What do the red beads mean in Olesya's story? Artistic detail in Kuprin's stories

I.A. Bunin and A.I. Kuprin

Table17.

Table 18.

Comparative analysis of the role of light in works

I.A. Bunin and A.I. Kuprin

Table 19.

Let us note the following identified features of the use of light painting:

1. Writers attribute positive characters to “ brightening, clear, sparkling" eyes, negative characters have " dark, blackening, with a cold sheen" eyes. It is noteworthy that the heroes’ eyes are “alive”: participles and verbs are used to describe them, which speaks of the exceptional significance of the eyes, showing the inner essence of the hero.

2. " Pale face"negative characters have, this pallor is associated with poor health, illness or fear, anxiety. The abundance of negative associations seems to tell readers that the hero’s actions contradict the norms of morality and morality.

3. Dark spaces have a negative emotional connotation: houses, rooms, etc. This is often due to the tension of ongoing events. In Kuprin, to these meanings one can add a feeling of anxiety, and at certain moments the presence of mysticism and mystery.

4. Writers have different light descriptions of the moon. Bunin uses " moonlight“exclusively to cause negative feelings. " Light of the month“Kuprin can show to create a romantic atmosphere, enhancing the impact of images of positive characters on readers. The moon is a satellite of loneliness and melancholy or happiness and love.

5. The sun is characterized by exceptionally “kind” light, which shows readers the events taking place or enhances the positive characteristics of the heroes.

6. The image of a bright road symbolizes a bright future, hope, peace and quiet.

7. The darkness of the figures frightens with its uncertainty, creating a feeling of danger and anxiety.

8. Analysis of the frequency of use of light painting shows that Kuprin uses it much more often than Bunin.

Painters, who can be considered both Alexander Ivanovich Kuprin and Ivan Alekseevich Bunin, thanks to the masterful use of the play of color and light, with unusually rich, bright or richly dark shades, they can enliven any sketch. The landscape becomes more realistic if its description is saturated with light and color. The images of the heroes of the works become visible and alive thanks to the writer’s verbal color palette; portraits of the heroes with the help of color painting fully reveal their character, and also indicate the internal state of the character. In order to create a particular atmosphere and instill in readers certain feelings experienced by the characters in a given situation, writers also resort to color painting, so we can say with complete confidence that color and light have great symbolic significance and carry a great semantic load.

Analysis of the works of A.I. Kuprin and I.A. Bunin made it possible to identify, in addition to rarely occurring colors, there are also dominant ones in their literary texts - red and green (in Kuprin), red and black (in Bunin). It is not surprising that the color red is so often found in works, because it is associated with the theme of love, which, according to writers, should be a tragedy, and the theme of death, actual or death as the death of love. A detailed study of A.I. Kuprin’s stories “Sulamith”, “Olesya”, “Pomegranate Bracelet”, as well as the stories “Antonov Apples”, “The Master from San Francisco”, “The Raven” and the story “Sukhodol” by I.A. Bunin made it possible to determine the role of color painting and light in a work of art ( scheme 1).

Only thanks to the brilliant abilities of these greatest Russian writers, who are included in the treasury of Russian and world literature and have the talent of a painter, readers can more deeply reveal the secret meaning of artistic details, understand the author's intention contained in artistic images. Thanks to their ability to see the world, color and light in the smallest detail, each work of Alexander Ivanovich Kuprin and Ivan Alekseevich Bunin has surprised readers with its bottomless depth for a century.

What is the significance of the setting of the story?

(The action of the story takes place in the lap of nature, in the remote places of Polesie, where fate threw the hero, a city man, “for six whole months.” The hero expects new impressions, acquaintance with strange customs, a peculiar language with poetic legends, traditions. And his expectations are justified The location of the action is also important for clarifying the author's idea.)

What role does landscape play in the story? Give examples.

(The winter forest landscape promotes a special state of mind, solemn silence emphasizes detachment from the civilized world, the howl of the wind enhances melancholy and boredom. Nature is not just the background of the story. Gradually it becomes a participant in the events. First, the forces of nature are personified: “The wind outside the walls of the house was raging like an old ", a frozen naked devil. In his roar one could hear groans, squeals and wild laughter... Outside, someone was furiously throwing handfuls of fine dry snow at the glass windows. The nearby forest murmured and hummed with a continuous, hidden, dull threat. " Gradually the sounds of the wind almost materialize, and the hero imagines some “terrible guest” bursting into his old house. Yarmol’s servant adds to the anxiety, mysteriously reporting: “The witcher has been born, and the witcher is having fun.”

Descriptions of the landscape are often imbued with a lyrical, warm mood: “The snow turned pink in the sun and turned blue in the shade. I was overcome by the quiet charm of this solemn, cold silence, and it seemed to me that I felt time slowly and silently passing by me.” Finally, nature, its strength, mystery, and charm are embodied in the “witch” Olesya. The characters meet in the spring: nature awakens and feelings awaken. In the last chapter - a sudden whirlwind, an unbearably stuffy day, a thunderstorm, hail - nature foreshadows a break, separation, the collapse of love. The symbolic image of a mulberry tree stands out, which “stood completely naked, all the leaves were knocked off it by terrible blows of hail.” The hero’s melancholy anxiety is justified - the “unexpected grief” that he foresaw happened: Olesya is lost to him forever.

Nature either echoes the feelings of the heroes, contributes to the awakening and development of their souls, or serves as a means of creating an image (Olesya), emphasizing the natural, natural charm of a person, or is the antithesis of the “civilized, selfish world.)

How does Kuprin draw the image of the main character?

(Olesya’s appearance is foreshadowed by nature itself, Yarmola mentions the “witcher”, the hero hears Olesya’s fresh, ringing and strong voice, and finally she herself appears - “a tall brunette of about twenty to twenty-five years old” with a face that “could not be forgotten.. . but it was difficult to describe it": slyness, authority and naivety" in the look of "large, shiny, dark eyes." Her face easily changes expression from severity to childish shyness (Chapter III). Olesya is compared to young fir trees that have grown in the freedom of the old bora (Chapter IV). The hero is also attracted by “the halo of mystery that surrounded her, the superstitious reputation of a witch, life in the forest thicket among the swamp, and especially this proud confidence in her own strength." There is a special attraction in her mystery. Olesya, who is close to nature, does not know calculation and cunning, selfishness. Everything that poisons the relationships between people in the civilized world, to which Ivan Timofeevich belongs, is alien to her.)

What is special about the image of the hero-storyteller?

(Olesya herself describes the hero: although you are a kind person, you are only weak... your kindness is not good, not heartfelt. You are not a master of your word... You will not love anyone with your heart, because your heart is cold, lazy, and You will bring a lot of grief to those who love you.")

How is the plot of the story structured?

(Pictures of life and pictures of nature are connected into a single flow: for example, after the hero’s meeting with Olesya, there is a picture of a stormy spring, a declaration of love is accompanied by a description of a moonlit night. The plot is built on the opposition of Olesya’s world and the world of Ivan Timofeevich. He perceives his relationship with Olesya as “naive , a charming fairy tale of love," she knows in advance that this love will bring grief, but that it is inevitable, that you cannot escape from fate. His love is gradually diminishing, he is almost afraid of it, he is trying to delay the explanation, propose to Olesya and tell him about his departure (Chapter XI). He thinks first of all about himself: “Good and learned people marry seamstresses, maids... and live wonderfully... I won’t be more unhappy than others, really?” And Olesya’s love is gradually gaining strength, opens up, becomes selfless. The pagan Olesya comes to church and barely escapes from the brutal crowd, ready to tear the “witch” apart. Olesya turns out to be much taller and stronger than the hero, these powers are in her nature.)

What color accompanies Olesya's image?

(This is red, the color of love and the color of anxiety: “Olesya’s red skirt stood out as a bright spot against the dazzling white, smooth background of snow (first meeting); a red cashmere scarf (first date, in the same scene Olesya speaks blood), a thread of cheap red beads , coral is the only thing that remains “in memory of Olesya and her tender, generous love (last episode).

Why did the heroes' happiness turn out to be so short?

(Olesya, who has the gift of foresight, feels and realizes the inevitability of the tragic end of a short happiness. The continuation of this happiness in a stuffy, cramped city is impossible. They are too different people. All the more valuable is her self-denial, an attempt to reconcile her independent lifestyle with what is deeply alien to her The theme of “magical” love is replaced by another, constantly heard in Kuprin’s work - the theme of the unattainability of happiness.)

What do you think is the idea of ​​the story?

(Kuprin shows that only in unity with nature, in preserving naturalness, is a person able to achieve spiritual purity and nobility.)

In the literature, a detail is usually called an element that has a significant semantic emotional load. A detail can otherwise be called a component of expressive detail in a literary work. Many literary scholars conventionally classify details into external and psychological. The first characterize the external, objective existence of a person (habitat, appearance) and are divided into landscape, material and portrait. The second ones depict the hero’s inner world.

In the prose of A.I. Kuprin contains both types of details, and external details often take on a psychological character in his works. So, for example, in the story “Olesya” the string of red beads, at first glance, is an external detail. However, this detail serves as a symbol of undying love and the pure natural feeling of the heroine. Each of the beads is associated with an endless flame of love. Therefore, based on the function, this detail turns from external into psychological.

In the same work you can find many specific external details. For example, the portrait of the heroine is fully detailed. Kuprin deliberately avoids being overly descriptive of the girl’s face, but he focuses attention on Olesya’s large dark eyes, her eyebrows, which give the look authority, slyness, but at the same time naivety, and on the willful curve of the heroine’s lips. It is in these details, according to the author, that all Olesin’s charm and originality lie, which one cannot get used to, much less forget.

In addition, the portrait details in the story also carry great power of artistic expressiveness, since throughout the entire work they help convey the slightest shades of the heroine’s thoughts and feelings. For example, the nervous trembling of Olesya’s lips shows bitterness and despair. But the girl’s eyes express either excitement, fear, or the joy of meeting, thus helping the author to reflect the girl’s feelings in both happy and tragic moments of the heroine’s life.

In the story “The Garnet Bracelet,” the detail becomes the reason for the outcome of a painful love story that lasted more than eight years. The bracelet given to the main character, Vera Nikolaevna, becomes a symbol of the great love of the petty official Zheltkov, who gave the last thing he had to the woman he loved. In addition, this detail also symbolizes death: the princess compares Zheltkov’s gift with blood, and the author himself compares the five garnets of the bracelet with bloody scarlet lights.

In the story “”, the seemingly external details of clothing are also psychological details. Thus, Shulamith’s light blue dress and Solomon’s white cloak help reflect the state of mind of the heroes during their first meeting. A crown of blood-red rubies and a purple tunic show the king’s love and despair after the death of his beloved.

In general, we can say that A.I. Kuprin uses details quite widely in his stories, both external and psychological. Due to this, the writer manages, in a small work, to depict the hero in sufficient detail at significant and important ideological moments, his inner world, and also to show a broad picture of life.

“Barbos and the crook Kuprin” - Well done to the sheep, and well done to the sheep himself. Explain the meaning of proverbs. Fear can't save you from any misfortune. Who has not experienced friendship, to death. Why did Barbos' behavior change? The heart is a falcon, and the courage is a crow. Be faithful; it is difficult to be separated. Homework. Friendship, loyalty. Lesson topic: Alexander Ivanovich Kuprin.

“Kuprin Olesya” - How is the plot of the story structured? What color accompanies Olesya's image? The winter landscape emphasizes detachment from civilization. Beaten and ridiculed, Olesya is forced to flee from the forest nest. Olesya does not know calculation or selfishness. Teacher Feoktistova O.V. Municipal educational institution "Secondary school No. 8". The hero expects new impressions. What is the significance of the setting of the story?

“Biography of Kuprin” - Brief biography. Even then he dreamed of becoming “a poet or novelist.” The seventeen years that the writer spent in exile were an unproductive period. He came to Lenin in 1918 with a proposal to publish a newspaper for the village - "Earth". However, the new creative plans were not destined to come true.

“Kuprin Alexander Ivanovich” - In the 90s. meets Bunin, Chekhov and Gorky. Publishes the essay "Native Moscow". In the spring of 1937, the seriously ill Kuprin returned to his homeland. The story “The Duel” (1905). In 1901 The writer spent seventeen years in exile. In the spring of 1897, the writer was in Polesie. Kuprin emigrates abroad.

“The Work of Kuprin” - The Story “Olesya” (1898). Born on September 8, 1870 in the town of Narovchatov, Penza province. Kuprin serves in the 46th Dnieper Infantry Regiment with the rank of second lieutenant. In the era of revolutions. Crossword. 3. 7. The first inclinations towards literature appeared in the cadet corps. The father died of cholera. Biography of Alexander Ivanovich KUPRIN.

"A.I. Kuprin" - Vocabulary work. A taper is a musician who plays in small restaurants and at dance parties. RUBINSTEIN, ANTON GRIGORIEVICH (1829–1894), Russian composer and pianist. Green house in Gatchina.

There are a total of 39 presentations in the topic

In his works A.I. Kuprin paid great attention to detail. The main function of this technique is to highlight the feelings of the characters and reveal their inner state more fully.

In the story “Olesya,” the main event in the hero’s life seems to be “prepared” by the state of nature: “The wind outside the walls of the house raged like an old, cold, naked devil. In his roar one could hear groans, squeals and wild laughter. The snowstorm dispersed even stronger in the evening. Outside, someone was furiously throwing handfuls of fine, dry snow at the glass windows. The nearby forest murmured and hummed with a continuous, hidden, dull threat.” The hero has a presentiment that “uncertain anxiety” awaits him ahead. The anxious mood is also intensified at the lexical level, in particular by the use of words: squealing, wild laughter, dull threat. As a result, even before the plot begins, both the hero and the reader expect a tragic ending, which becomes inevitable, just like the fight against the elements.

In the story, almost all the events take place in the lap of nature, therefore, the landscape is constantly present in the work and reflects everything that happens between the characters, as well as their internal state: “At that time we were right in the middle of a long, narrow and straight road, like an arrow.” , forest clearing. Tall, slender pines surrounded us on both sides, forming a gigantic corridor stretching into the distance with a vault of fragrant intertwined branches. The bare, peeling trunks were painted with the crimson glow of the dying dawn...” Despite the happy explanation of the lovers, internal tension persists through the use of epithets: bare, peeling, crimson. Further, the anxiety persists: “gnarled trunks”, “bent branches”. Describing the heroes’ walk at night, the author uses a certain color scheme: “blue-pale spots,” “the thin trunks of the birch trees turned white,” “silver, transparent ... covers were thrown over.” These colors create the impression of a certain illusoryness and instability of the ongoing explanation.

Certain symbolism can be found in the following passage, during the hero’s attempts to explain to Olesya about their future: “She picked a hawthorn branch with a lush nest of white flowers and stuck it in her hair.” Hawthorn is a symbol of chastity and hope. During wedding ceremonies, Greek girls decorated their heads with wreaths woven from hawthorn branches. The heroine seems to anticipate Ivan Timofeevich’s further proposal and subconsciously agrees, despite the outward refusal. Thus, nature turns out to be an involuntary participant in the lives of the heroes.

The landscape also has a certain meaning in the story “Shulamith”. The meeting of Solomon and the poor girl Shulamith takes place in a grape field. A.I. Kuprin, relying on the original text of the Song of Songs, chooses the vineyard as the scene of action. Grapes are a symbol of fertility, cheerfulness and vitality, which is subsequently reflected in the character of the main character, who knows no fear and is ready to do anything for her love.

Meetings of lovers begin in nature among the “silver-green” olives, “the greenery of juniper,” “where the green grass is full of daffodils.” It is no coincidence that the writer chose the color green. It symbolizes the birth of something new, hope, joy - everything that the heroes feel at the moment of the formation of their love.

In his works A.I. Kuprin uses a rich color palette, but the author’s predominant color is red and its shades. The story “Shulamith” is no exception: “heavy, thick dark red hair,

which she stuck two scarlet poppy flowers...", "a homemade necklace from some red dry berries", "purple, crimson and fine linen embroidered with gold." (red color - meaning) In the image of Sulamith herself there is a shade of red; the author emphasizes her red hair, introducing into the work the symbol of fire - warmth and vitality, which the heroine personifies. Taken together, all the symbols create a single image of the heroes’ eternal love. A.I. Kuprin contrasts the “solar” energy of Sulamith with the dark power of the jealous Queen Astiz, depicting her with blue hair (see blue color)

In the story “The Garnet Bracelet,” the author continues the tradition of color symbolism, relying on red and green. (quote about grenades). The bracelet itself, thanks to the presence of a green garnet, personifies the hero's hope in his love. Combined with the rarity of green garnets, A.I. Kuprin emphasizes the exclusivity of the hero’s high love. The color red also appears at the end of the story - during Princess Vera’s farewell to Zheltkov: (quote about the rose) add about the color red

In this story, as in all of his work, the writer recreates a landscape that reflects the deeper inner state of the characters. In “The Garnet Bracelet” this is the description of a conversation between two sisters. Here the writer shows Vera’s perception of nature:

“I understand you,” the older sister said thoughtfully, “but somehow my life is different from yours. When I see the sea for the first time after a long time, it excites me, makes me happy, and amazes me. It’s as if I’m seeing a huge, solemn miracle for the first time. But then, when I get used to it, it begins to crush me with its flat emptiness... I miss looking at it... "

“But just look, what beauty, what joy - the eye just can’t get enough of it. If you only knew how grateful I am to God for all the miracles he has done for us!”

Vera's attitude towards nature is shown more coldly and reservedly. She appears before the reader as calm and peaceful, satisfied with her life. It seems that her sister’s enthusiastic attitude towards nature is somewhat alien to her. However, Vera immediately remarks: “I love the forest... Can it ever get boring? Pines!.. And what mosses!.. And fly agarics! Looks like it’s made of red satin and embroidered with white beads...” A seemingly insignificant detail allows us to see her inner life more clearly. She's not that cold. As it might seem at first, she is not alien to the sense of natural beauty.

The landscape appears again at the end of the story, after Zheltkov’s death and Vera’s realization that true love “passed her by.” It was at the moment of the highest shock of the soul, to the sounds of a Beethoven sonata, that Vera Nikolaevna runs into the street and hugs the acacia trunk. Kuprin directly states the interaction between nature and the human soul: quote from. 557 -- the wind sympathizes). Nature seems to become a participant in the events taking place in the lives of the heroes.

A special detail of this story is Beethoven's Appassionata - music becomes an integral part of the course of the work and a turning point in the perception of Vera. Music runs through the entire work - stated in the epigraph, it appears in Zheltkov’s suicide letter and is the final point at the end of the work.

In the last work we are considering, “The Wheel of Time,” the color scheme changes somewhat. Here pink comes to the fore. At the beginning, during a conversation with an Italian, the narrator, describing his internal state, says: “I already felt the long-familiar pink gas entering my head - cheerful and scary...”, “The pink gas in my head was thickening and turning red.” The hero associates the pink color with his beloved: “she suddenly became so prettier, so pinker and fresher,” “And in the morning, when she was still sleeping, I saw on her face that indescribably pink delicate shade that happens on the feathers of a flamingo before going into White color". The color pink symbolizes refined love, tenderness, immaturity, weakness, timidity, and sentimentality. This color becomes not so much the color of the heroine, but rather sets off the feelings the hero experiences while loving her. And the hero connects love itself with this color: “in the first pink days of our love.”

In “The Wheel of Time,” unlike the previous works we are considering, images of animals appear that personify the heroes. Throughout the novel, Maria compares Mishika with a bear (this similarity is emphasized by the name of the main character): “But I adore bears!”, “My beloved bear!”, “However, that’s enough, my Bear.”

The hero compares himself in his love with a clumsy penguin, while Maria is inspired by her feeling: “But, comparing myself in this sense with Maria, I would say that she had two snow-white, long swan wings behind her shoulders, but I flew like a penguin." Mishika explains this similarity as follows: “At first, I very keenly and, perhaps, even resentfully felt her spiritual aerial superiority over me and my own earthly heaviness.”

Concluding drawing parallels between the characters and the birds that personify their internal state, the author introduces the images of a peacock and a flamingo (the writer emphasizes their significance with the title of the chapters of the same name). The peacock originally symbolized immortality and longevity. A.I. Kuprin uses later connotations - talkativeness, swagger, vanity. The hero asks Maria about things that she does not consider necessary to talk about and repeatedly forces her to avoid answering. Vanity is expressed in his attitude towards Maria’s work: “The very words “handmade” seemed to me somehow very prosaic, everyday, pitiful, suitable for seamstresses and dressmakers.”

The image of a pink flamingo is associated with the heroine and her special, sublimely sacrificial love: “The flamingo has a lovely, unusual plumage color: it is neither pink nor red, it is special.” Here the motive of a new life appears, which will soon begin for the heroine: she is going to depict the dawn on the canvas, soon she herself will decide to leave the hero despite her love.