Ivan Alekseevich Bunin is the brightest figure in the literary environment, an outstanding writer of a realistic direction, a talented poet, a true artist of the Russian word.

A creative and sensitive person, Ivan Alekseevich was able to foresee large-scale events that would lead to serious changes in society. He had to witness the atrocities taking place at that time, flourishing cruelty and ignorance. With horror anticipating the collapse of a great country, he finally decided on his attitude to the revolution, which became the cause of a bloody fratricidal war. The current situation was the reason that soon Bunin was forced to leave his native country. All these events had a significant impact on the creative activity of the Russian writer, denoting its features for many years to come.

Among the most famous works devoted to the theme of the revolution of 1917, the novel "The Life of Arseniev" should be attributed. The story looks incredibly true, realistic. Bunin is one of the few authors who remained true to his own convictions, refusing to accept the new order dictated by the revolution.

In the late 80s of the 19th century, Bunin began an active literary activity. The first steps in the creative path of the writer were marked by such stories as "On the Foreign Side", "Kastryuk", "On the Farm", etc. The central theme of these works was the problem of poverty of Russian peasants. The author vividly demonstrates the severity of the moment of separation and the drama of internal experiences in the story “At the End of the World”, the plot of which is based on the resettlement of the peasants of Ukraine to the Ussuri region.

In the 1990s, Bunin's author's style underwent some changes. Democracy becomes the main features of the works of that time, knowledge of the life of ordinary people, the people can be traced. During this period, the writer meets other authors representing the older generation.

In addition to the realistic direction, Bunin in his work begins to resort to new methods and construction of the text that were previously unusual for him. For example, in the works of the author created on that occasion, some features of impressionism can be traced. The plot is blurred, the musical rhythm clearly emerges in the stories.

In particular, the story "Antonov apples" is filled with episodes seemingly unrelated to each other, reflecting the gradual extinction of the noble way of life and colored with light romantic sadness and longing. In addition, the story contains amazingly beautiful landscapes filled with tenderness and love for the motherland.

And yet, the central theme of Ivan Bunin's works remains social problems. In the story "Meliton" we are talking about the plight of the former soldier Meliton, who had to go through a harsh soldier's test (he was driven through the ranks), and then lose his family. Or, for example, such stories as "The New Road", "Ore", "Epitaph", in which the author painted incriminating pictures of social trouble - terrible pictures of hunger.

Of course, in the creative collection of the writer there are many talented works dedicated to the eternal problems of life and death. Such works by Ivan Bunin include the stories "Fog", "Silence". They also vividly show the unfading beauty of Russian nature.

Thus, the creative path of the famous writer and poet was diverse, multifaceted, philosophical and socially significant. He made a great contribution to the development of fiction of the Silver Age, leaving in the general collection of great works of domestic "production" a storehouse of worldly wisdom, beauty and endless talent.

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Ivan Bunin, whose stories are included in the school curriculum for the study of Russian literature, began to create at the end of the 19th century, in the 80s. He is from a galaxy of writers who grew up in a noble estate, closely associated with the picturesque nature of the Central Russian zone. For work on the collection of lyrics "Falling Leaves", dedicated to rural nature, its natural beauty, Ivan Alekseevich Bunin received the Pushkin Prize in 1901.

Bunin's stories differ in that they sometimes (for example, the story about Antonov apples) describe not a series of ongoing events, but the memories and impressions of the lyrical hero regarding life in a noble estate.

The writer can be called a master of poetic prose, he creates an elegiac atmosphere with the help of impressions and associative memories of a lyrical hero. There are many descriptions in the story. For example, a bright picture of an impromptu fair in the garden, colorful landscape sketches of the morning, winter hunting, and many others.

Bunin's stories characterize him as an observant, feeling author. He knew how to find a striking feature in the most everyday scenes of everyday life, something that people usually pass by without noticing. Using a wide variety of techniques, drawing with the help of details with thin or textured strokes, he conveys his impressions to the reader. While reading, you can feel the atmosphere and see the world through the eyes of the author.

Bunin's stories captivate us not by outward amusement and not by a mysterious situation, they are good because they meet the requirements put forward for good literature: an unusually figurative language in which various paths are woven. The author does not even give a name to many of his main characters, but they are obviously endowed with exclusivity, special sensitivity, vigilance and attentiveness inherent in the author.

As for the shades of colors, smells and sounds, all that “sensual and material” from which the world is created, then all the literature preceding Bunin and created by his contemporaries does not have samples of prose containing such subtle nuances as his.

An analysis of Bunin's story, for example, about Antonov apples, makes it possible to identify the means used by him to create images.

The picture of an early autumn morning is created by a chain of definitions expressed by adjectives: quiet, fresh. The garden is large, golden, thinned, dried up. Smells join this picture: apples, honey and freshness, as well as sounds: the voices of people and the creak of moving carts. The visual picture is complemented by the image of the past Indian summer with flying cobwebs and a list of folk signs.

Apples in the story are eaten with a juicy crackle, at the mention of sending them there is a small digression - a picture of a night trip on a cart. Visual image: the sky in the stars; smells: tar and fresh air; sounds: the cautious creaking of carts. The description of the garden continues again. Additional sounds appear - the clucking of thrushes, and it is full because the birds graze on the coral rowan trees.

Bunin's stories are often full of a sad mood of withering, desolation and dying, due to the theme. The sadness of the landscape, as it were, illustrates and creates one inseparable whole with the life of people. The author uses the same images in prose as in his landscape lyrics. Therefore, elegiac stories can be called poetry in prose form.

In the work of I. A. Bunin, poetry occupies a significant place, although he gained fame as a prose writer. He claimed to be primarily a poet. It was from poetry that his path in literature began.

When Bunin was 17 years old, Rodina magazine published his first poem, The Village Beggar, in which the young poet described the state of the Russian village:

It's sad to see how much suffering

And longings, and needs in Russia!

From the very beginning of his creative activity, the poet found his own style, his themes, his original manner. Many poems reflected the state of mind of young Bunin, his inner world, subtle and rich in shades of feelings. Clever, quiet lyrics were similar to a conversation with a close friend, but amazed contemporaries with high technique and artistry. Critics unanimously admired Bunin's unique gift to feel the word, his skill in the field of language. Many exact epithets and comparisons were drawn by the poet from the works of folk art, both oral and written. K. Paustovsky appreciated Bunin very much, saying that each of his lines was as clear as a string.

Bunin began with civil lyrics, wrote about the hard life of the people, with all his heart wished for changes for the better. In the poem "Desolation" the old house says to the poet:

I'm waiting for the cheerful sounds of an ax,

Waiting for the destruction of audacious work,

I'm waiting for life, even in brute force,

Blossomed again from the dust on the grave.

In 1901, Bunin's first collection of poetry, Falling Leaves, was published. It also includes a poem of the same name. The poet says goodbye to childhood, the world of dreams. The motherland appears in the poems of the collection in wonderful pictures of nature, evoking a sea of ​​​​feelings and emotions. The image of autumn is the most common in Bunin's landscape lyrics. The poetic work of the poet began with him, and until the end of his life this image illuminates his poems with a golden glow. In the poem "Falling Leaves" autumn "comes to life":

The forest smells of oak and pine,

During the summer it dried up from the sun,

And autumn is a quiet widow

He enters his motley tower.

A. Blok wrote about Bunin that “few people know how to know and love nature like that,” and added that Bunin “claims to be one of the main places in Russian poetry.” The rich artistic perception of nature, the world and man in him became a hallmark of both poetry and Bunin's prose. Gorky compared Bunin the artist with Levitan in terms of skill in creating a landscape.

Bunin lived and worked at the turn of the 19th and 20th centuries, when modernist trends were rapidly developing in poetry. Many poets were engaged in word creation, looking for unusual forms to express their thoughts and feelings, which sometimes shocked readers. Bunin, on the other hand, remained faithful to the traditions of Russian classical poetry, which were developed by Fet, Tyutchev, Baratynsky, Polonsky and others. He wrote realistic lyrical poetry and did not seek to experiment with the word. The riches of the Russian language and the events of reality were quite enough for the poet.

In poetry, Bunin tried to find the harmony of the world, the meaning of human existence. He affirmed the eternity and wisdom of nature, defined it as an inexhaustible source of beauty. Bunin's life is always inscribed in the context of nature. He was confident in the rationality of all living things and argued that "there is no nature separate from us, that every slightest movement of air is the movement of our own life."

Landscape lyrics gradually become philosophical. In a poem, the main thing for the author is the thought. The theme of life and death is devoted to many poems of the poet:

My spring will pass, and this day will pass,

But it's fun to wander around and know that everything passes,

While the happiness of living forever will not die,

As long as the dawn brings the dawn above the earth

And young life will be born in its turn.

It is noteworthy that when revolutionary processes had already begun in the country, they were not reflected in Bunin's poems. He continued the philosophical theme. It was more important for him to know not what, but why this or that happens to a person. The poet correlated the problems of modernity with the eternal categories - good, evil, life and death. Trying to find the truth, in his work he refers to the history of different countries and peoples. So there are verses about Mohammed, Buddha, ancient deities. In the poem "Sabaoth" he writes:

The ancient words sounded dead.

Spring reflection was on slippery slabs -

And a formidable gray head

It flowed between the stars, twisted by fogs.

The poet wanted to understand the general laws of development of society and the individual. He recognized earthly life as only a segment of the eternal life of the Universe. From here arise the motives of loneliness, fate. Bunin foresaw the catastrophe of the revolution and perceived it as the greatest misfortune. The poet is trying to look beyond reality, to unravel the mystery of death, the gloomy breath of which is felt in many poems. A sense of doom is caused in him by the destruction of the noble way of life, the impoverishment and destruction of landowners' estates. Despite his pessimism, Bunin saw a way out in the fusion of man with wise mother nature, in her peace and eternal beauty.

Researchers of Bunin's work believe that the most important landmark work of Bunin's prose of the pre-October period of large-scale content and the most important problems is "The Village". One of the features of this story is its philosophical character. However, the philosophical and romantic search for high spirituality in prose began as early as 1890-1900.

Late 19th and early 20th centuries in Russia - a period of revolutionary upsurge, the growth of democratic aspirations in realistic literature and, at the same time, the ideological vacillation of part of the intelligentsia. The pre-revolutionary character of the era left its mark on all art. When the crisis of the bourgeois ideology emerged, the splitting of the "old" literature into a number of warring trends took place, the influence of the ideas of decadence on many significant phenomena of literature was clearly reflected, and at the same time, when the search for a way out of the circle of a dying ideology was carried out, artistic experiments and discoveries were made. In the flowering of talent was a galaxy of artists who became the pride of Russian literature and art - A.M. Gorky, A. Blok, young V. Mayakovsky, A. Akhmatova; painters I. Repin, V. Serov, N. Roerich, M. Nesterov; composers S.Rakhmaninov, A.Glazunov, A.Scriabin; opera singers F. Chaliapin and L. Sobinov, and so on - and at the same time, art itself experienced upheavals, perhaps the largest in the entire existence of realism.

Bunin himself assessed the current situation critically, not understanding the hype of the public around the work of the decadent direction.

“Since the beginning of this century, an unparalleled bacchanalia of Homeric successes in the field of literature, theatrical, opera began in Russian life ... A big wind was approaching from the desert ... And yet - why were not only the whole new crowd that appeared on Russian street, but all the so-called progressive intelligentsia - in front of Gorky, Andreev and even Skitalets, went crazy from each premiere of the Art Theater, from each new book of "Knowledge", from Balmont, Bryusov, Andrei Bely, who screamed about "the coming transformation of the world ", on the stages, all twitching, crouching, running up, looking around senselessly blissfully, with the antics of a very dangerous madman, flashing brightly and wildly with enthusiastic eyes? "The sun rises and sets - why did almost all of Russia sing this cautious song, as well as the vulgar riotous" From behind the island to the rod "? to the public: “You are toads in a rotten swamp!” and the audience carried him off the stage in their arms; The wanderer kept posing for photographers, now with a harp, now in an embrace with Gorky or Chaliapin! success; flaunted a fine cloth undershirt, boots with varnished tops, a silk shirt loose; Gorky, stooping, walked in a black cloth blouse, in the same trousers and some short soft boots.

I. A. Bunin tried to preserve against the background of the surrounding world that opportunity to be people, which he reflected in absolutely all his works. And Bunin saw the beginning of this not only in the works he wrote during the revolutionary years in Russia and in exile, but also in children's creativity. He actively writes poems for children, trying to convey them to the general public through publications, time after time crossing the road to the authorities, who assessed his work as obscene. Even Bunin's lyrics in children's creativity were treated with disdain and wariness. Not giving wide circulation to his poems.

However, this did not stop the poet, and his poems got to the people bypassing the mechanism of censorship and criticism from the authorities. Bunin's poems were read to children and adults. People in the revolutionary years lacked the kindness that was in his poems. Hungry days, permanent exiles and emigration, death and devastation - that's what both adults and children saw. Against the background of all this, Bunin's descriptive lyrics looked very bright. Adults tried to isolate children from all the horrors of the war, and Bunin's poems for that period of time were one of the ways to achieve this goal. It was after the revolutionary times, after the end of the bloody skirmishes and famine, the change of government, that Bunin's work was introduced into the school curriculum and was first described as "rehabilitating".

One of the controversial is the question of the so-called "crisis of critical realism" in the literature and art of that time. This problem was precisely formulated by L.I. Timofeev: "... critical realism of the 19th century and critical realism of the 20th century are not unambiguous concepts in relation to social progress. The realism of Bunin, for example, or Kuprin, in relation to the course of history of his time, is on a different level than the realism of the 19th century. ... "3 This is not about the exhaustion of the possibilities of realism in the artistic reflection and depiction of life, but from the concrete historical content of its contradictory evolution in the literature of the early 20th century, about the historical position of critical realism in its relation to the social and historical and literary progress of the era. These contradictions also affected the work of I.A. Bunin.

The characterization of Bunin as an artist is impossible without establishing his literary genealogy, a place in the series as the predecessors of the great writers of the 19th century. and contemporaries - prose writers and poets of our century, and, in addition, those who themselves experienced the influence of Bunin. In the fusion of an era saturated with revolutionary upheavals, the writer's life experience, social and aesthetic traditions, and the peculiarities of talent, the main tendencies of Bunin's creativity are revealed, which noticeably change from the 1890s to the present. by the beginning of the 1900s and further - in the 1910s.

Together with Gorky, Kuprin, Shmelev, A. Tolstoy, Bunin was in the general direction of pre-revolutionary literature and opposed the wave of decadence with his works. All of them are united by a difference in the social view of a deeply national principle, characteristic of realism. However, Bunin remained the largest and very special figure in literature.

Bunin's creative method is fundamentally deeply realistic, and his poetics and style were firmly based on the traditions of Russian classics.

In the early 900s. Bunin for Gorky was the continuer of the traditions of Tyutchev, Fet, Maykov, the heir to the best traditions of the "estate culture" (during this period, Gorky appreciates Bunin's poetry above all else, and in particular poetry for children).

Naturally and organically, deep psychologism, weakened traditional plot, increased expressiveness of detail and image - all these and other features of the art of the turn of the 19th-20th centuries - all these and other features of the art of the turn of the 19th-20th centuries merged into Bunin's poetics and style. However, Bunin was not a "traditional" writer. The feeling of the catastrophic nature of life, the vain and absurd routine of Bunin's stories of the 1900s. one can oppose the love of life, craving for strong natures, sincerity, dreaminess, ardent imagination, filling Kuprin's stories. Bunin met Kuprin in the late 90s of the 19th century. There was a lot in common in their life and fate, they were the same age, they shared the academic Pushkin Prize in 1909. The artistic world of Kuprin, which has a realistic basis, differs from Bunin's in trust in life, the passion of the artistic temperament, and bright, optimistic tones. Bunin and Kuprin are like two poles in the perception of the surrounding reality. If the question of the continuity of Bunin's prose is being considered, then most often the name of A.P. Chekhov. Criticism of the turn of the century put the prose of these authors on a par, And Izmailov writes: "One cannot talk about Bunin without disturbing the beautiful shadow of Chekhov, Bunin is more than" his school ". He is flesh from flesh, blood from the blood of Chekhov's Chekhov mood, Chekhov's sympathies ". The reason was, first of all, that Bunin, like Chekhov, is primarily a storyteller (the similarity of types of artistic thinking). It is the descriptive storyline that so often permeates Bunin's work, and it is she who plays the leading role in the children's lyrics of this author. With descriptiveness, he tried to make people think and fantasize, especially in terms of children's poems. It was important for I. A. Bunin that children not only see the drama of life, but also have non-standard and bright thinking. Bunin, like all writers, was to a certain extent a maximalist, and as a result, he tried to change life from the inside. He saw the change in life from childhood and therefore tried to put as much purity, beauty and kindness as possible into children's poems.

Bunin's work is connected with the ideological and creative principles and traditions of Russian classical literature. But the realistic traditions that Bunin sought to preserve were perceived by him through the prism of a new transitional time. Bunin always had a negative attitude towards ethical and aesthetic decadence, literary modernity, he himself experienced, if not the impact, then a certain influence of the trends in the development of the "new art". Public and aesthetic views Bunin were formed in an atmosphere of provincial noble culture. He came from an ancient, by the end of the century, completely impoverished noble family. Since 1874, the Bunin family has been living in the last estate left after the ruin - on the Butyrki farm in the Yelets district of the Oryol province. The impressions of his childhood were later reflected in the writer's works, in which he wrote about the collapse of the estate nobility, about poverty that overtook both the manor estate and peasant huts, about the joys and sorrows of the Russian peasant. In Yelets, where Bunin studied at the district gymnasium, he observes the life of the petty-bourgeois and merchant houses in which he had to live as a freeloader. Teaching at the gymnasium had to be abandoned due to material need. At the age of 12, Bunin left the family estate forever. The wandering streak begins. He works in the zemstvo council in Kharkov, then in the Orlovsky Vestnik, where he has to be “everything he has to. The beginning of Bunin's literary activity dates back to this time. He gained recognition and fame as a prose writer. poetry occupied a significant place. He began with poetry and wrote poetry for the rest of his life. In 1887, the first Bunin's poems "The Village Beggar" and "Over Nadson's Grave" were published in the St. Petersburg magazine Rodina; Bunin's poems of the early period bore the stamp of the mood of civil poetry of the 80s. In the early period of his literary activity, Bunin defended the realistic principles of creativity, spoke about the civil purpose of the art of poetry. Bunin argued that "social motives cannot be alien to true poetry." In these articles, he argued with those who believed that the civil lyrics of Nekrasov and the poets of the sixties were supposedly evidence of the decline of Russian poetic culture. Bunin's first poetry collection was published in 1891. In 1899, Bunin met Gorky. Bunin becomes an active participant in Sreda. In 1901, the collection “Leaf Fall” dedicated to M. Gorky was published, which included all the best of Bunin’s early poetry, including the poem of the same name. The leitmotif of the collection is an elegiac farewell to the past. These were poems about the motherland, the beauty of its sad and joyful nature, about the sad sunsets of autumn and the dawns of summer. Thanks to this love, the poet looks vigilantly and far away, and his colorful and auditory impressions are rich.

In 1903, the Academy of Sciences awarded Bunin the Pushkin Prize for Falling Leaves and The Song of Hiawatha. In 1909 he was elected an honorary academician. pictorial and descriptive style.

\. A year after "Falling Leaves", Bunin's poetic book "New Poems" comes out, fanned by the same moods. Today" invades Bunin's work in the pre-revolutionary years. There are no direct echoes of the social struggle, as it was in the poems of the poets - "Znanie" in Bunin's poetry. . Social problems, freedom-loving motives are developed by him in the vein of "eternal motives"; modern life correlates with certain universal problems of being - good, evil, life, death. Not accepting bourgeois reality, having a negative attitude towards the upcoming capitalization of the country, the poet, in search of ideals, turns to the past, but not only to Russian, but to cultures and civilizations of distant centuries. The defeat of the revolution and a new upsurge in the liberation movement aroused Bunin's heightened interest in Russian history, in the problems of the Russian national character. The theme of Russia becomes the main theme of his poetry. In the 1910s, philosophical lyrics took the main place in Bunin's poetry. Looking into the past, the writer sought to catch some "eternal" laws of development of the nation, peoples, humanity. The basis of Bunin's philosophy of life in the 1910s was the recognition of earthly existence as only a part of eternal cosmic history, in which the life of man and humanity is dissolved. In his lyrics, the feeling of the fatal isolation of human life in a narrow time frame, the feeling of human loneliness in the world, is exacerbated. In the poems of this time, many motifs of his prose of the 1930s sounded already. Supporters of the “new poetry” considered him a bad poet who did not take into account the new verbal means of representation. Bryusov, being sympathetic to Bunin's poems, at the same time wrote that "the whole lyrical life of Russian verse of the last decade (K. Balmont's innovations, A. Bely's discoveries, A. Blok's searches) passed by Bunin"5. Later, N. Gumilyov called Bunin "an epigon of naturalism."

In turn, Bunin did not recognize "new" poetic currents. Bunin seeks to bring poetry closer to prose, which acquires a peculiar lyrical character from him, marked by a sense of rhythm. Of particular importance in the formation of Bunin's style was his study of oral folk art. in the 900s, Bunin's work developed a special way characteristic of him to depict the phenomena of the world and the spiritual movements of man by contrasting comparisons. This is not only revealed in the construction of individual images, but also penetrates into the system of the artist's visual means. At the same time, he becomes a master of extremely detailed vision of the world. Bunin makes the reader perceive the outside world with sight, smell, hearing, taste, and touch. This is a visual experiment: the sounds are extinguished, there are no smells. Whatever Bunin narrated, he first of all created a visual image, giving free rein to a whole stream of associations. In this he is extremely generous, inexhaustible and at the same time very precise. Bunin's "sonic" skill had a special character: the ability to depict a phenomenon, a thing, a state of mind through sound with almost visible power. The combination of a calm description with an unexpected detail will become characteristic of Bunin's short story, especially of the late period. The detail in Bunin usually reveals the author's view of the world, sharp artistic observation and the sophistication of the author's vision characteristic of Bunin.

Bunin's first prose works appeared in the early 1990s. Many of them in their genre are lyrical miniatures, reminiscent of poems in prose; they contain descriptions of nature; intertwined with the reflections of the hero and the author about life, its meaning, about man. In terms of socio-philosophical range, Bunin's prose is significantly< шире его поэтического творчества. Он пишет о разоряющейся деревне, разрушительных следствиях проникновения в ее жизнь новых капита­листических отношений, о деревне, в которой голод и смерть, физи­ческое и духовное увядание. Bunin writes a lot about old people: this interest in old age, the decline of human existence, is explained by the writer's increased attention to the "eternal" problems of life and death. The main theme of Bunin's stories of the 90s is impoverished, ruined peasant Russia. Accepting neither the methods nor the consequences of its capitalization, Bunin saw the ideal of life in the patriarchal past with its "old-world prosperity."

In "Knowledge" in 1902, the first volume of his stories was published. However, in the group of "Znanie" Bunin stood apart both in his worldview and in his historical and literary orientation.

In the 900s, in comparison with the early period, the subject of Bunin's prose expanded and its style changed decisively. Bunin departs from the lyrical style of early prose. A new stage in Bunin's creative development begins with the story "The Village". The significant artistic innovation of the author was that in the story he created a gallery of social types generated by the Russian historical process. The idea of ​​love as the highest value of life will become the main pathos of Bunin's works and the emigrant period. The stories "The Gentleman from San Francisco" and "Brothers" were the pinnacle of Bunin's critical attitude to bourgeois society and bourgeois civilization and a new stage in the development of Bunin's realism. In Bunin's prose of the 1910s, accentuated everyday contrast is combined with broad symbolic generalizations. Bunin accepted the February Revolution as a way out of the impasse into which tsarism had entered. But he took October with hostility. In 1918, Bunin left Moscow for Odessa, and in 1920, together with the remnants of the White Guard troops, he emigrated through Constantinople to Paris. “In emigration, Bunin tragically experienced separation from his homeland. Moods of doom, loneliness sounded in his works: Ruthlessness of the past and passing time and will become the subject of many of the writer's stories in the 30s and 40s. The main mood of Bunin's work of the 20s is the loneliness of a person who finds himself "in a strange, hired house", far from the land he loved "to the pain of the heart." Eternal "themes , which sounded in Bunin's pre-October works, are now conjugated with the themes of personal fate, imbued with moods of hopelessness of personal existence \\

Bunin's most significant books in the 1920s and 1940s were the collections of short stories Mitya's Love (1925), Sunstroke (1927), Bird's Shadow (1931), the novel Arseniev's Life (1927-1933) and a book of short stories about love "Dark Alleys" (1943), which was a kind of result of his ideological and aesthetic searches. If in the 1910s Bunin's prose freed itself from the power of lyrics, then in these years, conveying the flow of the author's life sensations, it again submits to it, despite the plasticity of writing. The theme of death, its secrets, the theme of love, always fatally associated with death, sounds more and more insistent and intense in Bunin's work. Bunin was the first Russian writer to be awarded the Nobel Prize.