Under the direct influence of lev tolstoy, Chekhov, Gorky and other writers, Bunin made a real and profound reflection on Russian social life before the great historical change, especially on rural life. With a strict attitude towards artistic creation, he resisted the temptation of simply pursuing flowery rhetoric, never whitewashed everything he witnessed, but reflected it truly, which contained many rational thoughts on the motherland and the people and placed great sympathy on the poor farmers. Puning's early works have obvious creative connection with Chekhov. Especially in his early short stories, like Chekhov, he observed the whole process of life with amazing insight. However, Puning's attitude towards life contradictions is different from Chekhov's. He always tries to explain all kinds of conflicts with the universal laws of life and tragedy, life and death and love. In this way, social contradictions have shifted to a philosophical field of "all mankind", and "eternal themes" such as love, life and death have become the focus of Puning's creation. It is through this eternal theme that the tradition of Russian realism and the new trend of literary development have been uniquely reflected in Puning's creation.
Puning's novels attach importance to the capture and grasp of the "instant-eternal" mode of love, offset the short-lived dilemma and absurdity with short-lived love, shock ordinary and ordinary human nature with the power of tragedy, and promote an ideal of love and beauty with the "flame-like" passion of love. In Love, Bunin seeks the value of human nature, and through the writing of love, he reaches the torture and insight into the essence and significance of human existence. In the story of joys and sorrows, he depicts the most primitive but also the most wonderful pure feelings. In the process of dealing with a series of emotions, the writer attaches great importance to the pure truth beyond ethical color between the protagonists; However, moral exploration at the practical level is always in a subordinate and secondary position. In the face of emotion and reason, detached true love and realistic customs, the writer is obviously a sentimentalist. At the same time, however, he can write about the great power of love. For him, love is much broader and richer than most people think. "
Throughout the ages, writers have interpreted countless touching love stories, but in the world of Puning's love novels, it is another way. He did not put his heart and enthusiasm on saving the future of the Russian nation and seeking the revolutionary road to find the way forward. Nor did he implant the sad factor into people's hearts to discuss the twists and turns of human nature. On the contrary, he opened up a "dark forest". They all described the ups and downs of the fate of Russian people or individuals abroad, sympathized with the tragic life, paid attention to the flowers and flowers of a better life, and listened to and felt the twists and turns of the bottom people. On the level of expressing life and achieving the highest goal of saving mankind, it can be said that Puning and previous literary masters have achieved the same goal, and together with them, they have propped up the dazzling and unique starry sky of Russian literature.
Life and death in Bunin's works have a different kind of simplicity and texture, but they are not just hymns of life, elegies of life or elegies of death. For example, in "In Paris", the newlyweds are separated by death, and the woman sticks her face tightly to her coat, crying and crying. God has pity on her; The heroine in Cold Autumn has been thinking about the entrustment of her husband who died young. In these novels, one side has disappeared forever with death, and the other side is still struggling to live in the world. Everyone's life seems to be living in an unknown state. In Puning's view, everyone's life is like a boat floating on the sea, and fragility is its nature. Perhaps inadvertently, the boat of life will be overturned by oncoming ships or sudden hurricanes. It is impossible to get the absolute safety and guarantee of life, and it is also a nihility and imagination that does not exist. Even in Bunin's earliest works, innocent childhood memories already contain sadness and disability, such as Tanika. Life has to accept the test of life and death because of its own logic or temporary glory, or because it can never cross the high wall of custom. The vertical and horizontal cracks in life have been bridged in the years, but other experiences and experiences can't be waved away, and shortcomings still exist, such as Ida.
Puning doesn't expect to invent some imaginary images that people long for to live a sleepy and tired life. He has been wandering around all his life. In his life, he is the person who loves his motherland the most and is most eager to go home. Fate and the status quo happened to make his wish impossible after all. In the world of existence, since he was a teenager, he has seen a lot of bloodshed and the birth and death of ordinary individuals, and later wandering years have increased his sense of impermanence and fantasy in his life journey. At the moment when an individual "lives", he is doomed to "die" step by step. Death is not only inevitable for Bunin, but also possible at any time. Therefore, on the walking board of life, death lurks, and life and death are closely linked. In this way, death makes life more irrational and unreasonable, and between life and death, only limited "love" can release and save the meaning of living. In this chain of life and death, only love is a precious element to keep vitality and longevity. He looked for a way to convey the ultimate meaning and thought he found, and it was at this level that Bunin showed his attitude and transcendence towards death: "Poor people feel happy and comforted: there is no death in the world, and what has existed and experienced will not perish! As long as my heart, my love and my memory are still alive, there will be no parting and loss. " At this height, he realized a unique understanding and transcendence of death.
In Bunin's love novels, there is almost always only one theme-beauty, and the more beautiful, the more fragile, so the endings of Bunin's love novels are mostly dead, as if they were sacrifices of love. In his novels, there are no thrilling and ups and downs stories, but mainly scenery description and stream of consciousness, which have created a variety of characters with different personalities. The female images in his works are mostly cricket girls like hibiscus and aristocratic women like peony, each with its own characteristics and strengths, showing the unique femininity and perseverance of women.
In Bunin's short stories, the interweaving and conflict of good and evil, beauty and ugliness of human nature constitute the joys and sorrows of life. The darkness of human nature often leads to the tragedy of fate, while the light of human nature urges people to reflect on the trajectory of life and explore the road to happiness in the pain of tragedy. As Bunin said, "Happiness is only for those who know it". Perhaps sadness and pain will force people to think about the meaning of happiness and keep asking questions about happiness. Bunin was deeply influenced by the French dance school at the end of 19, but at the same time he opposed the creative tendency of the avant-garde and enthusiastically believed in Pushkin's romantic poetry tradition. In his poems, most of them praise the rivers and mountains, eulogize the fragrant countryside and the vast forest of Yuan Ye. He expressed his feelings and associations by depicting natural scenery, showing his nostalgia for his aristocratic status in the past and his regret for the decline of his family business. His writing is vivid and delicate.
Puning inherited the Russian literary tradition, but he is unique in describing nature, which is different from the traditional literary description. Nature deeply attracted Bunin, and it has been engraved in his heart. In Bunin's view, natural plants are elastic, and he reflects his inner thoughts through his works.
In Bunin's works, the natural forest is full of movement, with fresh birch trees, golden sunshine, trembling light, jingling bells, singing birds and so on. Bunin used vivid language when describing natural plants. Reading these works will make readers feel better in hearing, sight and touch. Therefore, some people say that Bunin's works have become a model of Russian classic prose because he shows amazing skills in describing Russian nature, people and farmers, and his language is concise and lively, which gives people musical enjoyment. Birch is a very common tree in Russia. In Puning's works, birch trees are often improved and described in detail. In Puning's works, birch sometimes sings in a low voice. For example, when the breeze blows in my hometown, the leaves of birch will whisper, and when the wind blows in the field, the leaves of birch will rustle. Sometimes birch trees are dazzling, such as the birch trees in my hometown. The bare branches turn silvery white in the sun, and bathing in the morning light seems to be coated with charming lavender, which gives people a reverie. Puning endowed birch forest with different characteristics, and described birch trees with both form and spirit, which brought great influence to people. In Puning's works, "nature has various personality characteristics, even subtle characteristics and all the details of typical rural life, and Puning is shown in every detail." Birch tree is spiritual, just like a beautiful girl, whispering softly in the breeze and shining beautifully in the warm sunshine. Bunin's description of birch trees has both form and spirit, giving people infinite reverie. Bunin not only described the natural scenery in the countryside, but also vigorously described the animals in the countryside. In Puning's works, swallows and hounds are no longer simple animals, but emotional creatures. They can communicate with people, live in harmony with people and are full of spirituality, which makes the local world in Puning's works more appealing.
Puning likes to personify the animals in rural nature and endow them with spirituality. In Puning's eyes, swallows are beautiful women. These beautiful women fly like lightning and make happy sounds. The pink chest and blue head make people feel the beauty of swallows and endow them with gentle and lovely spirituality. In Puning's view, Swallow is a affectionate Russian girl with girlish spirituality. Russians like horses, so does Bunin. He observed the horses carefully. The horses that Russians like are very beautiful and strong. It will grind oats into milk with its teeth all day, and touching its ass will make people feel very happy. In his works, horses are not only animals for human use, but also close friends of human beings. Therefore, in his works, western Western jackdaw also has the appearance of a nun. They snuggled up to each other, their eyes narrowed by the colorful flash of snow. In Puning's eyes, animals are full of emotions, and Puning regards these animals as his friends. The written expression in his works is to give animals personalized characteristics. At the same time, Bunin also described the subtle movements of animals brilliantly, such as the hunting dog in Life in Arseniev, and the hunting dog Chalma drank water in the pond and plopped into the water. It swam forward carefully, its ears pricked up, and suddenly it turned back, as if afraid of the water depth. After it fled to the shore, it shook its body and threw water at us. Then sit next to us and watch this and that for a while. Puning endowed Chalma with naughty and lively spirituality. In addition, Bunin will associate his situation with animals. In his work The Life of Arseniev, Puning alluded to his own situation with the life situation of a pony. The pony here has become a close friend of Puning, ostensibly writing about pony, but actually writing about himself.
Puning is a writer with great artistic personality and achievements. Although he entered the literary world by creating poems, his achievements in novels far exceeded those in poetry. Compared with Pushkin, Tolstoy, Turgenev and other realistic writers, his novels lack the deliberate shaping of typical characters and the careful arrangement of complete plots, but pay more attention to the ethereal pursuit of art and the poetic treatment of life. His novels exude strong lyricism, and the weakening of plot, poetic language and deliberately created poetic atmosphere give the novels a different kind of excitement. Puning's novels have changed the narrative style of Russian traditional novels and made them lyrical because of many characteristics of poetic novels. Therefore, his novels have developed and surpassed traditional novels in terms of content, means of expression and language style.
Lyricism is a prominent feature of Puning's novels. His novels are full of uncontrollable emotions, which are externalized through a transcendental perspective, so that the author's emotions and thoughts can be conveyed through the narrator and characters. Not only that, but this kind of emotion and thought also penetrated into the focus object, especially the description of natural scenery, thus making Pu Ning's novels have strong lyric characteristics.
The lyricism of Bunin's novels is reflected in the weakening of plot in structure, which is another remarkable feature of Bunin's novels' poeticization. This is manifested in that a large number of lyric insertions are placed in the plot development, which greatly reduces the narrative of the plot, and sometimes even makes the plot development and climax disappear in it. The open beginning and ending also break the integrity of the novel's occurrence, development, climax and ending, thus making the plot more diluted. This open plot structure points to the past, the present and even the future, thus building a bridge between the three, highlighting the theme of the work and providing the author with a way to express philosophical thinking.
Puning's novels tend to pick up small themes in the choice of themes. In terms of content and diction, it emphasizes the expression of emotion, impression and atmosphere, the choice of words and sentences, the color and sound effect of words, and the combination of meaning, color and sound, which makes the works present rich light, shadow and sound characteristics. Poetry, novels, music and painting are integrated in their works, which produces eternal charm.
Bunin describes mostly the rural scenery he is familiar with. He vividly reproduced them with the painter's brush strokes, and made full use of the light and color techniques of impressionist painting to describe nature, giving people a kind of
A sense of transparency and clarity. Puning's sense of color is first-class. Meteors draw "fiery red lines" in the night sky, and unfathomable paleness bends into "blue in the dark, with stars twinkling". Orchards are shrouded in "lavender mist" in the early morning, bare trunks stand under the blue sky, crane chicks hover in the clear sky, and the golden light of sunset shakes through the gloomy clouds on the ground. "The light blue sky like water above the heavy lead-gray clouds shines coldly and brightly" (Antonovka Apple), while from the fast-moving train, the forest is "dark blue color" and the top of the forest is "slightly lead-gray ivory fog" (new road). This fantastic phrase, with its colorful colors, is a must. Puning used the juxtaposition technique of impressionism, that is, the juxtaposition of tones, which made the color have a sense of flow and made the floating color effect lifelike on paper. At that time, in addition to a large number of descriptions of the natural environment, the characters in Puning's novels were also very individual.
He has the talent of pursuing truth and exquisite skills, and can reproduce the typical Russian character. His figures are not only in the shape of traditional European portraits, but also impressionist figures. The use of impressionist techniques such as light and color enhances the expressive force of the picture, endows the characters with color and life, and makes them appear in front of readers as a visible image. He is especially good at portraying characters with colors, which has changed the traditional mode of portraying characters in the development of the plot. From this point of view, the characters in his novels show a tendency of desalination. This part tries to analyze how Bunin used traditional portrait painting and impressionist figure painting, which not only created visible and vivid characters, but also externalized the characters' personalities in a few strokes.
The language of Bunin's novels is full of rhythm and sense of rhythm. He is not only good at using words such as notes and symbolic phonemes to make the novel shrouded in poetic atmosphere, but also good at using parallelism, inverted sentences, antithetical sentences, parallelism structure and Russian idioms to make the novel poetic. He is also good at using the melody structure of music in the novel, which is different from Tu's, and forms a rhythm pattern with personality-soothing rhythm, which makes the novel have the nature of a song.
Puning pursues the unity of spirit and flesh when describing love. In this respect, he is different from many writers. As a master of describing love, Turgenev's love is more spiritual and platonic. This kind of love is based on the pursuit of the same beliefs, values and ideals by the hero and heroine. Especially in Turgenev's novels, the love pursued by men and women is "not a super-social and super-historical existence, but a certain social ideal", while Bunin's love novels mostly pay less attention to the spiritual pursuit of love between the hero and heroine, and pay more attention to the emotional mutual love between men and women, the resulting physical love and the plot of the novel.
Whether it is antigone, Xia Lu or In Paris, after a brief narration, there is an irresistible physical love between the hero and heroine.