Annotation to the story sunstroke. The image and characteristics of a stranger in the story sunstroke bunin composition

After dinner we left the brightly and hotly lit dining room onto the deck and stopped at the railings. She closed her eyes, put her hand to her cheek with her palm outward, laughed with a simple delightful laugh - everything was delightful in this little woman - and said: - I seem to be drunk ... Where did you come from? Three hours ago, I didn't even know you existed. I don't even know where you sat. In Samara? But all the same ... Is my head spinning or are we turning somewhere? There was darkness and lights ahead. From the darkness a strong, soft wind was blowing in the face, and the lights were rushing somewhere to the side: the steamer with Volga panache was abruptly describing a wide arc, running up to a small pier. The lieutenant took her hand, raised it to his lips. The hand, small and strong, smelled of tan. And blissfully and terribly her heart sank at the thought of how strong and dark she was, probably, under this light canvas dress after a whole month of lying under the southern sun, on the hot sea sand (she said that she was coming from Anapa). The lieutenant muttered:- Let's get off ... - Where? She asked in surprise. “On this pier.- What for? He said nothing. She put her hand back to her hot cheek again. - Crazy ... “Let's get off,” he repeated dully. - I beg you... “Oh, do as you please,” she said, turning away. The scattered steamer hit the dimly lit pier with a soft thud, and they nearly fell on top of each other. The end of the rope flew overhead, then it flew backwards, and the water boiled with a noise, the gangway rattled ... The lieutenant rushed to get his things. A minute later they passed the sleepy office, went out into the deep sand, up to the hub, and silently sat down in the dusty cab. The gentle uphill climb, among the rare crooked lanterns, along the road soft with dust, seemed endless. But then they got up, drove out and crackled along the pavement, here was some kind of square, public places, watchtower, the warmth and smells of the night summer county town ... The cabman stopped near the illuminated entrance, behind the open doors of which an old wooden staircase, old, unshaven a footman in a pink shirt and a frock coat took his things with displeasure and walked forward on his trampled feet. We entered a large, but terribly stuffy room, hotly heated by the sun during the day, with white lowered curtains on the windows and two unburned candles on the mirror, and as soon as they entered and the footman closed the door, the lieutenant rushed to her so impetuously and both of them gasped in a kiss so frenziedly that for many years they remembered this moment later: neither one nor the other had ever experienced anything like this in their entire life. At ten o'clock in the morning, sunny, hot, happy, with the ringing of churches, with a bazaar on the square in front of the hotel, with the smell of hay, tar and again all that complex and smelly smell of the Russian district town, she, this little nameless woman, and without telling her name, jokingly calling herself a beautiful stranger, she left. We slept little, but in the morning, coming out from behind the screen by the bed, having washed and dressed in five minutes, she was as fresh as at seventeen. Was she embarrassed? No, very little. She was still simple, cheerful and - already reasonable. - No, no, dear, - she said in response to his request to go on together, - no, you must stay until the next steamer. If we go together, everything will be ruined. It will be very unpleasant for me. I give you my word of honor that I am not at all what you might think of me. Nothing even similar to what happened has never happened to me, and there will never be any more. I was definitely eclipsed ... Or rather, we both got something like a sunstroke ... And the lieutenant somehow easily agreed with her. In a light and happy spirit, he drove her to the dock, just in time for the departure of the pink Airplane, kissed her on deck in front of everyone and barely had time to jump onto the gangway, which had already moved back. He returned to the hotel just as easily, carelessly. However, something has changed. The number without her seemed somehow completely different than it was with her. He was still full of her - and empty. It was weird! She also smelled of good English cologne, her unfinished cup was still on the tray, but she was no longer there ... And the lieutenant's heart suddenly sank with such tenderness that the lieutenant hurried to light a cigarette and walked up and down the room several times. - A strange adventure! He said aloud, laughing and feeling that tears were pouring into his eyes. - "I give you my word of honor that I am not at all what you might think ..." And I already left ... The screen had been pushed aside, the bed had not yet been made. And he felt that he simply did not have the strength to look at this bed now. He closed it with a screen, shut the windows so as not to hear the bazaar talk and the creak of the wheels, pulled down the white bubbling curtains, sat down on the sofa ... Yes, this is the end of this "road adventure"! She left - and now she is already far away, sits, probably, in a glass white saloon or on the deck and looks at the huge river, shining under the sun, at the oncoming rafts, at the yellow shallows, at the shining distance of water and sky, at this whole immense Volga expanse. .. And I'm sorry, and already forever, forever ... Because where can they meet now? “I can't,” he thought, “I can't come to this city for no reason at all, where is her husband, where is her three-year-old girl, in general her whole family and her whole ordinary life!” - And this city seemed to him some kind of special, reserved city, and the thought that she would live her lonely life in it, often, perhaps, remembering him, remembering their accidental, such a fleeting meeting, and he already never see her, the thought amazed and startled him. No, it can't be! It would be too wild, unnatural, incredible! - And he felt such pain and such uselessness of his entire future life without her that he was seized by horror, despair. "What the hell! - he thought, getting up, again starting to walk around the room and trying not to look at the bed behind the screen. - What is it with me? And what is special about it and what actually happened? Indeed, it’s like some kind of sunstroke! And most importantly, how can I now, without her, spend the whole day in this backwater? " He still remembered all of her, with all her slightest peculiarities, he remembered the smell of her tan and gingham dress, her strong body, the lively, simple and cheerful sound of her voice ... , but now the main thing was nevertheless this second, completely new feeling - that strange, incomprehensible feeling, which did not exist at all while they were together, which he could not even imagine in himself, starting yesterday, as he thought, only funny acquaintance, and about which it was already impossible to tell her now! “And the main thing,” he thought, “you can never tell again! And what to do, how to live this endless day, with these memories, with this insoluble torment, in this godforsaken town above the very shining Volga, along which this pink steamer carried her! " I had to save myself, occupy something, distract myself, go somewhere. He resolutely put on his cap, took a stack, quickly walked, jingling his spurs, along the empty corridor, ran down the steep stairs to the entrance ... Yes, but where to go? At the entrance stood a young cab, in a dexterous coat, and calmly smoked a cigarette. The lieutenant looked at him in bewilderment and amazement: how is it possible to sit so calmly on the box, smoke and generally be simple, careless, indifferent? “Probably, I am the only one so terribly unhappy in this whole city,” he thought, walking towards the bazaar. The bazaar was already leaving. For some reason he walked along the fresh manure among carts, among carts with cucumbers, among new bowls and pots, and the women sitting on the ground, vying with each other, called him, took the pots in their hands and knocked, jingled their fingers in them, showing their good quality, men deafened him, shouted to him: "Here are the first sort of cucumbers, your honor!" All this was so stupid, absurd that he fled from the market. He went to the cathedral, where they were already singing loudly, merrily and decisively, with the consciousness of a fulfilled duty, then he walked for a long time, circled around the small, hot and neglected garden on the cliff of the mountain, over the immense light-steel width of the river ... it was so hot that it was impossible to touch them. The peg of the cap was wet with sweat inside, his face was flushed ... Returning to the hotel, he delightedly entered the large and empty cool dining room on the ground floor, took off his cap with delight and sat down at a table near the open window, which carried heat, but that was all. - the air was still blowing, I ordered botvinya with ice ... Everything was fine, there was immeasurable happiness in everything, great joy; even in this heat and in all the smells of the bazaar, in this whole unfamiliar town and in this old district hotel, there was she, this joy, and at the same time, my heart was simply torn to pieces. He drank several glasses of vodka, nibbling on lightly salted cucumbers with dill and feeling that he, without hesitation, would die tomorrow, if it were possible by some miracle to return her, spend another day with her, - spend only then, only then, in order to express to her and prove something to her, to convince how painfully and enthusiastically he loves her ... Why prove? Why convince? He didn't know why, but it was more necessary than life. - The nerves have completely cleared up! - he said, pouring the fifth glass of vodka. He pushed the botvinya away from him, asked for black coffee and began to smoke and think intensely: what should he do now, how to get rid of this sudden, unexpected love? But to get rid - he felt it too vividly - was impossible. And suddenly he quickly got up again, took the cap and stack and, asking where the post office was, hurriedly went there with the phrase of the telegram already ready in his head: "From now on, my whole life is forever, to the grave, yours, in your power." But when he reached an old thick-walled house, where there was a post office and a telegraph office, he stopped in horror: he knew the city where she lived, knew that she had a husband and a three-year-old daughter, but did not know her last name or her first name! He asked her about this several times yesterday at dinner and at the hotel, and each time she laughed and said: - Why do you need to know who I am, what is my name? On the corner, near the post office, there was a photographic display case. He looked for a long time at a large portrait of some military man in thick epaulettes, with bulging eyes, with a low forehead, with amazingly magnificent sideburns and the broadest chest, completely decorated with orders ... How wild, terrible is everything everyday, ordinary when the heart is struck - yes, amazed, he understood it now - with this terrible "sunstroke", too much love, too much happiness! He glanced at the newlyweds - a young man in a long frock coat and a white tie, cropped by a hedgehog, stretched out to the front under the arm with a girl in a wedding gas, - turned his eyes to a portrait of some pretty and perky young lady in a student cap on one side ... Then, languishing with agonizing envy of all these unknown to him, not suffering people, he began to stare intently along the street. - Where to go? What to do? The street was completely empty. The houses were all the same, white, two-story, merchant houses, with large gardens, and it seemed that there was not a soul in them; thick white dust lay on the pavement; and all this was blinding, everything was flooded with hot, fiery and joyful, but here it was like an aimless sun. In the distance, the street rose, hunched over and rested against the cloudless, grayish, with a reflection of the sky. There was something southern about it, reminiscent of Sevastopol, Kerch ... Anapa. This was especially unbearable. And the lieutenant, with his head lowered, squinting from the light, staring intently at his feet, staggering, stumbling, clinging to the spur with his spur, walked back. He returned to the hotel so overwhelmed with fatigue, as if he had made a huge transition somewhere in Turkestan, in the Sahara. Gathering his last strength, he entered his large and empty room. The room had already been tidied up, devoid of the last traces of her — only one hairpin, which she had forgotten, lay on the night table! He took off his tunic and looked at himself in the mirror: his face — an ordinary officer’s face, gray with sunburn, with whitish mustache faded from the sun and bluish whiteness of eyes that seemed even whiter from the sun — now had an excited, crazy expression, and in a thin white shirt with a standing starched collar, there was something youthful and deeply unhappy. He lay on his back on the bed, put his dusty boots on the dump. The windows were open, the curtains were lowered, and a light breeze from time to time blew them in, blew into the room with the heat of heated iron roofs and all this luminous and now completely empty, silent Volga world. He lay with his hands under the back of his head and gazed in front of him. Then he gritted his teeth, closed his eyelids, feeling the tears roll down his cheeks - and finally fell asleep, and when he opened his eyes again, the evening sun was already turning reddish yellow behind the curtains. The wind died down, the room was stuffy and dry, like in an oven ... Both yesterday and this morning were remembered as if they were ten years ago. He slowly got up, slowly washed his face, lifted the curtains, rang the bell and asked for the samovar and the bill, drank tea with lemon for a long time. Then he ordered a cabman to be brought in, carry out his things, and, sitting down in the cab, on its red-haired, burnt-out seat, he gave the footman a full five rubles. - And it seems, your honor, that it was me who brought you at night! Said the cabby cheerfully, taking hold of the reins. When we went down to the pier, a blue summer night was already blue over the Volga, and already many multi-colored lights were scattered along the river, and the lights hung on the masts of the approaching steamer. - Delivered exactly! - said the cabby ingratiatingly. The lieutenant gave him five rubles, took a ticket, went to the pier ... Just like yesterday, there was a soft knock on her pier and a slight dizziness from unsteadiness underfoot, then a flying end, the sound of water boiling and running forward under the wheels a little back a steamer ... And it seemed unusually welcoming, it seemed good from the crowds of this steamer, already everywhere lit and smelling of kitchen. A minute later they ran further, up, to the same place where she had been carried away this morning. The dark summer dawn was dying away far ahead, gloomy, sleepy and multicolored reflected in the river, still here and there shining with trembling ripples in the distance below it, under this dawn, and the lights, scattered in the darkness around, floated and floated back. The lieutenant was sitting under a canopy on the deck, feeling ten years older. Alps-Maritimes, 1925.

One of the key characters of the work is the beautiful Stranger, without a name, age, address, from which the main character found on the deck of a ship.

The writer presents the heroine in the form of a small gentle woman returning home from Anapa to her family, husband and three-year-old daughter, possibly after treatment or rest.

Traveling on a sea liner, a woman meets a young lieutenant, a bright and charming man, for whom acquaintance with the Stranger becomes fatal. A passionate and unrestrained feeling suddenly flares up between young people, as if a sunstroke, which entailed a unique voluptuous night of love.

The next morning, the lovers part, and the Stranger leaves on the ship home, to her own family, realizing that everything that happened is just a clouding of mind, a momentary weakness. The writer suggests that the reasons that prompted a woman to rush into the arms of the first man she met may lie in the lack of male attention from the spouse and the lack of personal female happiness in family life. The stranger experiences embarrassment, bitterness and pain of parting with the man she liked, but, trusting her feminine intuition, she decides to immediately break off the relationship that has not begun.

The lieutenant easily part with the Stranger, but returning to the hotel room, he realizes that his heart is filled with touching tenderness and nascent sincere feeling to this woman. The scent of her perfume, an abandoned cup of unfinished coffee, an unmade bed - everything reminds him of an inimitable night of love.

The feeling that gripped the man prevents him from living calmly, reasoning and thinking sensibly, rushing to different parts of the city and feeling a tormenting spiritual emptiness. The lieutenant goes to the post office with a desire to send a telegraph message to his beloved, but on the way he is overtaken by the thought that he does not know either the address or the name of the Stranger. The man realizes with despair that this meeting will never happen again in his life.

Returning to the rented hotel room, the lieutenant feels himself several decades older.

Telling about a separate episode in the lives of the heroes of the story, the writer discusses the true meaning of love, which brings fleeting moments of happiness, and then makes a person suffer painfully, realizing the irreversible loss of these voluptuous minutes.

Option 2

The main action in this story is devoted to the meeting of a man and a woman. When they meet, both flare up fiery feelings for the other. A woman's passion grows almost at lightning speed. The stranger did not deign to give her real name throughout the story. The one who met this mysterious woman was the lieutenant. He was also struck by her beauty and could no longer think of anything but her. This work is called " Sunstroke"not casual. The name alone makes it possible to describe the feelings that both people experienced. And the natural environment around them - hot sun, pleasant breeze, sea and sand, only enhances the feelings of a couple in love.

Describing the girl's appearance, the author highlights a rather short stature. In addition, she is attractive to the lieutenant also because she returns on the ship, tanned and cheerful. She easily descends from the ship together with a man she does not know. A woman is especially noticeable lightness, good-natured laughter, the embrace of a stranger, unrestrained passion. From her side, only a passionate impulse stands out strongly. She does not have even a small particle of love at all, only an insane whirlwind of passion.

She spends one night with someone else's lieutenant, after which she safely and hastily leaves. From her, a man only has unforgettable sensations, but nothing more. It was a fleeting feeling of passion and nothing more. After this incident, the woman finally realizes that it is time for her to return to her family. To her beloved husband and daughter. On this, everything again becomes as usual for both. As if nothing happened in this short period of time.

The following can be distinguished from this. The author shows a fleeting weakness in this work. That is, the tendency of adults to an instant passionate whirlwind. A. Bunin reveals here one of the types of love relationships. They could not go further than passion, since various coincidences of circumstances interfered with this. It cannot even be called a relationship, since it is a desire to get quick pleasure. The stranger never told the lieutenant what her real name was. This leaves the man in pain.

Essay about the Stranger

The main plot in the romantic work of I.A. Bunin's "Sunstroke" revolves around the meeting of a woman and a man. Their love made them hostages of feelings and destiny. The romantic relationship between the lieutenant and the mysterious Stranger, who did not dare, or maybe did not want to give her name with lightning speed, became passionate and exciting. The very title of the story, "Sunstroke", speaks of this sudden feeling that overwhelmed and threw young people into the abyss of emotions. According to the Stranger, she did not even understand how this happened to her.

Rest on the beach, where there is clean sand around the vacationers, the rustle of the wind, the waves beating on the shore only intensified the already flared up emotions.

The mysterious Stranger appears before the reader in the form of a young and fragile, short girl, but very attractive. Having rested and having sunbathed a lot in the sun, she comes back on the ship. Having met the lieutenant, the Stranger perfectly understands and feels with her whole body how attractive she is to a stranger.

Not at the call of her heart, but at the call of the flesh, she, without fear of anything, and perhaps for the sake of curiosity, goes to the room with a stranger. There they fall into each other's arms. Parting awaits them the next morning. The girl did not give her name, perhaps because she did not count on the continuation of the novel. It seemed to her that this was just a passing hobby that would pass as quickly as it began. But in her soul she is very worried, since for the first time she betrayed her husband, succumbing to a fleeting passion that flared up.

Then again everything goes on as usual, the hot sun and hot sand, the man and woman are happy and each enjoy their vacation. But having gone back to his room, terrible sadness and melancholy fell on the lieutenant. A strange feeling arises in his soul that he has lost something very important and valuable for himself. Suddenly the thought arises in his head to send a letter to the Stranger. But he suddenly remembers that he knows not only her address, but even her surname and first name.

The meaning of the plot of the work "sunstroke" is to show a person that love and passion can overtake at any moment, one cannot save oneself from this. This ardent and passionate feeling covers from head to toe, no one can hide from it. A person's life cannot be perfect, separation is painful for any person, especially if there is a strong feeling. The mysterious Stranger greatly changed the lieutenant. Thanks to the woman, he was able to know such a strange, but attractive and strong feeling - love. But in this story, she brought not peace to the soul of a person, but only an irresistible sadness and longing.

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In the work of I. A. Bunin, perhaps the leading place is occupied by the theme of love. Bunin's love is always a tragic feeling that has no hope for a happy ending; it is a difficult test for lovers. This is how it appears to readers in the story "Sunstroke".

Along with the collection of stories about love "Dark Alleys", created by Ivan Alekseevich in the mid-1920s, "Sunstroke" is one of the pearls of his work. The tragedy and complexity of the time during which I. Bunin lived and wrote were fully embodied by the writer in the images of the main characters of this work.

The work was published in "Sovremennye zapiski" in 1926. Critics took the work with caution, skeptically noting the emphasis on the physiological side of love. However, not all reviewers were so sanctimonious; among them there were also those who warmly welcomed Bunin's literary experiment. In the context of the poetics of the Symbolists, his image of the Stranger was perceived as a mystical mystery of feeling, clothed in flesh and blood. It is known that the author, creating his story, was impressed by Chekhov's work, so he crossed out the introduction and began his story with a random sentence.

About what?

From the very beginning, the story is intriguing because the story begins with an impersonal sentence: "After dinner we went out ... on deck ...". The lieutenant meets a beautiful stranger on the ship, whose name, like his name, remains unknown to the reader. Both of them are struck by sunstroke; passionate, ardent feelings flare up between them. The traveler and his companion leave the ship for the city, and the next day she leaves by steamer to her family. The young officer is left completely alone and after a while realizes that he can no longer live without that woman. The story ends with the fact that, sitting under a canopy on the deck, he feels ten years older.

The main characters and their characteristics

She. From the story, you can learn that this woman had a family - a husband and a three-year-old daughter, to whom she returned on a steamer from Anapa (probably from rest or treatment). The meeting with the lieutenant became a "sunstroke" for her - a fleeting adventure, "clouding of her mind." She does not tell him her name and asks not to write to her in her city, as she understands that what was between them is just a momentary weakness, and her real life is completely different. She is beautiful and charming, her charm lies in mystery.
The lieutenant is an ardent and impressionable man. For him, a meeting with a stranger became fatal. He managed to truly realize what happened to him only after the departure of his beloved. He wants to find her, return, because he is seriously carried away by her, but it's too late. The misfortune that can happen to a person from an overabundance of the sun, for him was a sudden feeling, true love, which made him suffer from the realization of the loss of his beloved. This loss affected him greatly.

Problematic

One of the main problems in the story "Sunstroke" of this story is the problem of the essence of love. In I. Bunin's understanding, love brings a person not only joy, but also suffering, making him feel unhappy. The happiness of short moments in the future pours into the bitterness of separation and painful parting.
This also gives rise to another problem of the story - the problem of short duration, the fragility of happiness. For both the mysterious stranger and the lieutenant, this euphoria was short-lived, but in the future they both "recalled this moment for many years." Short moments of delight are accompanied by long years of melancholy and loneliness, but I. Bunin is sure that it is thanks to them that life takes on meaning.

Topic

The theme of love in the story "Sunstroke" is a feeling full of tragedy, mental anguish, but at the same time it is filled with passion and ardor. This great, all-consuming sensation becomes both happiness and grief at the same time. Bunin's love is like a match that rapidly flares up and fades away, and at the same time it suddenly strikes, like a sunstroke, and can no longer leave its imprint on the human soul.

Meaning

The meaning of "Sunstroke" is to show readers all facets of love. It arises suddenly, lasts a little, passes hard, like an illness. She is beautiful and painful at the same time. This feeling can both elevate a person and completely destroy him, but it is this feeling that can give him those bright moments of happiness that color his faceless everyday life and fill his life with meaning.

Ivan Alexandrovich Bunin in the story "Sunstroke" seeks to convey to readers his main idea that passionate and strong emotions do not always have a future: a love fever is fleeting and like a powerful shock, but this is what makes it the most wonderful feeling in the world.

Many works by I. Bunin are hymns of true love, which contains everything: tenderness, passion, and the feeling of that special connection between the souls of two lovers. This feeling is also described in the story "Sunstroke", which the writer considered one of his best works. Pupils get to know him in grade 11. We suggest making it easier to prepare for the lesson using the analysis of the work presented below. Analysis will also help you quickly and efficiently prepare for the lesson and the exam.

Brief analysis

Year of writing- 1925

History of creation- The nature of the Maritime Alps inspired the writing of I. Bunin's work. The story was created at a time when the writer was working on a cycle of works related to love themes.

Topic- main topic works are true love that a person feels with both soul and body. In the final part of the work, the motive of separation from a loved one appears.

Composition- The formal organization of the story is simple, but there are certain peculiarities. The elements of the plot are placed in a logical sequence, but the work begins with a plot. Another feature is the framing: the story begins and ends with a picture of the sea.

genre- Story.

Direction- Realism.

History of creation

"Sunstroke" was written by I. Bunin in 1925. It is worth noting that the year of writing coincided with the period when the writer was working on stories dedicated to the theme of love. This is one of the factors that explains the psychological depth of the piece.

I. Bunin told G. Kuznetsova about the history of creation. After the conversation, the woman wrote the following in her diary: “We were talking yesterday about scripture and how stories are born. I.A. (Ivan Alekseevich) it begins with nature, some kind of picture that flashed through the brain, often a fragment. So the sunstroke came from the idea of going out on deck after dinner, out of the light into the darkness of a summer night on the Volga. And the end came later "

Topic

In Sunstroke, the analysis of the work should begin with a description of the main problems. The story displayed motive, very common in both world and domestic literature. Nevertheless, the author was able to reveal it in an original way, delving into the psychology of the heroes.

In the center of the work topic sincere, ardent love, in the context of which they develop Problems relationships between people, separation of lovers, internal contradictions caused by the incompatibility of feelings and circumstances. Problematic works based on psychologism. The system of images is unbranched, so the reader's attention is constantly concentrated on two characters - the lieutenant and the beautiful stranger.

The story begins with a description of the dinner on the deck of the ship. It was in such conditions that young people met. A spark immediately ran between them. The man invited the girl to run away from strangers. After disembarking the ship, they went to the hotel. When the young people were left alone, the flames of passion immediately engulfed their bodies and minds.

The time in the hotel flew by quickly. In the morning, the lieutenant and the beautiful stranger were forced to part, but this turned out to be very difficult. Young people are wondering what happened to them. They assume it was sunstroke. This reasoning contains the meaning of the title of the work. Sunstroke in this context is a symbol of a sudden mental shock, love that overshadows the mind.

The beloved persuades the lieutenant to take her to the deck. Here the man, it seems, is again struck by sunstroke, because he allows himself to kiss a stranger in front of everyone. The hero cannot recover for a long time after separation. He is tormented by the thought that his beloved most likely has a family, so they are not destined to be together. The man tries to write to his beloved, but then realizes that he does not know her address. In such a rebellious state, the hero spends one more night, recent events are gradually moving away from him. Nevertheless, they do not pass without leaving a trace: it seems to the lieutenant that he has aged ten years.

Composition

The composition of the piece is simple, but some features are worth paying attention to. The elements of the plot are placed in a logical sequence. Nevertheless, the story begins not with an exposition, but with a plot. This technique enhances the sound of the idea. The heroes get to know each other, and then we will learn more about them. Development of events - night at the hotel and morning conversation. The culmination is the scene of parting between the lieutenant and the stranger. The denouement - the outbreak of love is gradually forgotten, but leaves a deep mark in the soul of the hero. Such a conclusion provides the reader with the opportunity to draw certain conclusions.

The framing can also be considered a feature of the composition of the work: the story begins and ends with a scene on the deck.

genre

The genre of I. Bunin's work "Sunstroke" is a story, as evidenced by the following signs: a small volume, the main role is played by the storyline of lovers, there are only two main characters. The direction of the story is realism.

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Analysis rating

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Today, for the umpteenth time in its history, Russia is undergoing a test of strength: the countries of Western civilization, led by the United States, have decided on an almost open aggression in Ukraine in order to establish a collaborationist government there, whose tasks will ultimately include unleashing a war against Russia itself. Nikita Mikhalkov's film "Sunstroke" provided providentially timely on the screens. The agonizing question of the main character of the film, an officer of the tsarist army, which he asks himself, being in captivity by the Red Army, - "How did it all happen?", Are asked today by all more or less thinking people of the entire Russian World.

How could the February 2014 neo-Nazi revolution happen in Kiev? How did some of the citizens of Ukraine become fascists and deny the other part of the citizens - Russians - the right to speak and teach children in Russian? How could it happen that one part of the citizens of Ukraine began to use heavy artillery, multiple launch rocket systems, phosphorus and cluster bombs, even ballistic missiles against another part? How could it happen that parts of historical Rus - Galicia, Little Russia and even Novorossia - ended up in another state? How and when did this happen: as a result of the 1917 revolution or earlier? The answer to the last question literally cries out to us from the movie "Sunstroke": the revolution of 1917 and the civil war of 1918-1920 were not the result of the actions of a group of conspirators (February 1917 is today attributed to the British, and October 1917 to the Germans). The experiences of the main characters of the film, who lost the Civil War, convincingly show the viewer that these tragic events in Russian history were prepared by the very way of life of the upper classes of Russia, who, having moved away from the people as a result of the Peter the Great Cultural Revolution, finally retired from both Christ and the culture of the Russian people. The events of 1917-1920 were allowed by God, "For in general, main outlines, history is not formed according to the will of the human, although it is left to him to plant patterns on them".

Before proceeding to the proof of the above statement on the analysis of the film "Sunstroke" itself, it is necessary to point out some general provisions from the standpoint of which this analysis will be done. We proceed from the premise that criticism of any work of art (and not only of art) can be constructive, or at least understood by the reader, if the author of the criticism clearly indicates the ideals that he uses as a kind of yardstick when starting to analyze this or that work. ... Otherwise, the inquisitive reader is subjected to a double test: he must not only strain himself, analyzing what corresponds to his impression of the work and what does not, but also look between the lines for the position of the author of the criticism. Therefore, let us say right away that the author of the article uses the Christian doctrine and historiosophy of our outstanding Russian thinker Nikolai Yakovlevich Danilevsky as the specified measure, who back in 1869 in the book "Russia and Europe" anticipated the events brilliantly shown to us by Nikita Mikhalkov in the film being analyzed, and gave the answer to the question of the protagonist: this all happened because Russia, instead of abandoning the "European vaccination", engaged in national suicide: it refused to develop on the basis of the original folk principles of the Russian state-forming people, having affirmed Western European values in all spheres of life. We will also rely on the opinion of Ivan Lukyanovich Solonevich, who is historiosophically closest to the creative heritage of N.Ya. Danilevsky and the forecasts of the Russian martyrs Orthodox Church about the future of Russia, made by them before the revolution.

The action of the film takes place on November 21, 1920, most likely in Sevastopol or some other city of Crimea (although in 8 hours, as one of the heroes of the film says, it is possible to reach Ochakov by sea in the tug that is shown to the viewer only from Odessa and it is impossible neither from one port of Crimea). In favor of Sevastopol, the presence in the plot of real political figures - Bela Kun and Zemlyachka, mainly speaks. Only the third person of the Bolshevik troika, who carried out the repressions in the Crimea, Georgy Pyatakov, is missing. Although his presence is also indicated by the image of Commissioner Georgy Sergeevich, whom fate pushed 13 years ago in 1907 (when he was still a teenager) with the main character of the film, then a second lieutenant.

November 21, 1920. Sevastopol. The place is a prisoner of war camp for officers of the White Army, which the winners still call a checkpoint. Part of the city area fenced with barbed wire. Commissioner Georgy Sergeevich, with a nice Volga or Vologda dialect and with internal state a person who has comprehended what the meaning of life is, registers officers, who are invited to sign a paper on voluntary repentance and renunciation of armed resistance to Soviet power. Instead, the new government gives two options to choose from: either stay to live and work in Russia or freely go abroad. At the moment of this registration, the director introduces the viewer to the main characters. This is a nervous captain who is trying to defend the officer's honor, refusing to cut the shoulder straps and roughly poking the commissioner. The viewer expects some kind of sharp response from the commissioner, but nothing of the kind. The “overwhelming” winner, obviously from the lower classes of Tsarist Russia, is not even nervous, but only calmly remarks: “Don’t poke me, I didn’t drink champagne with you, and I didn’t feel the governesses”. The viewer catches in this scene a higher inner spiritual mood of the commissar in comparison with the rotmistrov one. This impression is further strengthened by the commissioner's apology to the captain - for what? The captain shows the commissioner an engraved watch, once presented to him by the "Great General Selivanov" (apparently - Andrei Nikolaevich Selivanov, participant Russo-Japanese War), to which the commissar notices that “Great” is not written on the clock, and immediately apologizes, seeing that this is unpleasant for the captain, and even allows the shoulder straps not to be cut off.

Viewer, knowing history, he guesses that the fate of the officers has already been decided, they are all doomed to die, so the commissar is holding himself so calmly: why unnecessary complications. But nevertheless, the image of Commissioner Georgy Sergeevich is deduced in such a way that the viewer, even at the end of the film, after the tragic denouement, remains some kind of strange sympathy for him. Understanding this very image requires the greatest tension from the viewer, so we will dwell on it more than once.

The next officer, second lieutenant of the Life Guards of the Uhlan Regiment, Baron Nikolai Gulbe-Levitsky, also turns out to be not at the proper height to which his belonging to the upper elite of the outgoing Russia obliges him. The second lieutenant-baron, signing the act of surrender for his entire previous life, flaunts about the spelling and, noticing that the Soviet power will not last long, begs for rudeness. Again Georgy Sergeevich wins in another verbal duel. He calmly replies that the new spelling rules do not apply to the old estates and asks the baron to write his name shorter, to which he inappropriately reveals his family nickname - "Coca". Taking advantage of this, the commissioner after some time asks the question: "What is the name?" The Baron asks: "Whom?" Commissioner: “I know you, you are Koka, what is the name of the dog?”, Possibly hoping to hear that the dog has a human name (the baron was captured together with his dog). This is a solid "You are Coca!" sounds like a complete defeat of the young baron in a verbal strife arranged by himself. At the same time, the viewer may notice that the non-confiscation of a whole suitcase of collectible cigarettes from the baron does not bode well for the outcome of the film.

Next, a young cadet approaches the commissioner, all of whose behavior shows that he does not understand at all historical events what scale he happened to become a participant: his parents are already in Paris, everything that happens to him appears as an adventure of one of the heroes of the French novels on which he was brought up.

The main character of the film, an army captain, is behaving adequately to the situation. He is immersed in himself, in his inner experiences: “How did it all happen, how did it all start? ..”. At the same time, he involuntarily speaks out loud, the commissioner hears, but does not understand what he wants to ask him about. Due to his immersion in his experiences, the main character of the film does not recognize in Georgy Sergeevich the altar boy Yegoriy, with whom fate brought him in the summer of 1907 in one of the Volga towns, where he ended up as a result of a fleeting romance with a married stranger. And Yegoriy recognizes in the army captain the same lieutenant, to whom he forgot to return his pocket watch and for whose steamer he ran for a long time, shouting: "Watch, Mr. Lieutenant, you forgot your watch !!!"

Further, the images of the mannered colonel of the rear service are introduced, with the talent of an opera singer, a naval officer with the rank of captain and captain. By the behavior and words of all these heroes, the viewer can judge the reaction of the higher officer classes to the causes of the tragedy that has befallen them. Looking ahead, let's say: the viewer did not wait for a single opinion about these reasons, except for an indication of the absence of the necessary repressive reaction on the part of the state against the revolutionaries. One can suspect that the director put his own opinion into the lips of his characters. But in this case it is not so, we will talk about this at the end of the article.

What do the main characters of the film say about the reasons for their defeat?

The most radical point of view is expressed by the nervous captain: it was necessary to hang, hang and hang all the rioters in advance, even before the revolution, then nothing would have happened. He is opposed by the sea captain, who believes that no one should be deprived of life.

He gives an example from the history of the mutiny on the cruiser Ochakov. None of the officers agreed to command the execution of Lieutenant Schmidt, except for one officer - Lieutenant Stavraki, Schmidt's classmate. The captain objects: the tragedy with Russia happened precisely because there were only a few people like Lieutenant Stavraki, and there were a majority of people like the sea captain.

At the same time, the captain calls upon the prisoners of war officers to act, to raise a riot in the camp, to kill all the Reds, in his call there is disbelief in the commissars, even the confidence that nothing good awaits them, so “it’s better to show off in the end”.

The second lieutenant baron, keeper of his father's collection of cigarettes, in one of the last scenes expresses a similar point of view: “there is nothing, neither father, nor tsar ... I hate Russian literature, we have been watering ourselves for a hundred years, everything in a row: priests, gentlemen, power , any power. Nekrasov - drunk, gambler: "he will pave a wide, clear chest for himself ..." Paved ... I hate! No shame, no sin, nothing. Lost everything, everything is possible, everything. We did everything ourselves, with our own hands. What, I haven't seen something? Didn't we see something? I saw everything, understood everything. Only I didn’t want to touch anything with my hands. And they calmed down - the country is big: we’ll make a mess there - we’ll switch to clean grass, it will cost somehow, but it’s not done! What country was ruined, with these hands, a Russian man, the Russian state was ruined. How to live with this now ... how to live, captain? .. ". At the same time, the second lieutenant baron committed lynching the colonel last night, who reported to the commissar Georgy Sergeevich about the captain, after which he disappeared. This belated decision to start "touching the hands" of what could pollute the country reveals complete emptiness the inner world of the second lieutenant baron: "how strange it is: in the war you had to shoot at people, something moved inside, and then he strangled his Russian officer with his own hands and nothing - emptiness." The main character, the army captain, to whom the baron confesses, seeing the bloody hands of the baron, he complains about the fact that he did not put on gloves when he was strangling, reveals a similar emotional mood.

In the scene of the dismantling of the dump on the city stairs, the esaul stumbles upon a baby carriage with some objects from his life. Saddened by the question of where that life had gone, he nevertheless goes further than his comrades, questioning everything that constituted the main content of his former life: the French language, Tolstoy, Dostoevsky, Montaigne in the original ... then disappeared? None of the heroes of the film rises above this question. The upper classes of Tsarist Russia, who managed to emigrate, could not find an answer to it over the long years of emigration, dissolving in Western culture.

Through all the scenes of the film, there is a tormenting question of the protagonist: "How did it all happen?", Which is interspersed with the question posed by Esaul - "Why was that old life needed?", And - "When did it all start?"

The protagonist tries to remember something from the past in search of answers to his questions, but his memory stubbornly returns to only one episode of his life: a love affair with a married stranger, which began on a trip along the Volga in the summer of 1907. It is these memories that reveal all the worthlessness of the life of the upper classes, including the newly born intelligentsia of tsarist Russia. What could a Russian person, a Christian, leave Russia in 1920, would have remembered if he had lived an original Russian life? He would remember his pilgrimages to the service of Father John of Kronstadt, the love and trust of the people in whom was so enormous that in another year donations of up to a million rubles passed through his hands, which he spent not only addressed to those in need, but on the creation of houses of industriousness, society sobriety; I would certainly recall the celebrations for the canonization of the Monk Seraphim of Sarov in 1903, at which a special commission recorded the miracles of the healing of the sick, etc.

Memories of the main character of the film

Memories of the main character of the film about pre-revolutionary life are presented by the director in the form of episodes that cut the stream of dramatic events taking place in the concentration camp. The transitions are made masterfully through binoculars, through which someone (most often - a stranger) examines what is happening, or through the tormenting questions of the protagonist, or through the bewitching counting by officers of the steps of the city staircase, along which a baby carriage rolls as a symbol of an old peaceful life. The carriage rolls down the stairs, everyone thinks they give her the way, and now she turns over after the 89th step. The end of the count at eighty-nine gives the protagonist an impetus to remember the ninth cabin in which his stranger was traveling, about his romantic adventure in the summer of 1907.

A young officer travels along the Volga on a river passenger steamer. A stranger from the upper deck examines the new passengers through binoculars and fixes her attention on the officer, who does not yet see her. A blue shawl flies away from her, she goes down after it, turns around and with a lightning glance attracts the attention of a young man. What's this? The innocent coquetry of a bored young woman on the road or the art of seduction? Second! - the whole further course of events testifies to this. The officer accepts the invitation to courtship. She walks along the deck, watching the stranger talk to the children, believing that they are her children. The stranger leaves, forgetting the enchanted shawl and glasses. The officer who has lost his head takes the shawl in his hands, passionately inhales the smell of the stranger, asks the boy Petya, who has returned for forgotten things, to tell his mother that if she comes back, he will willingly give her his place. Instead of an object of sighs, the real mother of Petya and his sister Tatyana Darmidontovna appears, who takes the officer's courtship at her own expense. On this they are caught by her foreign husband, who does not trust his wife at all and rudely points out her indecent behavior to her.

The appearance of the second female heroine, a mother of two children, who is not averse to "romping" with a fellow traveler, leads the viewer to the question of the values of women of the upper classes of Tsarist Russia. Memory prompts the example of Anna Karenina, the debauchery of pre-revolutionary Petersburg ... As if, in addition to the thought that had arisen, two young girls appear, already stepping on the path of renouncing a chaste life. Having confused the passenger of the steamer, the little-known writer Grigorin, with Chekhov (who died in 1904, three years before the events took place), they ask him to write something about love in their albums!

The officer, meanwhile, constantly toils over the solution of the problem of meeting a stranger. The cabins are side by side. The officer hears a stranger working with Tatyana Darmidontovna's children. With a draft, the notorious shawl flies out the window. Noise. The officer looks out the window and meets once again with the gaze of a stranger, inviting him to the desired acquaintance. The director imparts enchanted properties to the flight of the shawl: the shawl flies all over the ship, flies away from it, and returns.

The officer runs like a teenager: deck, engine room, upper deck ... In the end, the shawl lands on the face of the sleeping priest, whose image obviously personifies the church "mercenaries" mentioned in the Gospel - pastors who, after the revolution, fled from their parishes abroad or became renovationists.

The prize goes, it seems, to Petya, who returns the shawl to the stranger. But the officer doesn't give up. He's got some sun glasses that the stranger had forgotten. He is already knocking on her cabin with the prepared phrase: “Let me return you a colored view of the world!”. But the stranger does not appear in the place. He enters an empty cabin. Fascinatedly touches her things, picks them up, examines her family photo, which shows that the stranger is married, has a husband and two children, but this fact does not stop him. The mechanism of the romantic adventure (in Christianity - prodigal passion), on which the heroes of the film are brought up, has already been launched.

The officer rushes in search of the stranger. He finds her in the wardroom, where the magician shows the assembled passengers mystical tricks. The hall craves a free miracle. Most of all - the father. The officer gives the artist his gold watch for the "destruction with reconstruction" experience. The magician grinds them in a mortar, intending to pull them out whole. But it turns out that the boy-assistant, instead of greasing the mechanism with fat, ate it. As a result of the jamming of the mechanism, the magician really grinds the officer's gold watch, but gets out of the situation by slipping his cheap watch to the officer. The officer is very upset, but does not show it. After all, She is looking at him! Before the lady of the heart you have to be a hussar! Deception of the public is successful. Only in the cabin does the officer give vent to his feelings. She complains that she has gone overboard, before her eyes the clock has been changed, a gold nugget ... Her gaze falls on a photograph of a young girl. The viewer learns that our Romeo has a young bride. The loss of the gold watch, which led to the memory of his bride, somewhat pacifies the passion for the stranger. But suddenly, at the next stop, he sees that his stranger has gone ashore. Passion boils with renewed vigor. He rushes off the steamer after her, hastily grabbing his things. Runs up from behind, the woman turns around - a mistake, this is Tatyana Dormidontova! She, accepting the appearance of the officer for courting her, begins to speak quickly: "Why are you here, you are following me, what a passion, I am the same as you, I will definitely come ...". In a word, he expresses full readiness to cheat on her husband, but only later, by prior agreement.

But the officer, having come to his senses, runs away to the steamer that has already departed from the pier. This would have ended the officer's romance, but it turned out that the stranger did not lose sight of him. She goes to the captain and convinces him to return and pick up the straggler. The conditions for the continuation of the acquaintance were restored by the woman, who then skillfully used them in a scene in the ship's restaurant.

Before the officer had time to put his things in the cabin, the magician invited him to dinner at the restaurant as gratitude for helping him to wriggle out in front of the audience. A rich table, sterlet, caviar of all kinds, reminding the viewer of a statement about our intelligentsia, which never knows what it wants more - a constitution or sturgeon with horseradish. As if to prove this idea, the magician begins painfully familiar derogatory speeches about Russia, calling it "this country", but speaking about Europe in a superlative degree. At the same time, the magician shows full awareness of Marx, and our hero in 1907 did not hear anything about him. The officer drinks a little too much and indulges in memories of his fiancee. "How she sings, Lizanka, my bride is betrothed, how she sings !!!" The officer begins to hum his favorite aria, imagining in his mind that his bride Lizanka is singing! Passion for a stranger gives way to memories of Lizanka. But it was not there. Already a stranger begins to hunt him. She sits down at the piano and picks up in French: "Pour so that I can drink until drunk, answer my tenderness, pour me wine, answer me for my tenderness, pour me intoxication, hops, my heart opens to your voice ..." The officer is crying, head on the table. Suddenly the fog dissipates, instead of the young bride Lizanka - a stranger at the piano sings this aria. Traveling passion returns with renewed vigor, enhanced by aria and alcohol.

The officer follows the stranger onto the deck. The noise of the steam engine and wheels. First, he tries to observe the rules of decency and find out the name of a stranger. "Who are you, what is your name?" She ignores the question as if she doesn't hear it, he admits, "Okay, it doesn't matter!" and immediately moves on to the important: "Let's get off, I ask you, I beg you, this is a matter of life and death!" She agrees. On the way, they are silent in the carriage, she begins to whistle that very aria ("answer me to my tenderness"), he picks up.
In the hotel, a stranger hides her face, does not allow the servant to turn on the light. The initiative is completely on her side: "lock the door, wait ..." Two passionate glances. The director would stop at this. But he introduces an erotic scene, following the vile desires of the public, corrupted by the values of Western culture, and completely closes the possibility of using the picture as a reader for the course of the history of the Fatherland. And so the viewer understands everything. It was enough to confine ourselves to two mise-en-scenes: right after the passionate glances in the hotel room, to show the scene of farewell in the morning when he sleeps, and she, already fully dressed, writes a note. Although in fairness I must say that the director still limited himself in the naturalism of gender relations, when compared with what we see on the screens today.

The officer wakes up. There is no cross on the neck. Instead of a cross, he finds an enchanted shawl. She's not there. Note: “Here's a caramel for you. Farewell. What happened between us never happened to me and ... (hereinafter two words are obscured) will never happen again ”. Later, he manages to read the carefully glossed words: "the worst." The question arises before the viewer: why is it crossed out? In this "there will never be" like remorse sounds and the desire not to repeat the betrayal of her husband, and the "most terrible" clearly speaks of regret that this will not happen again, because it should not be repeated in her life. The heroine, seeing her inner rush between repentance and the desire for a new sin, does not just cross out these words, but obscures it, she decides to hide from the outside world her own weakness and uncertainty in her behavior in the future, or her desire to repeat this experience.

Regarding our stranger heroine, we cannot know her future, if we assume that the life of a specific person is behind her. But that is why it is art, with its ability to create collective images of a particular time in order to accurately reflect reality, in order to predict negative and positive images of the future people. And moreover: by creating positive images of the present, starting from the popular ideals of good and evil, art can influence the possibility of achieving at least some harmonization of popular aspirations with reality. Obviously, the author's intention of the picture is only in solving the first problem: the authors of the picture strive to investigate the truth of the civil war, to find its causes, but the life of the typical representatives of the upper classes of Russia chosen by them allows us to see only negative trends of both the past and the future. Today we see how the de-churching of the Russian people, the Westernization of the people's way of life, which began with the upper classes of Tsarist Russia, affected the entire people, even led to persecution of the Church, and undermined the very foundations of the Christian family. Divorces and extramarital affairs have become commonplace. And if today we believe in the revival of our Fatherland, it is only because at the very time when the heroes of the film "Sunstroke" lived, there were also other Russian people, devotees of piety, whose lives came down to us in the lives of the new martyrs. It is impossible not to mention them, otherwise the picture of our past drawn by the authors is completely hopeless, but this is not so. Let us give an example of the confessor Chionia of Archangel. She was born in 1883, that is, in 1907 she was about the same age as the main character of the film. Becoming the wife of a priest, she gave birth to her first child in 1901, and the eighteenth in 1923. We lived hard. Nine children survived. When her husband was arrested in 1937, she voluntarily followed him to prison: “Take me, please, I’ll be there, maybe I’ll see Father Tikhon!” From prison Khionia Ivanovna did not stop instructing her children: “Dear ones, take at least one little thing from my poor property as a keepsake of me. Dear Volodya asked for a card, give him ... and my mug with the birds, it is in Vera's apartment, - to Volodya. Lena - a sewing machine and a teaspoon. Irusha, if you did not receive money on the receipt, then Lena has dad's money, a little, then spend it together, and don’t be stingy about me and your father, burn the lamp to the Lord and pray that the Lord strengthens you and me in His holy faith. Don't judge me, but please forgive and pray. I am very sorry for dear Misha and Volodya, but if they get married in such a difficult time, I am even more sorry; but if they can't help but marry, then choose a wife with the blessing of God, and don't get along like a dog, you can get a blessing - you know how» .

Letter to Khionia Ivanovna from prison

Of course, the confessor Chionia, by the concept of "do not converge like a dog," meant the cohabitation of a man and a woman without a wedding. Unfortunately, such a marriage was already not uncommon at that time and was called a civil marriage. But still, in such a "marriage" people rely on some kind of moral obligations to each other, to relatives, relatives and friends. In the case of the heroes of the film, a romantic adventure takes place exactly like a dog: lovers give themselves up to prodigal passion, not even recognizing each other's names. At the same time, the main character of the film considers this canine passion a matter of life or death. And at the end of the novel, we see how the officer first rushes to the pier, then to the telegraph office, but there he realizes that it is impossible to give a telegram without knowing the person's name or address. And when later from the height of the hill he sees a leaving steamer with a stranger, he suddenly sighs with relief and joy. New adventures are ahead! What happiness! Both heroes parted forever, but rushing towards new novels, maybe not quite like a dog, but steadily contributing to the collapse of the Russian Christian family, this formerly unshakable foundation of statehood. So much for your caramel! Is it not in this substitution of the values of life that the answer to the question “How did this all happen ?!

After our hero stayed in an unfamiliar city and calmed down a bit, he needs to restore the lost pectoral cross. The altar boy Yegoriy helps him in this. The authors of the picture manage to create a surprisingly integral image of a person from a teenager to an adult who, from childhood, searches for the meaning of life and finds it in the revolution.

The special mood of Yegori's inner world becomes clear when he explains to the officer that sitting on the pier all summer is a very interesting activity: “I look at the steamers, all are different people, all are different. There is nothing to do in winter - I will remember the steamers! "

But Yegoriy is at a crossroads, being not just a church man, but an altar boy, he thought about the truth of his Faith. A teacher from St. Petersburg settled in the town, who does not believe in God, but believes in the origin of man from a monkey on the basis of the teachings of Charles Darwin. Our hero did not hear anything about Darwin, as earlier about Karl Marx. The boy is trying to clarify the doubts sown in him by the atheist teacher, as an elder in his life, and even an officer, asks a question about Darwin's book "The Origin of Species ..." and asks the officer: "Does this mean what? - You, too, from the monkey !? - And I, too, from a monkey!? .. ". The officer cannot give the guy anything, playfully brushes off his questions. Moreover, he crosses a certain line in communicating with a teenager, joking that their father is definitely from a monkey, since he wants 10 rubles for the consecration of the cross.

Yegori continues: “What is it that turns out - both my mother and father, and the king himself from a monkey? The king is from the monkey, Lord, have mercy! - If the king is from a monkey, sovereign, and their children and all the great dukes, and our lord, why does this happen ??? ". The officer does not listen, from the windows of one of the houses the same aria is pouring ("answer me to my tenderness"), the performance of which by a stranger finally deprived him of his head last night. Yegory continues: "So it means the truth that man is from a monkey, and not from God, why then go to Church if there is no God at all?"

The officer decides to sleep before the arrival of the new steamer, gives Yegor a watch (the same one from the magician) and asks him to wake him up at a certain time, before that he feeds him lunch and gives Yegor the notorious caramel. Yegory wakes up the officer, escorts him to the carriage, waves his hand, says goodbye, suddenly, putting his hand in his pocket, he discovers that he forgot to return the watch. And he runs first for the carriage, then for the steamer along the shore and shouts continuously: “Watch! Lieutenant, you forgot your watch! " But the officer doesn't hear.

All the scenes in the town are not flat, but three-dimensional, perhaps documentary accurately. The viewer is struck by the appeal of the cabman to the Russian officer "Your Honor", while he was going to do a completely ignoble thing: to instruct the husband of the family, whose photograph he saw (however, this husband is not at all sorry, since the viewer recognizes Mikhalkov himself , who, unfortunately, played many negative roles, with which the husband of a stranger is involuntarily associated). “Run to your service,” the officer says to Yegoriy when he goes to the altar. Thus, it is emphasized that from all faith the officer only had the habit of wearing a pectoral cross. The meaning of the scene from the photographer does not escape the viewer: a certain ladies' man makes his photo in tight hussar "leggings" as a gift to the bride for her name day, in order to emphasize all his male dignity. The officer regrets 10 rubles for the blessing of the cross, but easily pays the same 10 rubles for his photo with Yegor, on the condition that it be displayed in the window (obviously, in the hope of reestablishing contact with the stranger). The background scene ends with a scene of a maid from the hotel, who gets a forgotten witch's shawl.

The maid puts it on in a "noble" manner and goes for a walk around the city. This scene symbolizes the influence of the lifestyle of the upper classes on the lower ones: the baton of female frivolity has been passed, the viewer can guess that this shawl will not lead the servant to anything good.

Before proceeding further, we remind the reader that we are retelling the memories of the main character of the film, who is in a concentration camp for white officers who lost the Civil War, and whose fate is uncertain. These memories emerge in his memory as a painful question asked by the protagonist to himself: "How did it all happen?" Our memory, during hours of dangerous trials or after a long time, usually retains only what was really important to us. The folk tradition is based on this property of memory, with the help of which self-reproduction of the people takes place in future generations. Since our hero has no other memories, the viewer has the right to conclude that it was love adventures that were the main filling of the officer's life in the pre-revolutionary period.

Interchange

Life in the camp is shown in the same volume as in the town. But since it is here that there is the greatest place for the author's fiction, we will not dwell on its description. Let's say one thing: the authors of the picture completely managed to convey the carefree inadequacy of about 800 officers, who believed that the Bolsheviks would let them go. We will also believe. All procedures for deceiving prisoners of war have been completed. All signed promises not to fight again with Soviet power... The arrival of Zemlyachka, the head of the political department of the army, precipitated events. A command was given to load the barge and move to Ochakov. Everyone is happy. Voices are heard that, they say, we will chat for some eight hours, and freedom. The officers sing "Lord save your people ... giving victories to Orthodox Christians to resist ...". The compatriot likes it. Symbolically, she knows that people go to their deaths out of ignorance. Junker-photographer distributes addresses to French, by which you can get a joint group photo. A little curiosity - some officers, obviously from the Cossacks, do not know French. Commissioner Georgy Sergeevich detains the cadet and gives him something. The command "give up the mooring lines" sounds. The hatches outside are battened down by red sailors. The sea captain reassures everyone: they say, so that the water does not flood. Lieutenant Koka, who strangled the colonel last night, who had betrayed the captain, began distributing collectible cigarettes. Maybe he was the only one who guessed how everything should end. Suddenly the cadet finds the main character of the film and gives him a package from Georgy Sergeevich. Unfolds: a clock, the same clock from a magician and, moreover, wrapped in the first page of Darwin's book "The Origin of Species ...". The officer remembers everything, shouts through the window: "Egoriy, I'm sorry, I didn't recognize you." Yegory looks through binoculars, says goodbye. The barge is already filling with water and is sinking to the bottom, releasing air noisily. Yegory raises his hand in a movement resembling the sign of the cross, but when the hand reaches the top point, the red commander Georgy Sergeevich wins, his fingers never touch his forehead, the hand continues to move to the visor of his cap to straighten it.

The viewer can only guess about the feelings of Georgy Sergeevich: both the glint in his eyes, similar to tears, and the attempt to sign the cross and the transfer of the clock in the page of Darwin's book, give some reason to think that Yegor the altar boy will win in him. But these are only guesses. But something else is undoubtedly: in his youth, there was simply no Russian believer next to Yegor who could dispel his doubts about the truth of the Faith. An officer who met in 1907 with his disbelief and lack of education, his behavior pushed the teenager to a sense of the righteousness of the St. Petersburg atheist teacher. Further life showed that since there is no God, then not only one should not go to the Church, but there is no Eternal Life, there is no God's punishment. A man descended from a monkey does not inherit Eternal Life, but turns into dust, disappears after his death. So everything is possible and allowed. The strongest wins. Woe to the vanquished! You can drown them. After a short torment, they will simply cease to be, as if they had never lived. Most likely, this is how Georgy Sergeevich reasoned, in the past Yegory, who became a red commander, head of a special detachment, and wrapped his watch in a page of a Darwin book just to remind the former lieutenant from whom the package was sent, and that he turned out to be right: there is no God, since we won atheists, believing in their origin from a monkey, whom you, mister lieutenant, as a representative of the upper classes, constantly deceived, promising a paradise life in heaven, and we want - here and now!

The whole picture leaves no doubt for the viewer that the answer to the question of the protagonist "How did it all happen?" is in his de-Christianized, denationalized and Europeanized pre-revolutionary life. This disease of Russian life, introduced by Peter I, N. Ya. Danilevsky called "Europeanism". Overcoming this disease is a necessary and sufficient condition for the Renaissance of Russia.

Drama of the White Movement. Ilyin and Solonevich.

Nikita Mikhalkov with co-scriptwriters Vladimir Moiseenko and Alexander Adabashyan managed to convey the historical truth: all the following decades of emigration showed that the White Movement never rose to the proper level of historiosophical understanding of the tragedy of Russia, in which they were participants. The defeat of the upper classes in the revolution and civil war remained in their perception rather as a historical curiosity, an accidentally lost operation, etc. This is eloquently evidenced by the works of I.A. Ilyin, who remained the most loyal singer of the White Guard until his death in 1954, and unwittingly showed that there were no Russian ideas proper, adequate to the aspirations of the popular principles, in this movement.

I.A. Ilyin

Paying tribute to some of the prophetic forecasts of I.A. Ilyin regarding the future structure of post-communist Russia, we note that the logical constructions of I.A. Ilyin's collection "Our Tasks" does not go beyond the complaints of the heroes of the film "Sunstroke": for Russia to heal well and happily, all the guilty - the Bolsheviks - must be punished by force. At the same time, Ilyin proceeds from the immutable conviction that this will be done by the West, led by the United States (whose political system of states supposedly should include historical Russia) in the upcoming war with the USSR, which for some reason he perceives as a war against communism, and not against historical Russia. ; understands that the United States has an undeniable advantage in nuclear weapons (in the post-war period), which they have already used in Japan, and at the same time calls on the West in the upcoming war to be merciful to the Russian people (that is, to that part of it that will remain alive after the atomic bombings ) and not make him responsible for the actions of the communists. Russian emigration represented by I.A. Ilyina, even after 1945, did not understand that the main reason for the collapse of Russian statehood in 1917-1920 was precisely this perception of Russia as an integral part of Western civilization, and a complete non-perception of it as an original country with its own special interests. What does this amazing blindness mean after the already accomplished facts of the forcible extradition of the Cossacks by the British in Lienz and Judenburg to the Soviet Union at the beginning of the summer of 1945 !? The United States and Great Britain gladly fulfilled their Yalta obligations and gave tens of thousands of people (about 50 thousand) with women, children and the elderly to certain death as a foreign and dangerous national and political force - only this explains the cruelty of the extradition operation: more than a thousand died a man, half at the hands of English soldiers, half committed suicide by throwing themselves into the river (mostly women and children). I.A. Ilyin might not have known the fate of the atamans Krasnov and Shkuro and others who were executed in the Lefortovo prison on January 16, 1947, but could he not have known about the shameful events of the summer of 1945, which showed the Russian people all the hatred of the West's attitude towards Russians !? After all, these events took place in the so-called "free world", which I.A. Ilyin.

Other examples can be cited that prove the historical reliability of the assessment of the reasons (more precisely, the complete absence of this assessment), as a result of which the heroes of the picture ended up at the "checkpoint" of the Red Army in Sevastopol. But this topic is a separate study, it is enough to refer to the most venerable authority of the White Movement, Ivan Aleksandrovich Ilyin, which has been done above, and to contrast him with the opinion of Ivan Lukyanovich Solonevich: “The communist revolution in Russia is the logical result of the isolation of the intelligentsia from the people, the inability of the intelligentsia to find with them mutual language and common interests, the unwillingness of the intelligentsia to regard itself as a layer subordinate to the main lines of development of Russian history, and not as a cooperative of inventors, vying with each other to offer the Russian people patents stolen from non-Russian philosophy for the complete reconstruction and re-education of millennial statehood ".

I.L. Solonevich

The roots of this isolation of I.L. Solonevich sees, as does N.Ya. Danilevsky in the Petrine-European cultural revolution, as a result of which two people were formed in the Russian people: the Russian common people and the European upper class, indistinguishable from foreigners in their entire way of life (clothing, language, manners, way of life ...). “Every kingdom divided in itself will be empty; and any city or house, divided in itself, will not stand. ... "... This the main reason the defeat of the White Guard emigration did not realize even after decades of emigration, what to say then about the heroes of the film "Sunstroke" !?

“How did it all happen” in Ukraine today?

And what can we, now living citizens of Russia, answer the same question about the events taking place in Ukraine today? “How did it all happen”, that the Russian people ended up divided, living in different states, which makes it possible for the countries of Western civilization, already headed by the United States, to begin a new stage of the notorious “March to the East”? An exhaustive answer to this question has been given by us in a series of articles on the Citizen Creator website. Those who wish can familiarize themselves with these materials in the "Editor's Column" and refute our point of view or join it. The stated topic of this article does not allow for further more extensive explanations other than those already made above. But one thing is worth dwelling on.

As mentioned above, in the pre-revolutionary time of the life of the main character of the film, there was another Russia, which he did not know at all. This is the Russia of those ascetics of piety, whom in the future the Lord bestowed martyr's crowns, and who today are glorified in the face of martyrs and confessors of the Russian Orthodox Church of the 20th century. The future of Russia was not a secret for them, they saw that our statehood of that historical period was heading towards collapse. They saw this, first of all, by the drop in the level of morality of society.

The priest Nikolai (Lebedev) wrote in 1910: “When you survey the entire Russian land with your mind's eye, when a terrible picture of those disorders, those ulcers that are eating away at modern Russian life, modern Russian society, somehow it becomes creepy in the soul; a terrible fear, fear for the future of Russia, for the future of the Russian people involuntarily creeps into the heart of every Russian person who loves his homeland and is devoted to it. Those foundations, those foundations on which Orthodox Rus' had rested from time immemorial, are beginning to loosen, those ideals, those beliefs, those holy covenants by which the Orthodox Russian people lived, by which its strength and might, the might of the Russian state, were built up, have been trampled. The Orthodox Russian people have lost faith in God, forgot His Christ, forgot His holy covenants, left the path of the Truth of God and followed the crossroads of this century ... After all, it is no secret to anyone that the modern Russian society for the most part has become completely indifferent to questions faith and religion and to the Church of Christ itself, as the custodian of this faith .... Modern Russian society has acquired new concepts of honor, duty, property, man and his purpose on earth. Theft, robbery replaced the former sacred property right; freedom as willfulness, as complete unbridled passions, freedom from all divine and human laws, has found a wide scope for itself in Russian life. It is noticeable how the family hearth is gradually being destroyed, and the shrine of family life loses its former charm, its former charm, and its place was taken by a refined and crude open debauchery. The desire for sensual pleasures, the passion for profit, for money gradually drowned out other, higher, spiritual interests and conquered everything for themselves. The person's personality is devalued. Murder for the purpose of robbery, out of revenge, out of spite; suicide of all kinds - on the basis of dissatisfaction with fate, disappointment in life, on the basis of want and severe hardships - have become an ordinary phenomenon of modern Russian life and have ceased to excite Russian society, freeze the soul of the reader. Christian love for each other, mutual trust, justice and honesty, mercy for a weak brother and compassion dried up, and they were replaced by callous selfishness, a desire to feel good only for oneself, envy, greed, enmity, hatred and anger ... And in Russian man began to wake up the beast ... The Orthodox Russian people remained Orthodox only in name, but in their life they became a pagan, and even worse than him» .

It is difficult not to see in the words of the priest Nikolai (Lebedev) the answer to the question "How did it all happen?" 10 years before the tragic events shown in the film "Sunstroke". In the person of the main character, a stranger, Tatiana Darmidontovna, a womanizer in leggings, does the viewer not see the destruction of the family hearth; Doesn't the awakened beast act in the brutal murder of the officers, in the strangling of the colonel, in the captain's desire to show off at last, having interrupted all the guards? If the reader takes the trouble to fully read the article of the priest Nikolai, then he himself will find many similar pictures.

The priest Andronic (Nikolsky), Archbishop of Perm, in 1916 prophesies, in fact, about the future fall of the Monarchy and the transition of the state to anti-Christian positions: “Wait, all the hasty reformers of the Holy Church: regardless of our desire, there will also be a separation of the Church from the state, and after that the inevitable persecution of the Church not only from the irreligious, but also from the anti-Christian state ... Whether we want it or not, but such a time is approaching us ...» .

The moral state of society can be judged by the typical example of the struggle of the holy martyr Hermogenes, who in 1909, being Bishop of Saratov, tried to ban the plays "Anatema" and "Anfisa" by Leonid Andreev in connection with their anti-Christian content. But he did not succeed, since the plays were allowed by the state censorship. The state refused to defend the moral foundations of people's life, which have Orthodoxy as their source.

The lives of the new martyrs and confessors of the Russian Orthodox Church, and especially their spiritual heritage, clearly testify that they saw the tragic future of Russia and also saw the reasons for it. The upper classes, departed from faith and those who indulged in material pleasures, of course, could not see their future. They could not see that their way of life would end for some, at best - working as taxi drivers in their beloved Paris, for others - death in the civil war, for still others, even serving in the Red Army "for the good of the working people."

The film "Sunstroke" raises a question and answers how the tragedy of the revolution and the civil war of 1918-1920 happened, at the same time raises a similar question before us, demands to define our attitude to the events in Donbass and throughout Ukraine. What's this? Events in a foreign country for us and do not concern us at all? Or are these events on the territory of residence of the artificially divided Russian people, and they completely concern us, and can touch the same horrors that the residents of Odessa experienced in May 2014 and the residents of Donbass are experiencing today?

What can be said about the reaction of Russian society? Let's leave the humanitarian and other assistance that we provide to Donbass - it is negligible and allows people to barely survive. Today, one thing is clear: if the events in Ukraine were perceived by society in Russia itself as a direct threat to national security emanating from "our Western partners", then the assistance would be of a completely different quality and quantity, and the attitude of society would be completely different. The best reflection of this attitude is our television, which has not changed the broadcasting network at all, except for the news.

Instead of focusing on everything Russian traditional, there are entertainment shows, directed in the Western spirit in the "channel format". A typical example is the activities of the First Channel. On March 8, when the leaders of the “anti-Maidan” had already disappeared in Donetsk and Kharkov, and the events in Crimea were threatening to escalate into massacres, the first channel showed the show “Voice” with the participation of Bilan and Pelageya, the essence of which is solely the spiritual corruption of young singers.

Boy Ilya, 10 years old, sings the song of Tom Jones "Kiss" ("You don" t have to be rich to be my girl ") (translation of the first verse:" You don't have to be a beauty, - To turn me on, - I need your body, baby - From dusk to dawn, - You don't have to be experienced, - To turn me on, - Leave the rest to me, - And I'll show you what's the matter. ") and moves in the manner of an adult who has already learned that Pelageya rages from only one happiness she understands: she neighs like a mare in a hunt, waves her arms, jerks her legs.

This show on Women's Day on March 8 is a coven of witches celebrating the victory of Western carnal culture over ours. Why involve children in this spiritual corruption? The answer is simple: everything that can be corrupted in the adult world has already been corrupted, it’s the turn to sacrifice babies. Mad mothers stand in line at this demonic altar and lay their children on it themselves.
Time will pass, grown-up children will begin to live an early sexual life (well, if with the opposite sex), they will not create normal families, but will change husbands and wives, depending not only on addictions, but also on the needs of show life, which requires constant love scandals, etc. etc. This is how the face of our Russia looks today on TV. The Voice show has successfully completed its 2014 season and today Channel One has launched a new show: Main Stage.

Think about it, dear reader, what evolution the moral state of our society has undergone: from an aria in French in "Sunstroke" performed by adults after all ("pour it so that I can drink until drunk, answer my tenderness, pour me some wine ...") before the song on English language performed by the boy Ilya, slightly younger than Yegor the altar boy ("I need your body, baby"). The fall is catastrophic! Let's think about it: if the horrors of the First World War and Civil War, what awaits us, now alive, as a punishment for child molestation, which today, unfortunately, can be seen not only in our television programs? Can we really sober up only when we hide in basements from shelling and bombing? When will the black earth regions from Krasnodar to Rostov, Kursk, Belgorod and Bryansk become the fronts of battles with neo-Nazis armed with modern American "lethal" weapons? Where will the "cultural figures" run from the show programs? The non-black earth around Moscow will not be able to feed tens of millions of residents of the "financial center" of the country, which "suddenly" will lose their money, because there is simply no rural population around the capital in adequate quantities, and the black earth will be ruined? If this continues, then the generation of the "boy Ilya" will not live to see the time when it will be able to reflect on its life and begin to correct it.

Hieromartyr Andronicus, when the First World War, protested against the idle life in the rear: “Let us put aside the gaiety and frivolity of our usual daily hustle and bustle and perk up before the unfolding great events of our life along the paths of Divine Providence. Let the places of amusement, entertainment and all corruption be empty. It's not their time. May there be no feast during the plague! May there not be shameless dancing on one side of the Motherland, when at the end of it and beyond its borders our brothers will shed their blood for us! In the name of their bloody feat, let everyone be strict with themselves. Let everyone sacredly observe fasting, prayer, good deeds, abstinence before God ...» We will succeed if we realize that there, in the Donbass, our brothers are shedding blood for us, stopping at these lines the same "March to the East" from the side of the united West, which our fathers and grandfathers stopped in the winter of 1941 near Moscow ... And that is precisely why our peaceful life is over! And that the question "How did it all happen?" and "how can this all end?" it is wiser to ask now, while we live in the rear, deep, but still the rear - regardless of whether we realize it or not!

Notes (edit)

N. Ya. Danilevsky "Russia and Europe, a look at the cultural and political relations of the Slavic world to the German-Romanesque". SPb, 1995, p. 42
This is evidenced by the views of I.A. Ilyin, as well as the very recent history of Russia from the beginning of reforms from the mid-1980s to the present. The "Iron Curtain" was removed, and we saw the descendants of the White emigration, in absolutely insignificant numbers, who spoke Russian with an accent of a man of the Western world and did not show even a hint of a desire to return to their long-suffering homeland.
Completely the life of the confessor Khionia, her husband the Hieromartyr Tikhon, as well as the most complete collection of the lives of the new martyrs and confessors of the Russian Church (about 1000 lives) are in the books of the church historian, author-researcher Hegumen Damaskin: "Lives of the new martyrs and confessors of Russia of the 20th century", "Martyrs , confessors and devotees of piety of the Russian Orthodox Church of the 20th century. Biographies and Materials for Them "," Lives of the New Martyrs and Confessors of Russia in the 20th Century of the Moscow Diocese. " On the Internet, these materials are located at www.fond.ru.
The authors of the film in 2014, it seems, for the first time in cinematography, managed to subtly notice and show through the image of Yegor the influence that the unproven Darwin hypothesis had on the worldview of several generations of people. Confirmation of the genius of the Russian scientist N.Ya. Danilevsky are prophetic words written by him 130 years ago: “From what has been said it is clear that the question of whether Darwin is right or not is of paramount importance, not for zoologists and botanists only, but for everyone in the slightest degree thinking man... Its importance is such that I am firmly convinced that there is no other question that would be equal to it in importance, neither in the field of our knowledge and in any area of practical life. After all, this is, in fact, a question "to be or not to be", in the fullest, in the broadest sense. " Danilevsky N. Ya. Darwinism. Critical research. T. I. Part 1, St. Petersburg. 1885, p. 18-19.
I.A. Solonevich. People's monarchy. Moscow, 2010, p. 24
Gospel of Matthew 12:25
www.gr-sozidatel.ru
Journal "Towards the Light". 1910. No. 1. S. 1-5. Cit. Quoted from: Abbot Damaskin (Orlovsky). “Martyrs, confessors and ascetics of piety in the Russian Orthodox Church of the 20th century. Biographies and materials to them. Book 5 ". Tver. 2001.S. 189-190.
Hieromartyr Andronic (Nikolsky), Archbishop of Perm. Creations. Book I. Articles and Notes. Article "Our Church Life As It Is." Tver. 2004.S. 502-503.
Hegumen Damaskin (Orlovsky). “Lives of the New Martyrs and Confessors of Russia of the 20th Century. June". Hieromartyr Hermogenes (Dolganev) and the victims with him. Tver. 2008.S. 259-261
Until the summer of 1918, from one to eight thousand officers volunteered to serve in the Red Army, according to various sources The royal army”, And after the announcement of the mobilization of more than 30 thousand officers, in total until 1921 - more than 50 thousand people. The role of the tsarist officers in building the regular Red Army was hushed up for many years. Denikin bitterly admits this fact in his memoirs.
Hegumen Damaskin (Orlovsky). “Lives of the New Martyrs and Confessors of Russia of the 20th Century. June". Hieromartyr Andronicus (Nikolsky). Tver. 2008.S. 117.

/ The opinion of the author may not coincide with the position of the editorial staff /