The poem "Evening" I. Bunin wrote in 1903, at a time when he had the opportunity to travel. Perhaps it was the fulfillment of an old dream of travel that prompted the poet to think about happiness, which is the theme of the work. The author wants to show that happiness is everywhere, it is hidden behind simple things, but only the “knowing one” can recognize it. The poem belongs to landscape-philosophical lyrics, which determines the system of images, consisting of a lyrical hero, traditional images-symbols of nature and an abstract image of happiness.
Already in the first lines, landscape images, symbols of autumn and evening, attract attention. It is not surprising that the author chose just such a background for his creation. Autumn is a time that slows down the rhythm of life, forcing you to think about the main thing, and the evening is a time of calm, when a person relaxes, remains alone with his thoughts. It is at such moments that you think about the eternal, for example, about happiness. The last is the key image-leitmotif, stretched with a thin thread through each line.
The lyrical hero of "Evening" is intertwined with the image of the author. This is a man who is mired in work, but the squeak of a bird takes his "tired eyes" away from the book. Just at this moment, contemplating the simple beauty of an autumn evening in the village, the hero realizes that he is happy. He realizes that very little is needed for happiness, it is enough just to learn to find it in the world around you.
The landscape created by I. Bunin harmoniously complements the theme of happiness. Pictures of nature breathe with idyll and joy. The poet achieves this effect by using epithets ("autumn garden", "bottomless sky", "white edge"), metaphors (air pouring through the window, "a cloud rises, shines"). There are not so many artistic means, but this laconicism corresponds to the ideological meaning of the work.
Despite the fact that it is an autumn evening outside the window of the lyric hero's house, the author does not paint it with gray colors, on the contrary, he chooses a pastel, shining palette with white splashes of clouds. It fills the landscape with pleasant rustic sounds (bird song, thresher hum). And according to this landscape sketch, happiness is scattered everywhere: it is remembered in almost every stanza of the poem "Evening".
For the embodiment of his thoughts I. Bunin chose the classical form of the sonnet (2 quatrains and 2 tercets). The author devoted the first two stanzas to nature and unobtrusive thoughts about happiness. In the last 6 lines, he smoothly transfers attention to the lyrical hero. He puts an end to the flight of thoughts: “I see, I hear, I'm happy. Everything is in me. " But it is precisely this point that becomes the starting point for the reader's reflections.
The poem is written with iambic alternating with pyrrhic. The lines of "Evening" are multi-stop (a combination of six and five-stop), the rhyme is cross. This structure of the work gives the rhythm of smoothness and lightness, encourages the reader to his own philosophical reasoning. The intonation pattern also contributes to this. In the "Evening" there are no interrogative or exclamation sentences, but there are sentences with ellipses, they stop the reader, so that he reflects with the author, looks for happiness with him.
Bunin's poem "Evening" was written in 1909 and refers, at first glance, to landscape lyrics. Here the author describes a wonderful autumn evening, filled with the last warmth of the sun: bottomless sky, white clouds, clean air ... But this is not the main thing in the work - the evening is just an occasion for the inner reflections of the lyrical hero.
There are plot elements in the poem - we understand that the hero (very close to the author himself) is in his estate. He works in his office, apparently immersed in his thoughts, problems, and then ... his gaze turns to the window. And the flow of the hero's thoughts takes a different direction.
The poem begins with an antithesis: “We always only remember happiness. And happiness is everywhere. " Further, the entire structure of the work is intended to develop and prove this idea of \u200b\u200bthe lyrical hero. And the beautiful autumn landscape helps the hero in this, directs and pushes his thought, inspires as something that is higher than man, as the Divine principle.
Compositionally, the poem can be divided, in my opinion, as follows: antithesis, thesis, three parts and the final conclusion. The hero tries to prove that "happiness is everywhere." This means, it seems to me that it is near. There is no need to look for him somewhere in the "overseas countries" - raise your eyes to the sky, and you will see happiness, says Bunin:
Maybe it is -
This autumn garden behind the barn
And clean air pouring through the window.
The lyrical hero turns his eyes to the sky, watches a light white cloud. This observation leads him to another idea:
We see little, we know
And happiness is given only to those who know.
How to understand this - only the one who knows is happy? Knows what? It seems to me that the answer to this question will be given at the end of the poem.
Further, the attention of the hero is distracted by a bird sitting on the windowsill of the office. The hero remarks: "And from the books I take my tired eyes away for a moment." He moves away from sad reflections and vain pursuits and dissolves in nature:
The day is getting dark, the sky is empty.
The rumble of a thresher is heard in the threshing floor ...
All this fills the lyrical hero with true pacification and peace. He comes to the main conclusion in the whole poem - “I see, I hear, I am happy. Everything is in me. "
So, according to the hero's thoughts, happiness is given only to those who know, to those who know the secret - “everything is in me”, everything is inside the person himself. His inner world is so rich and multifaceted that it contains all the sources of happiness. A person can see, hear, he himself is a part of the Divine power and exists next to it. What else is needed? And everything else is dust, vanity, empty inventions of a weak person who does not want to just stop, look inside himself and see the Truth.
It seems to me that this very idea is the main conclusion of the lyrical reflection to which the hero and the author came with him.
The means of artistic expression in the poem help to express this idea. The poem is written in simple, concise language, it contains a fairly small number of tropes. The epithets ("clean air", "bottomless sky", "tired look"), metaphors ("air pouring through the window", "a cloud shines,"), comparisons ("with a light white edge") help to convey the beauty of an autumn evening and the state of the hero. rises").
The author alternates inversion ("A bird squeaked and sat on the windowsill", "A light white edge Rises, a cloud shines") with the direct word order, which creates an interesting rhythm that conveys the uneven flow of the protagonist's thought: now smooth, now getting lost in frequency. This is also facilitated by the alternation of long and short lines in the poem.
The work is written in iambic pentameter with pyrrhic, which also gives it a smooth flow. Here Bunin used the traditional cross rhyme (Abab) and the alternation of feminine and masculine rhymes (remember - it is - a barn - a window).
Bunin's "Evening", in my opinion, is a masterpiece of philosophical lyrics, a treasure in miniature. The poet was able to say so simply and clearly about very difficult things - about human happiness. The poet's formula is very close to me, although it seems to me that in all its depth I realize it much later: “Happiness is everywhere. Everything is in me. "
A person lives, he has the ability to see, hear, feel. And this is a great happiness. After all, this is precisely the meaning of human life. Every moment is given to you from above as a gift. Use it, enjoy it and be grateful for everything. You have a soul that can feel, and this is the greatest miracle on earth!
I was imbued with just such a mood, I came to such conclusions, I realized that after reading and analyzing the poem "Evening".
In the lyric poetry of IABunin of 1903-1909, a prominent place is occupied by the poem "Evening" (1909) - an example of landscape lyrics, marked by clarity of drawing, plasticity in a combination of epic and lyrical principles, deep philosophicalism. The poem, written in the form of a sonnet (two quatrains, two terzenes), suggests a deep philosophical orientation. According to Bunin, "... for a writer, the form is inextricably linked with the content and is born of itself from the content." "Evening" is not just a landscape sketch, but an interweaving of the poet's moral, aesthetic and philosophical views. An insatiable love of life, a sense of organic involvement in the natural world, which constitutes Bunin's philosophy of the unity of being, the poet's desire to "fit into harmony and sounds" his understanding of happiness is most fully reflected in this poem. A singer of youth and happiness, Bunin was able to convey in him numerous figurative and sensory experiences, feelings of an emotional and spiritual plan. Therefore, the title of the poem - "Evening" - cannot be regarded as the poet's desire to fix temporary moments, the task in another is to show the state of the lyric hero, the richness of his inner world, the openness of his soul ("the window is open") for the perception of the fullness of happiness.
What makes the poet's gaze stand out in the picture that opened before him? Autumn garden behind the barn, bottomless sky, shining clouds. A familiar landscape that does not stand out in any way, but clearly defined by these few scanty strokes. Two quatrains reveal to us the world of nature, given in two parallels: the world of the Earth ("autumn garden behind the barn") and the world of Heaven, pure, "bottomless", with a shining cloud. The third stanza introduces an open window and a bird sitting on it into a landscape sketch, and the last opens up a distant perspective: above - the empty sky, below - a thresher in the threshing floor. Thus, in several strokes, restrained and inconspicuous, the integral World is created - the material world, connected with man (thresher, threshing floor), the natural world (garden, sky, cloud, bird), built on the "heaven-earth" parallel, and the inner world - the world of the lyrical hero, at first an outside observer of the world around him, then realizing himself as an integral part of it. Therefore, parallelism within each stanza is not accidental (the world is external, concretely objective - the "I" of the lyric hero). Bunin not only sees well and knows the outer shell of being, but also displays the spiritual depth that is hidden behind it. He is attracted by a certain mystery that he wishes to comprehend by exploring the visible world.
The time frame of the poem also seems interesting. The season is autumn, this is indicated by the relative adjective "autumn" and the "hum of the thresher" "in the threshing floor". According to generally accepted ideas, autumn is the time of man's maturity, his acquisition of the meaning of existence, a special attitude, which is given only by the wealth of inner life. The time of day is evening, which is already indicated in the title of the poem. Evening is a time of comprehension of wisdom and truth, a time when a person remains alone with himself and with God and the gates to the Kingdom of God open before him. The entire lexical structure of the poem convinces us of this: the air is "clean", the sky is "bottomless", the cloud stands up "with a light white edge." Pure, bottomless, light, white ... In terms of semantic filling, these words can be brought closer to one meaning: transparent, open for comprehension and perception. However, the picture of the onset of evening is given by the poet only in the second terzen: "The day is getting dark." So in the poem different time plans (past, present, momentary) are combined, which create a feeling of the fullness of being, the fullness of happiness. And all life is waiting for this moment.
In our opinion, the compositional poem can be divided into three parts. The logic of compositional division is as follows: philosophical reflection - images of a concrete objective world. Each part opens with the lyrical hero's reflections on the comprehension of happiness, so it is no coincidence that the word "happiness" and its cognate analogue "happy" run as a refrain throughout the poem. A kind of border between the parts is the ellipsis, which grammatically expresses the technique of silence, indicating the thoughts of the hero. The first part contains complaints about the impossibility of a person to see happiness, which is "everywhere." The movement in the artistic space of the first part proceeds, as it were, from the bottom up, from the autumn garden to the bottomless sky.
We always only remember about happiness.
And happiness is everywhere. Maybe it
This autumn garden behind the barn
And clean air pouring through the window.
In the bottomless sky with a light white edge
A cloud rises, shines. Long
I follow him ...
In the second part, the consciousness that "happiness is given only to those who know" is added to the lamentation. The movement strives even higher: "the sky is empty", pushing apart the immense breadth for poetic perception and knowledge of the world. To the images of the natural world are added objects of the material world of man: a book, a thresher, a threshing floor. So in the second part, a pantheistic-volumetric image of the world is created, the fusion of two spheres: natural and human, is fully realized in the last line of the poem.
We see little, we know
The window is open. Squeaked and sat down
The day is getting dark, the sky is empty.
The third part, consisting of one last line, bears the main ideological load. The moment stopped. The feeling of finding happiness, which arose during the contemplation of the universal depth, pierced the soul of the lyrical hero, seized with delight ("Everything is in me"), revealing another important motive in Bunin's work - the motive of memory. "Everything in me" is the past, the present, the momentary, and the future. Man dissolves in nature, and nature with its secrets fits into a larger human heart.
The rhythmic and sound organization of the poem is conditioned by the poet's overarching task - "to find the sound". “As soon as I found him, everything else comes by itself,” wrote Bunin. Therefore, the sound writing of "Evenings" is filled with polyphonic overflows: here both the pouring "l" ("The rumble of the thresher is heard on the threshing floor"), and the sweet "m" ("We see little, we know ..."), and the smooth "p" (" A bird squeaked and sat on the windowsill "). But all these alliterative overflows set off the sounds of the key word "happiness", for example, the sound "c": "... the autumn garden behind the barn", "I see, I hear, I am happy. Everything is in me." This is not only the originality of sound writing, but also a distinctive feature of the poem - "motive", "melodiousness", "lyricism". To a large extent, the rhythm of the sonnet contributes to the creation of this musical background. ON Mikhailov noted: "Bunin reveals the unexplored possibilities inherent in the" traditional "verse, not in rhythm, no - most often it is a five- or six-foot iamb ..." Poetic meter - iambic, cross rhyme, variability
6-5-6-5
6-5-6-5
6-5-5
6-5-5,
omissions of stress (the presence of pyrrhic) give intonation lightness, spontaneity, simplicity. The uninhibited flow of the verse is also largely facilitated by the transfers to which Bunin resorts in each stanza. They give poetic speech the inner emotion necessary for a given moment, and most importantly - partially destroying the metric division of poetic speech, bring it closer to an epic narrative. This is fully justified: behind the subject image is hidden the work of the lyrical hero's thought, the process of comprehending the Divine in himself.
Maybe it
This autumn garden behind the barn ...
Long
I follow him ...
And from books
I look away for a moment, tired.
The smoothness is disturbed only in the second terzen, when a troche breaks into the first feet: the lyrical hero comprehends the secret of happiness. And the last line sounds smooth and smooth again, sounds the final chord of the joy of being, merging into an exclamation: "Everything is in me." The short words of the last line ("I see, hear, happy. Everything is in me") not only set off the hero's deep thoughtfulness, but also create a sound image of happiness as a lasting feeling that filled the hero's soul with unprecedented delight and universal harmony. Bunin found a sound, which can be embodied in the "thresher", which, as you know, does not make monotonous sounds, but a hum, which includes all the variety of existing tones: from high to low, from muffled to voiced. the hero of the poem (and he has a special hearing: accurate, sharp), which is why he is infinitely happy.
A special place in the semantic and rhythmic organization of the poem is occupied by the syntactic level of poetic speech, which carries not only rhythmic and intonation, but also ideological and content load. Simple sentences, which form the basis of the syntactic structure of the poem, bring poetic speech closer to colloquial, to epic narration, this is due to Bunin's task - to show that the deep philosophical essence of being is hidden behind simplicity. The same semantic load is carried by incomplete sentences: "And happiness is everywhere", "Everything is in me." The direct word order does not cause excitement in the reader, as well as the calm enumerative intonation in a number of sentences with homogeneous members ("We see little, we know ...", "I see, I hear, I am happy"). The second quatrain draws the image of the bottomless sky, this image is perceived by the lyrical hero at the visual level. It was here that the lyrical "I" acquired, although still timidly and timidly, an explicit grammatical expression in the form of a 1-person verb (in the definitively personal sentence "I have been following him for a long time"). In the future, the lyrical "I", breaking away from the faceless "we", will sound distinctly and clearly: "I see, I hear, I am happy."
Noteworthy is the verbal content of the sonnet. Being in its momentary and boundless flow, the human desire to master this phenomenon - these are the spiritual demands that the poem and each of its words are endowed with.
The first part draws a picture that opens up from the window to the gaze of the lyrical hero, and his gaze stops on objects that are nearby: a garden, a barn. The air pouring from the window makes you expand the spatial framework and see the "bottomless sky" and a white, shining cloud. In two lines - the main images of Bunin's poetry. One of them is the sky, "bottomless", opening the doors to the Universe, connecting the Cosmos and the spiritual world of the lyrical hero. The second is a shining cloud. Radiance, brilliance - these words can be called the key words in the poet's work. All Bunin's poetry is illuminated with radiance, sparkle, brilliance ("Everywhere there is shine, everywhere there is a bright light ...") And what is hidden behind the shining cloud in the poem "Evening"? Sunshine? Bright flashes? Maybe a halo? So far, the answer to this question in the second quatrain has not been given, but the lyrical hero has been following the cloud "for a long time." The word "long ago" makes you wonder. What time period does it hide in itself? Evening, day, day, months, years? Probably life. It is no coincidence that the default technique in the middle of the third line, expressed by an ellipsis, is used. Canonically, the default technique is used to indicate the thoughts and thoughts of the lyric hero. "For a long time" gives rise to the memory of a cloud that accompanies all life and conceals a mystery that does not open immediately, but only "in the evening" - in the period of maturity and comprehension of wisdom, when everything is bottomless and transparent. Bunin's poetic paths are also transparent. The epithets are so simple that they seem to be just ordinary definitions: "autumn" garden, "clean" air, "bottomless" sky, "light white" edge. A deceptive feeling can be created that all this is known, familiar, all this is easy to see. But it is precisely behind this simplicity that the deep essence of Bunin's worldview is hidden: purity, enlightenment, the ability to "see, hear" something mysterious, inaccessible to the ordinary eye. The only comparison - a cloud rises with a "light white edge" - not only enhances the atmosphere of mystery (which "edge"? Whose "edge"?), But also erases the boundaries between heaven and earth. So from the specifics of the natural world, the lyrical hero moves on to philosophical reflections. Why does a person's gaze cover a huge space, but at the same time it turns out to be insufficient for "knowledge"? This is a kind of antithesis between "vision", "hearing" and "knowledge", "understanding" of happiness. Remarkable in the second stanza is the repetition of words of the same root in close proximity to each other, which is more typical for oral speech: "We see little,know , but happiness is onlyknowledgeable given. "The significance of these lines in the poem is great. They are the result of reflections on happiness that arose in the lyrical hero after contemplating an unpretentious picture of a bottomless sky with a cloud rising on it, and at the same time the beginning of comprehending the mysterious connection between nature and man.
We see little, we know
And happiness is given only to those who know.
The window is open. Squeaked and sat down
There is a bird on the windowsill. And from books
I avert my tired eyes for a moment.
The day is getting dark, the sky is empty.
The rumble of a thresher is heard in the threshing floor ...
The third stanza is extremely simple and clear in its lexical content. It would seem that it could be simpler: "The window is open. A bird squeaked and sat on the windowsill"? But it is precisely in these lines that Bunin's ideal of verbal framing is contained: "A noun, a verb, a period, well, maybe! - the most necessary subordinate clause, childishly clear." And it is immediately clear that it is precisely in this way, childishly clear and simple, that the Divine is revealed to man. Specifically, the objective world is filled with a deep philosophical content, the motive of a search, an unstoppable movement towards the mysteries of being, arises in the poem. An open window is not just an object of the material world; it becomes a window to the Cosmos by merging the macrocosm (Eternity) and the microcosm (the inner world of man). The image of a window is also encountered in the first part of the poem, through it "clean air" flows into the room (it "pours", not "bursts in", which speaks of the harmony, pacification in the soul of the lyrical hero). This is the feeling of organic belonging to the natural world, understood in a broad, universal sense. Bunin was convinced that "every slightest movement of air is the movement of our own life," thereby emphasizing the philosophy of the unity of being, which he embodied in specific images. In the second part of the poem, another peculiar symbol appears - "bird". It is noteworthy that Bunin usually rarely used generic concepts - bird, tree, flower. In his works, falcons, eagles, tits, etc. sing, fly, flutter. Certainty and concreteness are everywhere. But in the poem "Evening" "birdie" turns into a generalized concept, raising the thoughts of the lyrical hero to a philosophical height. A bird is a creature of God, a messenger of God, it is she who carries the word of God in itself, you just need to hear it. Therefore, it is no coincidence that the diminutive-petting suffix -k- is used in the word "birdie", as well as the verb "squeaked". How sometimes the manifestations of the Divine principle are imperceptible in our life! You just need to see a small bird, hear its faint squeak, but ... "we see little, we know", "we hear". Here it is necessary to stop and trace how personal pronouns are used in the text. In the first part, the lyrical "I" of the hero merges with the "we": "We always only remember about happiness", "We see little, we know". In these lines, Bunin embodies that fatal inability of a person to understand himself and the world around him, which will manifest itself with special force in his prose ("Chang's Dreams", "Loopy Ears"): "... we all say" I don't know, I don't understand. " only in sorrow, in joy, every living being is sure that he knows everything, understands everything. " "All of us" is a circle of those doomed to be misunderstood. Therefore, it is no coincidence that Bunin envied the hero of medieval legends, Agasfer, doomed to eternal wanderings, and argued that no man is happier than this eternal wanderer: he has seen everything, knows everything, will know. Hence the poet's desire to single out the lyrical "I" from the polyphonic "we". In his ignorance of the world, the lyric hero at first identifies himself with a faceless crowd, unable to understand and perceive the mysterious manifestation of the Divine in nature and man. But gradually tired of the books, the lyrical hero (maybe he tried to comprehend the innermost in them?) Comes to the realization of his "I", having caught the very moment when the window to the Cosmos is open and "the soul speaks to the soul." So Bunin asserts the unique value of every minute that a person lives alone with nature. At the end of the poem, the lyrical "I" sounds powerful and free, repeating itself repeatedly: "I I see, I hear, I'm happy. All into me ". This is a kind of antithesis: the lyrical" I "and the faceless" we ".
What opens to a tired but enlightened gaze?
The day is getting dark, the sky is empty.
The rumble of a thresher is heard in the threshing floor ...
Darkness ("the day is getting dark")? Emptiness ("the sky is empty")? No, the picture of the immense universal space, which expresses the poet's desire to look beyond the line of the visible, to understand the eternal, the elusive tread of higher forces. Therefore, the connection with the concrete world is noticeably weakening. Even objects of the material world ("thresher", "threshing floor") are only named, but they are not visible to the poetic gaze, only a distant "hum" is heard to the lyric hero. This is how a philosophically rich motive of the soul appears in the poem, full of light, life and, as it were, returning to its homeland - to the "bottomless sky". The lyrical hero seeks to touch the secret, to stop the moment, breaking away from book scholasticism. These two lines convey a sense of the momentary, when the temporal and spatial boundaries move apart and the hero, separating from the material world, comprehends the happiness of "seeing, hearing." This is the organic connection of Bunin's poem with the famous lines of Pushkin: "Rise, prophet, and see and listen."
Bunin dreamed of mastering eternal secrets by man, everywhere he looked for an ascent to the ideal, but did not find it in a crowded world ("We see little, we know"). His quivering experiences: the expectation of happiness, the awakening of the soul - he vividly and fully expressed in the poem "Evening", in which the last line sounds loudly and impressively (as a result of the enlightenment of the soul): "I see, I hear, I am happy. Everything is in me." This line, which can be perceived as a separate compositional part of the poem, contains the moral and aesthetic values \u200b\u200bof human happiness, which were then reflected in the story "Brothers" (1914), in the author's specific comprehension of the sweet awakening and blossoming of the soul of a young rickshaw. The young boy felt a great thirst "to contain the entire visible and invisible world in his heart and give it back to someone." In the poem "Evening" this thought sounds powerful and deep. The lyrical hero caught the moment of acquiring happiness - complete merging with nature, and happiness is available only to those who have penetrated its secrets, "only those who know." The poet considered himself to be one of the happy, one of those who, having discarded everything superficial, anxiously and patiently awaited a moment of complete harmony of soul and space. It is no coincidence that Bunin used, along with the verbs "see, hear", the forms of the short adjective "happy", which, as you know, contains a simultaneous feeling, a fickle sign. You can feel happy "always", only remembering happiness ("We always only remember happiness"), and the true moment of its acquisition is given in life only once. Noteworthy is the use of the temporal category of verbs: the cloud "rises, shines", "I follow it", "see, we know", "take away", "dusk", "see, hear". Imperfect verbs of the present tense indicate an unfinished process of cognition of the secrets of being, accompanying a person throughout his life. And only the moment in which the lyrical hero knew happiness is conveyed with the help of the perfect verbs of the past tense: the bird "squeaked and sat down", the sky "emptied". The semantic load of these verbs is to show the transience of the minute of the merger of the soul and the sky, the inability to catch it with an ordinary look. The lyrical hero with the wealth of his inner life, the ability to perceive the subtlest manifestations of the Divine in himself and in the world was able to find happiness: "I see, I hear, I am happy. Everything is in me." This final chord of the poem is in tune with the biblical wisdom: "The kingdom of God is within you." The depth of the last line reveals to us the meaning of the high spiritual harmony that Bunin's poem carries. And Bunin's ability to write, by his definition, "from himself" in many ways clarifies the ideological originality of "Evening" and brings the author and the lyrical hero closer together in the desire to acquire and feel happiness. Seeing, hearing, feeling nature is the greatest joy for a person. Happiness.
In the lyric poetry of IABunin of 1903-1909, a prominent place is occupied by the poem "Evening" (1909) - an example of landscape lyrics, marked by clarity of drawing, plasticity in a combination of epic and lyrical principles, deep philosophicalism. The poem, written in the form of a sonnet (two quatrains, two terzenes), suggests a deep philosophical orientation. According to Bunin, "... for a writer, the form is inextricably linked with the content and is born of itself from the content." "Evening" is not just a landscape sketch, but an interweaving of the poet's moral, aesthetic and philosophical views. An insatiable love of life, a sense of organic involvement in the natural world, which constitutes Bunin's philosophy of the unity of being, the poet's desire to "fit into harmony and sounds" his understanding of happiness is most fully reflected in this poem. A singer of youth and happiness, Bunin was able to convey in him numerous figurative and sensory experiences, feelings of an emotional and spiritual plan. Therefore, the title of the poem - "Evening" - cannot be regarded as the poet's desire to fix temporary moments, the task in another is to show the state of the lyric hero, the richness of his inner world, the openness of his soul ("the window is open") for the perception of the fullness of happiness.
What makes the poet's gaze stand out in the picture that opened before him? Autumn garden behind the barn, bottomless sky, shining clouds. A familiar landscape that does not stand out in any way, but clearly defined by these few scanty strokes. Two quatrains reveal to us the world of nature, given in two parallels: the world of the Earth ("autumn garden behind the barn") and the world of Heaven, pure, "bottomless", with a shining cloud. The third stanza introduces an open window and a bird sitting on it into the landscape sketch, and the last opens up a distant perspective: above - the empty sky, below - a thresher on the threshing floor. Thus, in several strokes, restrained and inconspicuous, the integral World is created - the material world, connected with man (thresher, threshing floor), the natural world (garden, sky, cloud, bird), built on the "heaven-earth" parallel, and the inner world - the world of the lyrical hero, at first an outside observer of the world around him, then realizing himself as an integral part of it. Therefore, the parallelism within each stanza is not accidental (the world is external, concretely objective - the "I" of the lyric hero). Bunin not only sees well and knows the outer shell of being, but also displays the spiritual depth that is hidden behind it. He is attracted by a certain mystery that he wants to comprehend by exploring the visible world.
The time frame of the poem also seems interesting. The season is autumn, this is indicated by the relative adjective "autumn" and the "hum of the thresher" "in the threshing floor". According to generally accepted ideas, autumn is the time of man's maturity, his acquisition of the meaning of existence, a special perception of the world, which is given only by the wealth of inner life. The time of day is evening, which is already indicated in the title of the poem. Evening is a time of comprehension of wisdom and truth, a time when a person is left alone with himself and with God and the gates to the Kingdom of God open before him. The entire lexical structure of the poem convinces us of this: the air is "clean", the sky is "bottomless", the cloud stands up "with a light white edge." Pure, bottomless, light, white ... In terms of semantic filling, these words can be brought closer to one meaning: transparent, open for comprehension and perception. However, the picture of the onset of evening is given by the poet only in the second terzen: "The day is getting dark." So in the poem different time plans (past, present, momentary) are combined, which create a feeling of the fullness of being, the fullness of happiness. And all life is waiting for this moment.
In our opinion, the compositional poem can be divided into three parts. The logic of compositional division is as follows: philosophical reflection - images of a concrete objective world. Each part opens with the lyrical hero's reflections on the comprehension of happiness, so it is no coincidence that the word "happiness" and its cognate analogue "happy" run as a refrain throughout the poem. A kind of border between the parts is the ellipsis, which grammatically expresses the technique of silence, indicating the thoughts of the hero. The first part contains complaints about the impossibility of a person to see happiness, which is "everywhere." The movement in the artistic space of the first part proceeds, as it were, from the bottom up, from the autumn garden to the bottomless sky.
We always only remember about happiness.
And happiness is everywhere. Maybe it
This autumn garden behind the barn
And clean air pouring through the window.
In the bottomless sky with a light white edge
A cloud rises, shines. Long
I follow him ...
In the second part, the awareness that "happiness is given only to those who know" is added to the lamentation. The movement strives even higher: "the sky is empty", pushing the boundless breadth for poetic perception and knowledge of the world. To the images of the natural world are added objects of the material world of man: a book, a thresher, a threshing floor. So in the second part, a pantheistic-volumetric image of the world is created, the fusion of two spheres: natural and human, is fully realized in the last line of the poem.
We see little, we know
The window is open. Squeaked and sat down
The third part, consisting of one last line, bears the main ideological load. The moment stopped. The feeling of finding happiness, which arose during the contemplation of the universal depth, pierced the soul of the lyrical hero, seized with delight ("Everything is in me"), revealing another important motive in Bunin's work - the motive of memory. "Everything in me" is the past, the present, the momentary, and the future. Man dissolves in nature, and nature with its secrets fits into a larger human heart.
The rhythmic and sound organization of the poem is conditioned by the poet's overarching task - "to find the sound". “As soon as I found him, everything else comes by itself,” wrote Bunin. Therefore, the sound writing of "Evenings" is filled with polyphonic overflows: here both the pouring "l" ("The rumble of the thresher is heard on the threshing floor"), and the sweet "m" ("We see little, we know ..."), and the smooth "p" (" A bird squeaked and sat on the windowsill "). But all these alliterative overflows set off the sounds of the key word "happiness", for example, the sound "c": "... the autumn garden behind the barn", "I see, I hear, I am happy. Everything is in me." This is not only the originality of sound writing, but also the distinctive feature of the poem - "motive", "melodiousness", "lyricism". To a large extent, the rhythm of the sonnet contributes to the creation of this musical background. ON Mikhailov noted: "Bunin reveals the unexplored possibilities inherent in the" traditional "verse, not in the rhythm, no - most often it is a five- or six-foot iamb ..." Poetic meter - iambic, cross rhyme, variability
omissions of stress (the presence of pyrrhic) give intonation lightness, spontaneity, simplicity. The uninhibited flow of the verse is also largely facilitated by the transfers, to which Bunin resorts in each stanza. They give poetic speech the inner emotion necessary for a given moment, and most importantly - partially destroying the metrical division of poetic speech, bring it closer to an epic narrative. This is fully justified: behind the subject image is hidden the work of the lyrical hero's thought, the process of comprehending the Divine in himself.
Maybe it
This autumn garden behind the barn ...
Long
I follow him ...
And from books
I avert my tired eyes for a moment.
The smoothness is broken only in the second terzen, when a troche breaks into the first feet: the lyrical hero comprehends the secret of happiness. And the last line sounds smooth and smooth again, sounds the final chord of the joy of being, merging into an exclamation: "Everything is in me." The short words of the last line ("I see, hear, happy. Everything is in me") not only set off the hero's deep thoughtfulness, but also create a sound image of happiness as a lasting feeling that filled the hero's soul with unprecedented delight and universal harmony. Bunin found a sound, the personification of which can be a "thresher", which produces, as you know, not monotonous sounds, but a hum, which includes all the variety of existing tones: from high to low, from muffled to voiced. the hero of the poem (and he has a special hearing: accurate, sharp), which is why he is infinitely happy.
A special place in the semantic and rhythmic organization of the poem is occupied by the syntactic level of poetic speech, which carries not only rhythmic and intonation, but also ideological and content load. Simple sentences, which form the basis of the syntactic structure of the poem, bring poetic speech closer to colloquial, to epic narration, this is due to Bunin's task - to show that behind simplicity is hidden the deep philosophical essence of being. The same semantic load is carried by incomplete sentences: "And happiness is everywhere", "Everything is in me." The direct word order does not cause excitement in the reader, as well as the calm enumerative intonation in a number of sentences with homogeneous members ("We see little, we know ...", "I see, I hear, I am happy"). The second quatrain draws the image of the bottomless sky, this image is perceived by the lyrical hero at the visual level. It was here that the lyrical "I" acquired, although still timidly and timidly, an explicit grammatical expression in the form of a 1-person verb (in the definitively personal sentence "I have been following him for a long time"). In the future, the lyrical "I", breaking away from the faceless "we", will sound distinctly and clearly: "I see, I hear, I am happy."
Noteworthy is the verbal content of the sonnet. Being in its momentary and boundless flow, the human desire to master this phenomenon - these are the spiritual demands that the poem and each of its words are endowed with.
The first part draws a picture that opens up from the window to the gaze of the lyrical hero, and his gaze stops on objects that are nearby: a garden, a barn. The air pouring from the window makes you expand the spatial framework and see the "bottomless sky" and a white, shining cloud. In two lines - the main images of Bunin's poetry. One of them is the sky, "bottomless", opening the doors to the Universe, connecting the Cosmos and the spiritual world of the lyrical hero. The second is a shining cloud. Radiance, brilliance - these words can be called the key words in the poet's work. All Bunin's poetry is illuminated with radiance, sparkle, brilliance ("Everywhere there is shine, everywhere there is a bright light ...") And what is hidden behind the shining cloud in the poem "Evening"? Sunshine? Bright flashes? Maybe a halo? So far, the answer to this question in the second quatrain has not been given, but the lyrical hero has been following the cloud "for a long time." The word "long ago" makes you wonder. What time period does it hide in itself? Evening, day, day, months, years? Probably life. It is no accident that the default technique in the middle of the third line, expressed by an ellipsis, is used. Canonically, the default technique is used to indicate the thoughts and thoughts of the lyric hero. "For a long time" gives rise to the memory of a cloud that accompanies all life and conceals a mystery that does not open immediately, but only "in the evening" - in the period of maturity and comprehension of wisdom, when everything is bottomless and transparent. Bunin's poetic paths are also transparent. The epithets are so simple that they seem to be just ordinary definitions: "autumn" garden, "clean" air, "bottomless" sky, "light white" edge. A deceptive feeling can be created that all this is known, familiar, all this is easy to see. But it is precisely behind this simplicity that the deep essence of Bunin's worldview is hidden: purity, enlightenment, the ability to "see, hear" something mysterious, inaccessible to the ordinary eye. The only comparison - a cloud rises with a "light white edge" - not only enhances the atmosphere of mystery (which "edge"? Whose "edge"?), But also erases the boundaries between heaven and earth. So from the specifics of the natural world, the lyrical hero moves on to philosophical reflections. Why does a person's gaze cover a huge space, but at the same time it turns out to be insufficient for "knowledge"? This is a kind of antithesis between "vision", "hearing" and "knowledge", "understanding" of happiness. Remarkable in the second stanza is the repetition of words of the same root in close proximity to each other, which is more characteristic of oral speech: "We see little, know, but happiness is only knowledgeable given. "The significance of these lines in the poem is great. They are the result of reflections on happiness that arose in the lyrical hero after contemplating an unpretentious picture of a bottomless sky with a cloud rising on it, and at the same time the beginning of comprehending the mysterious connection between nature and man.
We see little, we know
And happiness is given only to those who know.The window is open. Squeaked and sat down
There is a bird on the windowsill. And from books
I avert my tired eyes for a moment.
The day is getting dark, the sky is empty.
The rumble of a thresher is heard in the threshing floor ...
The third stanza is extremely simple and clear in its lexical content. It would seem that it could be simpler: "The window is open. A bird squeaked and sat on the windowsill"? But it is precisely in these lines that Bunin's ideal of verbal framing is contained: "A noun, a verb, a period, well, maybe! - the most necessary subordinate clause, childishly clear." And it is immediately clear that it is precisely in this way, childishly clear and simple, that the Divine is revealed to man. Specifically, the objective world is filled with a deep philosophical content, the motive of a search, an unstoppable movement towards the mysteries of being, arises in the poem. An open window is not just an object of the material world; it becomes a window to the Cosmos by merging the macrocosm (Eternity) and the microcosm (the inner world of man). The image of a window is also encountered in the first part of the poem, through it "clean air" flows into the room (it "pours", not "bursts in", which speaks of the harmony, pacification in the soul of the lyrical hero). This is the feeling of organic belonging to the natural world, understood in a broad, universal sense. Bunin was convinced that "every slightest movement of air is the movement of our own life," thereby emphasizing the philosophy of the unity of being, which he embodied in specific images. In the second part of the poem, another peculiar symbol appears - "bird". It is noteworthy that Bunin usually rarely used generic concepts - bird, tree, flower. In his works, falcons, eagles, tits, etc. sing, fly, flutter. Certainty and concreteness are everywhere. But in the poem "Evening" "birdie" turns into a generalized concept, raising the thoughts of the lyrical hero to a philosophical height. A bird is a creature of God, a messenger of God, it is she who carries the word of God in itself, you just need to hear it. Therefore, it is no coincidence that the diminutive-petting suffix -k- is used in the word "birdie", as well as the verb "squeaked". How sometimes the manifestations of the Divine principle are imperceptible in our life! You just need to see a small bird, hear its faint squeak, but ... "we see little, we know", "we hear". Here it is necessary to stop and trace how personal pronouns are used in the text. In the first part, the lyrical "I" of the hero merges with the "we": "We always only remember about happiness", "We see little, we know". In these lines, Bunin embodies that fatal inability of a person to understand himself and the world around him, which will manifest itself with special force in his prose ("Chang's Dreams", "Loopy Ears"): "... we all say" I don't know, I don't understand. " only in sorrow, in joy, every living being is sure that he knows everything, understands everything. " "All of us" is a circle of those doomed to be misunderstood. Therefore, it is no coincidence that Bunin envied the hero of medieval legends, Agasfer, doomed to eternal wanderings, and argued that no man is happier than this eternal wanderer: he has seen everything, knows everything, will know. Hence the poet's desire to single out the lyrical "I" from the polyphonic "we". In his ignorance of the world, the lyric hero at first identifies himself with a faceless crowd, unable to understand and perceive the mysterious manifestation of the Divine in nature and man. But gradually tired of the books, the lyrical hero (maybe he tried to comprehend the innermost in them?) Comes to the realization of his "I", having caught the very moment when the window to the Cosmos is open and "the soul speaks to the soul." So Bunin asserts the unique value of every minute that a person lives alone with nature. At the end of the poem, the lyrical "I" sounds powerful and free, repeating itself repeatedly: " I I see, I hear, I'm happy. All in to me". This is a kind of antithesis: the lyrical" I "and the faceless" we ".
What opens to a tired but enlightened gaze?
The day is getting dark, the sky is empty.
The rumble of a thresher is heard in the threshing floor ...
Darkness ("the day is getting dark")? Emptiness ("the sky is empty")? No, the picture of the immense universal space, which expresses the poet's desire to look beyond the line of the visible, to understand the eternal, the elusive tread of higher forces. Therefore, the connection with the concrete world is noticeably weakening. Even objects of the material world ("thresher", "threshing floor") are only named, but they are not visible to the poetic gaze, only a distant "hum" is heard to the lyric hero. This is how a philosophically rich motive of the soul appears in the poem, full of light, life and, as it were, returning to its homeland - to the "bottomless sky". The lyrical hero seeks to touch the secret, to stop the moment, breaking away from book scholasticism. These two lines convey a sense of the moment, when the temporal and spatial boundaries move apart and the hero, separating from the material world, comprehends the happiness of "seeing, hearing." This is the organic connection of Bunin's poem with the famous lines of Pushkin: "Rise, prophet, and see and listen."
Bunin dreamed of mastering eternal secrets by man, everywhere he looked for an ascent to the ideal, but did not find it in a crowded world ("We see little, we know"). His quivering experiences: the expectation of happiness, the awakening of the soul - he vividly and fully expressed in the poem "Evening", in which the last line sounds loudly and impressively (as a result of the enlightenment of the soul): "I see, I hear, I am happy. Everything is in me." This line, which can be perceived as a separate compositional part of the poem, contains the moral and aesthetic values \u200b\u200bof human happiness, which were then reflected in the story "Brothers" (1914), in the author's specific comprehension of the sweet awakening and blossoming of the soul of a young rickshaw. The young boy felt a great thirst "to contain the entire visible and invisible world in his heart and give it back to someone." In the poem "Evening" this thought sounds powerful and deep. The lyrical hero caught the moment of acquiring happiness - complete merging with nature, and happiness is available only to those who have penetrated its secrets, "only those who know." The poet considered himself to be one of the happy, one of those who, having discarded everything superficial, anxiously and patiently awaited a moment of complete harmony of soul and space. It is no coincidence that Bunin used, along with the verbs "see, hear", the forms of the short adjective "happy", which, as you know, contains a simultaneous feeling, a fickle sign. You can feel happy "always", only remembering happiness ("We always only remember happiness"), and the true moment of its acquisition is given in life only once. Noteworthy is the use of the temporal category of verbs: the cloud "rises, shines", "I follow it", "see, we know", "take away", "dusk", "see, hear". Imperfect verbs of the present tense indicate an unfinished process of cognition of the secrets of being, accompanying a person throughout his life. And only the moment in which the lyrical hero knew happiness is conveyed with the help of the perfect verbs of the past tense: the bird "squeaked and sat down", the sky "emptied". The semantic load of these verbs is to show the transience of the minute of the merger of the soul and the sky, the inability to catch it with an ordinary look. The lyrical hero with the wealth of his inner life, the ability to perceive the subtlest manifestations of the Divine in himself and in the world was able to find happiness: "I see, I hear, I am happy. Everything is in me." This final chord of the poem is in tune with the biblical wisdom: "The kingdom of God is within you." The depth of the last line reveals to us the meaning of the high spiritual harmony that Bunin's poem carries. And Bunin's ability to write, by his definition, "from himself" in many ways clarifies the ideological originality of "Evening" and brings the author and the lyrical hero closer together in the desire to acquire and feel happiness. Seeing, hearing, feeling nature is the greatest joy for a person. Happiness.
Ivan Alekseevich Bunin is a famous Russian poet and prose writer. If in his prose tragic forebodings slip through, then in verses, on the contrary, peace and beauty reign. The writer loved nature very much, felt unity with it, therefore all his poems are picturesque, realistic, saturated with auditory and colorful impressions. There are only a few poets who thoroughly know nature, and Bunin refers precisely to them.
Among the most successful works is the poem "Evening". It fully reveals the feelings of the poet, allows you to feel his mood. An analysis of Bunin's poem may suggest that "Evening" refers to landscape lyrics, because here nature outside the window, autumn evening, blue sky are so colorfully described, but this is not entirely true.
The surrounding landscape is only a pretext for the poet's lyrical reflections. The dying rays of the sun, giving the earth the last warmth, clean air, white clouds floating in the sky - all this suggests the idea that the analysis of Bunin's poem "Evening" shows how close the hero is to the author himself. After reading the verse, the image of a person sitting in the estate in his office and busy with everyday affairs immediately arises. He does not notice anything around him, as here his gaze moves to the window, and he notices a completely different world, which brings him peace and tranquility.
The analysis shows that the author wanted to emphasize the importance of the moment that we all talk about happiness only in We remember the irrevocably past days filled with happiness and fun, we are sad about this, but at the same time we do not appreciate the moments that give us About all this and wrote in his work Bunin. "Evening", the analysis of which makes it possible to understand human feelings, very accurately conveys all the lyrical reflections of the hero.
In his work, the author tries to prove that happiness is everywhere. In order to find it, it is not necessary to go to overseas countries, it can be nearby, right outside the open window. An analysis of Bunin's poem clearly shows that a person was immersed in his own thoughts, was engaged in some kind of routine work, and then, for a moment, only by directing his gaze out the window, the hero dissolves in nature, its colors and sounds.
At the very end of the verse, the author gives an answer to the question of who can be considered happy, in his lines “I see, I hear, I am happy. Everything is in me. " This means that only a person with a rich inner world can experience true happiness. Each of us is unique and multifaceted, and are in ourselves. Analysis of Bunin's poem proves that man is the creator of his own destiny. If he looks into himself, learns his world, then he will be happy. Everything that is around is fiction, dust and vanity, you just need to stop and understand your purpose.
The poem is written in the form of a sonnet, it uses metaphors, epithets, comparisons, so it is very convenient for perception and memorization. Buninsky's "Evening" is a masterpiece of philosophical lyrics. The author very accurately expressed himself about such a complex feeling as human happiness in a simple and vivid form. You just need to learn to enjoy every moment, and if you have the ability to feel, then this is real happiness.