freedom”, “figurative (sensual) memory”, “knowledge of the folk language ”, “amazing ingenuity, verbal sensuality” (6).

Among the grammatical means of expression used by Bunin in this story, diminutive - petting suffixes can be noted. If we return to the beginning of the work and observe the keywords written out, we will draw the following conclusion. Describing the boy and his condition, the author uses many words with diminutive suffixes: “sofa”, “mattress”, “corner”, “book”, etc. And when creating two other images: a beauty and an official, the author does not use such a means of expression. This, of course, conveys the writer's sympathy for the boy, sympathy for him, empathy with him.

Bunin uses another grammatical device: to indicate actions that took place in the past tense, uses present tense verbs. “Hated - pretended - became afraid - transferred - healed,” we read, and then the transition: “sits to himself - draws - reads - ...” and so on until the end. This technique is a feature of artistic speech and helps to “revive” the narrative, makes the reader an accomplice of events.

Syntax features include the repeated use of sentences with qualifying members of the sentence: applications, definitions, circumstances (“... an official of the Treasury, a widower, elderly, married a young, beautiful woman, daughter of a military commander”, “... on a sofa in the living room, a small room near the dining room ...”, “Lay ... on the floor, on that mattress...” and others. Such a stringing of qualifying words is a feature of folk narrative speech.

Bunin repeatedly used and isolated definitions. “Separated” means that there is a reception here inversions.“And the boy, naturally lively and affectionate…”, “… began to live a life - inaudible, imperceptible, the same from day to day”. Also in the text are many homogeneous members.

Despite the small volume, the story is replete with a variety of means of expression. This is the living figurative language of Bunin. And this language "works" for the idea, for the author's intention.

Analysis of the background level of the text.

At the third - phonic - level of text analysis, we will be interested in sounds. And here I. A. Bunin is a real master. Here is what A. G. Sokolov writes about this in his book: Bunin’s “sound” skill had a special character: the ability to depict a phenomenon, a thing, a state of mind through sound with almost visible power. He has a city in the winter in a great frost, “the whole creaks and squeals from the steps of passers-by, from the skids of peasant sledges” (5). And in this story, Bunin remains a true researcher of sound. He conveys loneliness, melancholy, solitude through the whistling and hissing sounds “S” and “Sh”. In the fourth paragraph, which describes the state of mind of the boy, his existence in complete isolation, these sounds occur 37 and 13 times, respectively.

Take, for example, a sentence and note all the named sounds.

“He makes his own bed in the evening and diligently cleans it himself, rolls it up in the morning and takes it to the corridor in his mother’s chest.” This phenomenon alliteration we observe in other sentences where the author talks about a boy, for example, in the sentence “ And the boy, by nature lively, affectionate, began to be afraid to say a word in their presence, and there he completely hid, became, as it were, non-existent in the house.”the same sounds occur 20 times.

In a sentence " And the boy, in his round loneliness all over the world, began to live a completely independent life, completely isolated from the whole house, - inaudible, imperceptible, the same from day to day: he humbly sits in the corner of his living room, draws houses on a slate board or reads in a whisper from warehouses all the same book with pictures, bought back in the days of the late mother, looks out the windows ... " the vowel sound “O” prevails (24 times) - and there is a feeling of “round loneliness”, isolation. And in the second part of the same sentence, we observe the predominance of the sounds “E” after soft consonants, “I” (29 times). It is these sounds that are associated with a small lonely boy, evoke warmth, softness that come from the author who sympathizes with his hero. This is how I. A. Bunin knows how to play with sound.

After analyzing all three levels of this text, we saw that the writer uses many different means of expression, and all of them help to express the idea, the main idea of ​​the story. There is nothing accidental and ill-conceived in Bunin.

Conclusion.

A. G. Sokolov in his book “History of Russian Literature of the Late 19th - Early 20th Century” cites the statement of Fyodor Stepun in an article written in connection with Bunin receiving the Nobel Prize: “ We confess that we are all corrupted by the dexterity, wit, amusement and interestingness of modern writing; that we read inattentively, sloppily and approximately, not plunging into individual words, but only gliding over them, i.e. we read not at all what is written, but something only remotely similar to what was written. Insignificant writers, more writers than artists, endure such reading. Since they create half-handedly, they can also be read half-handedly. Bunin cannot stand such reading. With an approximate reading, almost nothing remains of it ... You need to read it slowly and immersively, peering into every image and listening to every rhythm ... ” (5).

In this work, we tried to read one of Bunin's stories in this way: plunging into the text. And look how much new we saw, how many interesting discoveries we made! Can we say that we understood and comprehended the story to the end? Of course not. I am sure that we have discovered only a small fraction of what is hidden in this work. There is also a possibility that we interpreted something incorrectly, not in the way the author would like.

We applied the Cluster and Double Diary methods. What did it give us? Could traditional analysis or annotated reading have been enough to achieve the same results? I can say with full confidence that the applied methods make you look more closely at the text, read more carefully, study the word and its environment. They also force you to more fully recognize the creative biography of the writer, because otherwise it is difficult to see what is hidden from the eyes.

In addition to additional discoveries in the ideological and figurative sense, text analysis using this technique is an interesting and exciting activity for a thoughtful reader. Encourages him to work independently on the work. And having become interested, the student will expand the circle of his reading; other creations of this writer and works of other authors will not be left without his attention.

List of used literature.

1. Ermakova G. A. Comprehension of truth, truth, beauty (Lessons in literature and speech development in line with new technologies). - Cheboksary, 2001.

2. Ermakova G. A. Immersion in the mystery of the Word (Goals of teaching literature and ways to achieve them). - Cheboksary, 2001.

3. Bunin I. A. Stories.

4. Writers about writers. literary portraits. M.: Bustard, 2002.

5. Sokolov A. G. History of Russian literature of the late 19th - early 20th centuries. - M., 1999.

6. Bunin I. A. Selected prose. - M., 1998.

7. Mikhailov O. N. Literature of the Russian abroad. – M.: Enlightenment, 1995.

The king and queen had no children for a long time. And then one day, when hope was completely lost, the queen gave birth to a daughter. On this occasion, they arranged a celebration, among the guests were seven good sorceresses.

They were seated in places of honor, served with the best plates and a box each containing a fork, a knife and a spoon made of pure gold. When all the guests were already sitting at the table, the eighth sorceress arrived. She was not invited to the celebration, because they thought that she was no longer in this world. The best plates were immediately brought for her, but the golden box was not enough for her.

Naturally, this greatly offended the old sorceress. She muttered something unpleasant out loud. One sorceress heard this and hid in the children's room. She decided to be the last to say her wish. The moment came when the fairies were supposed to give gifts to the newborn.

The fairies gave her various gifts: beauty, intelligence, a kind heart, a good voice, the ability to dance and play various instruments. However, the old sorceress wished that the princess died when she pricked herself with a spindle. Everyone shuddered, but the last fairy promised that the princess would not die. She will make the princess sleep until the prince wakes her up. Her dream will last a hundred years.

The king ordered all the spindles to be removed from the castle, but after a while the princess nevertheless pricked her finger and fell asleep. The good sorceress made everyone in the palace fall asleep, except for the king and queen.

A hundred years have passed, the prince went hunting. He saw the old palace, and began to ask passers-by about it. One person told him the story of the sleeping princess. The heart in the prince's chest caught fire, and he hurried to the gates of the old castle.

When he entered the castle, he saw many sleeping people. He entered the luxurious room and saw the sleeping princess on the bed. The gold seemed dull compared to the beauty of the princess.

The prince knelt before the princess, and she woke up. The castle rustled, the rest of the inhabitants of the house woke up

The bride and groom were invited to the dining room. They were served dishes of ancient cuisine, and the musicians played songs of the past.

The tale once again proves that good conquers evil, and love is able to withstand any atrocities.

A picture or drawing of Sleeping Beauty

Other retellings for the reader's diary

• Summary of The Adventures of the Good Soldier Švejk Hasek piece by piece

  The work tells us the adventures of Schweik, a daring soldier who was forced to leave for civilian service due to his health. He currently lives in Prague and is engaged in selling dogs.

• Summary General and his army Vladimov

  The main character of the novel is General Kobrisov, one of the few competent and decent officers of the Soviet army.

• Summary of Sea Wolf Jack London

  A famous literary critic is shipwrecked. The captain of the schooner Ghost picks up Humphrey Van Weyden from the water and rescues him. The captain was nicknamed Wolf Larsen for his strength and cruelty.

• Summary Astafiev Cheerful soldier

  This novel is a very special work about the war. After all, it is in this work that he shows the war from some other side. The novel consists of two parts, the first, of which he calls "The soldier is being treated."

• Summary Death of Ivan Ilyich Leo Tolstoy

  Ivan Ilyich, as the newspapers say, died exactly on February 4, 1882, the year of his life. He is then more for a long time a disease that cannot be cured.

Kuznetsova Anastasia,

11th grade student of MAOU secondary school No. 14

Teacher: Mironova Elena Vladimirovna.

Holistic analysis of the prose text.

I.A. Bunin "Beauty".

I.A. Bunin is an excellent writer. I really like his work. I especially remember his works such as: "Dark Alleys" and "Light Breath", written on the theme of love, tragic love. We know that the writer emigrated to France, lived in Paris for a long time, but his thoughts again and again returned to Russia. Therefore, the theme of the Motherland occupies a huge place in his work.

The story "Beauty" is devoted to the theme of a difficult childhood, relationships in the family. It reveals the ideological and moral issues (the hero learns about the changes taking place in the world around him).

Consider a system of images. “An official of the State Chamber, a widower, elderly”, “he was thin, tall, consumptive, wore iodine-colored glasses, spoke somewhat hoarsely and, if he wanted to say something louder, broke into a fistula.” And so, such a miserable, wretched person according to the description was able to marry “a beauty, the daughter of a military commander,” who “was small, well-built and strong, always well-dressed, very attentive and housekeeping, had a sharp-sighted look.”

It can be concluded that the official was far from being handsome, in his description the author uses such epithets and comparisons that create the image of a completely physically unhealthy, frail person, some kind of yellow-like color prevails, which further convinces us of his unhealthiness (“ glasses the color of iodine", "consumptive addition", "broke into a fistula"). It follows that the author's goal is to show that appearance is not the most important thing in a relationship, and also that all ages are submissive to love, because the official was elderly, and his wife was a beautiful young woman. There is an antithesis. The text is called "Beauty", probably because the narrator wanted to show that this external beauty can only be a mask.

The first wife of the official died, tragic pathos is noticeable.

The second marriage ... but from the first marriage there was a son: “a boy, naturally lively, affectionate”, whom “the second beauty calmly hated” (oxymoron). The boy does not have a portrait, but in him we see the inner spiritual world, while his parents have a very poor one. Again, the antithesis: the children's world, sincere, pure, is opposed to the adult.

The boy has a hard time, you can draw a parallel with the life of Vanka from the story of the same name by A.P. Chekhov.

The boy is subjected to cruel treatment from his stepmother, who felt like the only mistress in the house, for example: “Immediately after the wedding, he was transferred to sleep from his father’s bedroom on a sofa in the living room, a small room near the dining room ...” or “Lay him, Nastya, on the floor ...”

The most offensive thing is that the father simply forgot about his son, which once again emphasizes his meanness, pity, wretchedness, cowardice. ("The father, out of fear of her, also pretended that he did not and never had a son.") imperceptible, the same from day to day. The kid lives in his little world “in the corner of the living room”, goes about his business: “draws houses on a slate board” or “whispers reads the same book with pictures, bought back in the days of his deceased mother”, “looks out the window” .

I.A. Bunin uses diminutive suffixes (“houses”, “book”), showing that these things are dear to the boy, he draws houses (the house is a symbol of the family, hearth), he keeps warm memories in his soul about a past life, a life in which he was needed by someone, in a life where he was surrounded by love and warmth. The little book, as well as the chest - a symbol of love for the mother, this book - the only "light" that warms the boy's soul. But, despite all the difficulties, the boy retained his human qualities. There is a closeness to folklore, seven is a mystical number, the boy is seven years old. He is a "ray of light" in the official's house. A window is a portal that immerses a child into the past, while at the same time helping to see a world unknown to him.

Let's stop at the chronotope. The action takes place in the house where the boy lives. This house was once home to him, but with the departure of his mother, it becomes a stranger. The author emphasizes this with the help of the epithet "as if non-existent". The boy was no longer noticed in the house, so he leaves for another world - his thoughts and feelings.

Past and present intersect throughout the text. The plot is a description of the past, that beautiful girls marry a nondescript man, a description of the first wife. Further, the present, “new” life of the official and his “new” family is described (climax). The denouement: the boy lives in the present, but turns to the past.

The detail is visible, the author clearly describes various little things (“he sleeps on the floor between the sofa and the tub with a palm tree”). Due to this, we see the whole tragedy of the situation of the child. Sleep is an important detail. The seven-year-old child slept restlessly, even in his sleep he did not feel protected.

The writer also uses epithets so that the reader can imagine the described picture as vividly as possible: “decorated with blue velvet furniture”, “restless sleep”, “life is inaudible, inconspicuous, the same ...”, repetitions “completely independent, completely isolated”, “he lays, cleans himself."

I really liked this story. I really sympathize with the boy, one can only guess what will happen to him next (open ending). I.A. Bunin gives us the opportunity to come up with a sequel ourselves. I believe that the boy will be happy, because he is a pure, sincere little man who has not been broken by troubles and suffering.

Title of the work: sleeping Beauty
Charles Perrault
Year of writing: 1697
Genre of work: fairy tale
Main characters: sleeping Beauty- princess, young prince- her husband, old queen- cannibal.

Plot

Conclusion (my opinion)