earticle

영어

In many landscape sketches of the cycle “Dark alleys” the dominant component of the landscape is often the illumination and color scheme. And the writer often refers to the image of the “heavenly” landscape. The color palette in each of the stories is quite monotonous - white, white and black colors, contrasting with each other; white and black colors, smoothly flowing into one another; sometimes in this rather monotonous picture there are separate brighter strokes (blue sky, red fire, gold stars). But the feeling of monotony of these pictures of nature does not arise. This is achieved by using the author of a variety of lexical means, synonyms, words of one lexico-semantic field. Sometimes lexemes that are completely incompatible by their semantics (white - sugar - birch - moon) become contextual synonyms. The author also actively uses complex compound adjectives as epithets, creates metaphorical symbols of colors using the names of precious stones: diamond moon, topaz light, smaragd. The same values (white, green) are implemented in various ways using various lexemes. The most important paths for Bunin are epithets, metaphorical epithets and metaphors. The metaphors (with some degree of conditionality) include such lexical structures, where one image is connected to various sensations.: wet darkness (light and a feeling of dampness); odorous dampness (smell and damp feeling), glass bells (light and sound). In General, Bunin's landscapes are quite static, the main load in them lies on the adjectives, not on the verbs; verbs often express some quality, state, not movement. Bunin’s landscapes are full of repeated motifs - motifs of the night sky, light, water, moisture, rain - and they all become deeply symbolic, multifaceted - and this is largely due to the special organization of lexical means used by the author in his works.