« Sunstroke“is an attempt by the director to comprehend not only the philosophical subtext of Bunin’s prose, but also the patterns of development of Russian history. However, the conceptual core of the picture becomes the relationship between the personal and the national, the disastrous echo of the mistakes of the past in the present, the role of daydreaming, lies and self-delusion in the process of the fall of man and the country as a whole.
The structure of the film is based on the visual and intonational opposition of different time layers: the events of 1907 are resolved in an elegiac manner, like a memory, embellished and idealized by memory, fragile, fleeting and bright at the same time; the realities of 1920 are shown in dark gray tones, harsh and hopeless. Mikhalkov achieves an amazing visual differentiation of these episodes: in the memoirs the image is polished, free from defects, the landscapes appear straight out of the paintings of 19th-century artists, the faces are charming; in the present tense, figures and close-ups are presented in all their rough materiality, programmatically prosaic, with emphasis physical disabilities heroes.
The director masterfully, through expressive details, manages to connect two stories, two times into a single whole, replete with a complex system of symbols and references. Intertextually, in the episodes of 1920, a connection can be traced with A. German’s film “The Seventh Satellite”: ideological disputes between officers Volunteer Army, their attempt to comprehend their defeat is presented somewhat straightforwardly in both films, however, they reflect the ideological diversity among the people who fought under the same banners.
Close-up the hero lying in a chaise lounge as he sails away on a steamboat in the finale, combined with subtle musical stylization after G. Mahler, establishes an intertextual connection between the episodes of 1907 and “Death in Venice” by L. Visconti: the theme of fleeting time, the fleeting experience of beauty, the charm of the dreamy The captivity sounded in the Italian film echoes powerfully in Sunstroke, but at the same time is revealed on a completely different conceptual level.
The semantic center of the film becomes the scene of the fall of the main characters; it is this that serves as the key to understanding the director’s chosen tactics of mutual reflection of times: the search for an answer to the question “When did it all start?” It is not by chance that it carries the hero, the director and the viewer into memories of a fleeting love affair - with a hidden, almost unconscious movement of conscience, the hero realizes that he has made some irreparable mistake, for which he is now paying.
For its best representatives, life was as if shrouded in a dreamy fog; they were so immersed in their own experiences, in the movements of their passions, that they did not notice what was happening next to them, did not attach any importance to it: that is why main character so distracted, confused, despite the rank of an officer, he does not know true spiritual discipline and sobriety. Having succumbed to the sensual charm, he is easily carried away by it onto the path of sin: renouncing Christ, he is not even able to understand this.
A system of substitutions, rejection of the genuine in favor of the false, a dense network of lies entangles the heroes, depriving them of the will to resist.
A system of substitutions, rejection of the genuine in favor of the false and alien, a thick network of lies entangles the heroes, depriving them of the will to resist: thus, an unfamiliar married woman is completely at the mercy of her ideas, infantilely craves amorous adventures, reducing herself to the level of ridicule; Thus, the passengers of the ship are fascinated by the low-grade deception of the vulgar illusionist, who does not hide his superficial Westernism in the dinner scene with the main character - another important scene of the film.
In this episode, the hero is subjected to triple intoxication - alcohol, the charm of Marxist ideas and sensual in a female voice, and in all three cases he is dealing with a fake: alcohol clouds the mind and weakens the will, Marxist illusions lead away from understanding the real state of affairs, the singing of a stranger tries to replace the voice and image of the woman he loves. Temptations found in human life, are sometimes very subtly worked out - they look for places in the soul by imposing connections with the past, familiar, dear, that which can shake the heart and seduce it with a false resemblance to something important.
The undisciplined, uncollected mind of the protagonist is not able to grasp this subtle substitution - instead of the watch he had, he is given others that do not open well; hours, moments of his life are irrevocably stolen, ground in a mortar under a dirty pagan ritual - here is a prototype of the coming revolution, carried out with the tacit consent of the nobility, mixed with curiosity about dubious ideas.
The hero's cross - his unconscious faith, in no way defended by reason - was stolen after the Fall, and the new one no longer means anything to him and turns into just an expensive decoration (the phrase about ten rubles for a cross takes on the character of a metaphor - an existential payment, the price of repentance, oh which he indignantly does not want to know anything, drowning out his conscience).
Marxist influence crowds out objective analysis social problems, replacing it with class hatred, Darwinism drives out of the soul the awe of the divine creation of man, reducing the king himself to the level of a monkey (which means that he can now easily be deprived of his life). An easy, voluntary refusal of people from what is deeply rooted in the very structure of their personality, what feeds and guides it, susceptibility to daydreaming, the charm of an illusion that hides from them the real truth about the world and themselves - all this was like a powerful sunstroke, which, however, was preceded by a long overheating, carelessness, inattention to one’s spiritual health.
Thus, the glasses of the commissar-executioner Zemlyachka surprisingly resemble the pince-nez of a stranger; the hat of the cab driver taking the heroes to the hotel looks demonic; the altar boy, to whose doubts the hero once did not pay attention, appears years later in the image of a professional killer - the connection of times is undeniable to anyone today, but few are able to see the continuous chain of unrepentant sins that drag the country towards subsequent decades of bloody unconsciousness.
Mikhalkov succeeds through complex system nonlinear associations to show the spiritual origins of Russian tragedy, rooted in the personal catastrophe of each person: the country is made up of people and it is their mistakes in life, forming a disastrous relationship, that pose it with intractable problems.
“Sunstroke” forms a single conceptual whole with, but if, recreating the historical atmosphere of the reign Alexandra III, Mikhalkov main task set the disclosure of features national identity, through a private story of love, showed the seduction of Russia by the West, then in his last movie The director made it a structure-forming task to identify the reasons for the careless readiness of Russians to become victims of sinful seduction.
The flashback episodes in Sunstroke also make us recall the atmosphere of an idyllic dream that permeates many scenes in A Few Days in the Life of I.I. Oblomov": being in a state of romantic fantasy and projection, Russian nobility didn't want to see real problems, at the same time moral principles encouraged them not to participate in the petty fuss of the emerging bourgeoisie. Thus, sensitive, attentive, subtle people were destroyed by their spiritual lack of will and carelessness. And with them the whole country.
By creating caricatured portraits of commissars in “Sunstroke,” the director himself never ceases to wonder how these ignorant, ideologically and culturally limited fanatics were able to defeat educated and sophisticated people, but he himself offers the answer: spiritual lack of composure, some almost Oblomov-like weakness of character, at some point, gentleness was met not by Stolz’s good-natured compassion, but by aggressive rudeness and blind confidence in his own rightness, to which the nobility capitulated.
Mikhalkov made a film about us today - about our destructive gullibility, about inattention to what is happening in our souls.
Mikhalkov once again made a film not only about the past, lost Russia, but also about ourselves, today - about our destructive gullibility, about inattention to what is happening in the soul, about how easy it is to lose talents and gifts if you don’t value them, about how easy it is to not notice the slowly approaching and overtaking at the moment of greatest softness, sunstroke.
Bunin's concept of love is also revealed in the story "Sunstroke", written in the Maritime Alps in 1925.
This work, in my opinion, is typical of Bunin. Firstly, it is structured in the same way as many other stories, and
depicts the experiences of a hero in whose life he encountered great feeling. This will be the case in many of the works of the writer from
cycle " Dark alleys": "Rusya", "Natalie", "Galya Ganskaya" ... Secondly, Bunina in to a greater extent interested in the hero
It is through his eyes that we look at the world, but, oddly enough, the “carrier of action” will be the heroine. Her appearance is jarring
a hero from the “world” that is familiar to him, and even if he returns to it, his life will still be different.
So, the story begins with a meeting of two people on a ship: a man and a woman. There is a mutual relationship between them
attraction, and they decide to instantly love affair. When they wake up in the morning, they act as if nothing happened.
happened, and soon “she” leaves, leaving “him” alone. They know that they will never see each other again, they do not attach any
meaning of the meeting, but... something strange begins to happen to the hero... In the finale, the lieutenant again finds himself in the same
situation: he is again sailing on a ship, but “feels ten years older.”
Emotionally, the story has a striking effect on the reader. But not because we sympathize with the hero, but because
the hero made us think about the meaning of life. Why do the heroes remain unhappy? Why doesn’t Bunin give them the right
find happiness? Why, after experiencing such wonderful moments, do they break up?
The story is called "Sunstroke". What could this name mean? It creates a feeling of something instantaneous,
suddenly striking, and here - and entailing devastation of the soul, suffering, misfortune. This is especially clear
is felt if you compare the beginning and end of the story. Here's the beginning: "After lunch we came out of the brightly and hotly lit
dining room onto the deck and stopped at the railing. She closed her eyes, put her hand to her cheek with her palm facing outwards, and laughed
with a simple, charming laugh." And here is the ending: "The lieutenant was sitting under a canopy on the deck, feeling ten years older.
years".
At the very beginning of the story, we do not yet know the characters; the author does not name names, using the technique of silence. Who is "he"?
Bunin simply calls him a lieutenant, apparently trying to show the reader that he is an ordinary person, devoid of
any bright individual traits. And who is “she”? "Little woman" with a "lovely laugh." Bunin doesn’t care who
them: they are just a man and a woman who unexpectedly met. It is no coincidence that the authors are no longer
interested in details. After all, at the center of the story are “he” and “she”.
The love story of the heroes is uniquely framed by two landscapes. "There was darkness and lights ahead. From the darkness it hit my face
a strong, soft wind, and the lights were rushing somewhere to the side...” It seems that nature is becoming something pushing here
heroes to each other, contributing to the emergence of love feelings promising something wonderful. And at the same time,
perhaps its description carries a motive of hopelessness, because there is something here that foreshadows the ending, where “the dark summer
the dawn faded far ahead, gloomily, sleepily and multi-coloredly reflected in the river, which in some places still glowed with trembling ripples
far below her, under this dawn, and the lights floated and floated back, scattered in the darkness around. " It looks like this
the impression that the heroes, emerging from the “darkness,” dissolve again in it. The writer highlights only a moment in their destinies.
The "spatial" movement of lights in these landscapes is also extremely important. They seem to frame a love story
heroes: in the first landscape they were ahead, promising happiness, and in the second - behind. Now everything has come full circle, and repeat
“sailed and sailed” seems to be an allusion to the monotony of the lieutenant’s life without “her.”
The story ends with the “landscape of the soul” of the lieutenant. What happened to the hero? Why does his life seem over?
Let's go back to the beginning of the story. Attentive to sounds and smells, Bunin describes the stranger through the eyes of a lieutenant. And in her
details appear in the portrait that, in Bunin’s understanding, are characteristic of the vision of a person overcome by desire: “... a hand,
small and strong, smelled of tan”, “she was strong and dark all over under this light canvas dress after a whole month
lying under the southern sun." In these naturalistic details one can feel the spontaneity of the perception of feeling. And
“madness” is an “attribute” of the love that Bunin paints. There is no spirituality here yet.
Further actions do not seem to depend on the heroes. "He" and "she" obey the call of the flesh. "Rushed"
“passed”, “went out”, “got up”, “left” - look at the abundance of verbs. It seems that with this quick change
actions, with this endless repetition of verbs of movement, the author seeks to focus the reader’s attention on the appearance in
the actions of the heroes are of some kind of “hotness”, depicting their feeling as a disease that cannot be resisted. But in
at some point we begin to understand that “he” and “she” really loved each other after all. Realizing this
comes to us when Bunin first looks into the future of the heroes: “The lieutenant rushed to her so impulsively and both
were frantically suffocated in the kiss, that they remembered this moment for many years later: I had never experienced anything like this in my entire life.
life is neither one nor the other."
In describing the morning, the author uses his characteristic technique of “stringing” epithets and details that convey
the characters’ sensations give tangibility to the feelings: “At ten o’clock in the morning, sunny, hot, happy, with a ringing
churches, with a market in the square" the heroine leaves. Her image is again given through the eyes of the hero: "..fresh, as at seventeen years old,
simple, cheerful and - already reasonable." She behaves as if this meeting means nothing to her. It is the heroine
calls their romance "sunstroke." But “she” does not want to prolong this “sunstroke”, because such a thing
it is forbidden. And then Bunin, with his characteristic skill, describing the lieutenant’s behavior at the moment of parting, three times
repeats the word “easily”: “... somehow easily agreed,” “in a light and happy spirit,” “just as easily.” This detail is
evidence that the hero is not ready to continue the relationship.
“She” left... And suddenly it turns out that the hero’s old soul “died”, but a new one was “born” - completely different.
However, it cannot be said that he was spiritually reborn, for Bunin’s hero is a weak man. Where Chekhov's Gurov decides
his own destiny, the lieutenant will leave everything as it is. Why? Because in Chekhov's stories there is a focus on the future.
For Chekhov, love is “either a remnant of something huge, or something that in the future will develop into something huge.” U
Bunin's heroes have no future at all; love for them is a moment, a blow. Perhaps this love can be compared to
flash wonderful light illuminating people's lives. The hero goes from a base desire to a higher feeling, but
when he realizes this, it will be too late. The lieutenant will discover in himself “a completely new feeling - that strange, incomprehensible feeling,
which was not there at all while they were together, which he could not even imagine in himself, starting this yesterday, as he
I thought it was just a funny acquaintance, and which it was impossible to tell her about now!” And hence the hero’s new vision of the world. Citing this long quote, I would like to point out
features of Bunin's psychologism. Take a closer look: it’s done almost like Tolstoy. Changing the order of words - inversions, and
again "stringing" epithets, and "stringing" on each other subordinate clauses related to the word "feeling".
What is the worst thing for a lieutenant? Feelings, memories. They become torment for him. This is exactly what it is
the tragedy of the hero - he has nowhere to escape from them, he does not know what to do next. The bazaar, not noticed by the hero when he
accompanied the stranger, now becomes the subject of his attention. Previously, the lieutenant would not have noticed either manure among the carts or
bowls, no pots, no women sitting on the ground, and the phrase “here are the first grade cucumbers, your honor!” wouldn't seem to him
as petty and vulgar as it is now. All this was so unbearable that he ran away from there. "He" goes to the cathedral. Rescue
not anywhere! Previously internal and outer life The lieutenants coincided, but now they are in conflict, and therefore the hero is at a loss. Bunin carefully describes everything
those objects that come across on the hero’s path, irritating him. The hero “clings” with his gaze to all sorts of little things: empty
streets, crooked houses unfamiliar city, for the portrait in the window. Everything seems prosaic, vulgar, and meaningless to him.
It seems that this emphasizes the hero’s restlessness. “How wild, how scary everything is everyday, ordinary, when the heart is affected,
- yes, amazed, he now understood it, - by this terrible sunstroke, by too much happiness? " These words could
become an epigraph to the story.
The author first gives a portrait of the hero almost at the very end of the story. "An ordinary officer's face, gray from the tan, with
with a whitish sun-bleached mustache and bluish white eyes" turns into the face of a suffering person and has
now “excited, crazy expression” Why does the hero cease to be faceless only now? Is this a coincidence or not?
Probably not: after all, only now he learned what love is.
Everything was the same as yesterday, but it seemed different to the hero. A number of story details, as well as a meeting scene
The lieutenant and the cab driver help us understand the author's intention. The most important thing we discover after reading a story
“Sunstroke,” the love that Bunin describes in his works has no future. His heroes never
will be able to find happiness, they are doomed to suffer. “Sunstroke” once again reveals Bunin’s concept of love:
“Having fallen in love, we die...”
Difficult life Ivan Alekseevich left its mark on his works, but in spite of everything, the theme of love runs like a red stripe through all his work.
In 1924, Bunin began to write a series of works that were very closely related to each other. These were separate stories, each of which was an independent work. These stories are united by one theme - the theme of love. Bunin combined five of his works in that cycle: “Mitya’s Love”, “Sunstroke”, “Ida”, “Mordovian Sundress”, “The Case of Cornet Elagin”. They describe five different cases love appears out of nowhere. That same love that strikes to the very heart, overshadowing the mind and subjugating the will.
This article will focus on the story “Sunstroke”. It was written in 1925, when the writer was in the Maritime Alps. How the story began later writer told Galina Kuznetsova, one of his lovers. She, in turn, wrote it all down in her diary.
A connoisseur of human passions, a man capable of erasing all boundaries in the face of a wave of feelings, a writer who mastered words with perfect grace, inspired by a new feeling, easily and naturally expressed his thoughts as soon as any idea arose. The stimulator could be any object, any event or natural phenomenon. The main thing is not to waste the received feeling, and to fully surrender to the description, without stopping, and perhaps without fully controlling yourself.
Plot of the story
The storyline of the story is quite simple, although we should not forget that the action takes place a hundred years ago, when morals were completely different, and it was not customary to write about it openly. On a wonderful warm night, a man and a woman meet on a ship. They are both warmed up with wine, there are magnificent views around, the mood is good and romance emanates from everywhere. They communicate, then spend the night together in a nearby hotel and leave when morning comes.
The meeting is so amazing, fleeting and unusual for both that the main characters did not even recognize each other’s names. This madness is justified by the author: “neither one nor the other has ever experienced anything like this in his entire life.”
The fleeting meeting impressed the hero so much that he could not find a place for himself after parting the next day. The lieutenant realizes that only now he understands what happiness can look like when the object of all desires is nearby. After all, for a moment, even this night, he was the most happy man on the ground. The tragedy of the situation was also added by the realization that most likely he would not see her again.
At the beginning of their acquaintance, the lieutenant and the stranger did not exchange any information; they did not even recognize each other’s names. As if dooming himself in advance to one and only communication. The young people secluded themselves with one single purpose. But this does not discredit them; they have a serious justification for their actions. The reader learns about this from the words main character. After spending the night together, she seems to conclude: “It’s as if an eclipse has come over me... Or, rather, we both got something like sunstroke...” And this sweet young woman wants to believe.
The narrator manages to dispel any illusions regarding the possible future of the wonderful couple and reports that the stranger has a family, a husband and a little daughter. And the main character, when he came to his senses, assessed the situation and decided not to lose such a beloved object of personal preference, suddenly realizes that he cannot even send a telegram to his night lover. He knows nothing about her, neither name, nor surname, nor address.
Although the author did not pay attention detailed description women, the reader likes her. I want to believe that the mysterious stranger is beautiful and smart. And this incident should be perceived as sunstroke, nothing more.
Bunin probably created the image of a femme fatale who represented his own ideal. And although there is no detail either in appearance or in the internal filling of the heroine, we know that she has a simple and charming laugh, long hair, since she uses stilettos. The woman has a strong and elastic body, strong little hands. The fact that a subtle aroma of perfume can be felt close to her can indicate that she is well-groomed.
Semantic load
In his work, Bunin did not elaborate. There are no names or titles in the story. The reader does not know what ship the main characters were on, or in what city they stopped. Even the names of the heroes remain unknown. Probably, the writer wanted the reader to understand that names and titles are not important when it comes to such a sublime feeling as falling in love and love. It cannot be said that the lieutenant and the married lady have a great secret love. The passion that flared up between them was most likely initially perceived by both as an affair during the trip. But something happened in the soul of the lieutenant, and now he finds no place for himself from the surging feelings.
From the story you can see that the writer himself is a personality psychologist. This is easy to track by the behavior of the main character. At first, the lieutenant parted with his stranger with such ease and even joy. However, after some time, he wonders what it is about this woman that makes him think about her every second, why now the whole wide world is not nice to him.
The writer managed to convey all the tragedy of unfulfilled or lost love.
Structure of the work
In his story, Bunin described, without affectation or embarrassment, a phenomenon that the common people call treason. But he was able to do it very subtly and beautifully, thanks to his writing talent. In essence, the reader becomes a witness to what has just been born. greatest feeling- love. But it happens in reverse chronological order. The standard scheme: checking in, getting acquainted, walks, meetings, dinners - all this is thrown aside. Only the acquaintance of the main characters immediately leads them to the climax in the relationship between a man and a woman. And only after parting does satisfied passion suddenly give birth to love.
“The feeling of the pleasures he had just experienced was still alive in him, but now the main thing was a new feeling.”
The author conveys feelings in detail, placing emphasis on such little things as smells and sounds. For example, the story describes in detail the morning when the market square is open, with its smells and sounds. And the ringing of bells can be heard from the nearby church. It all seems happy and bright, and contributes to unprecedented romance. At the end of the work, all the same things seem unpleasant, loud and irritable to the hero. The sun no longer warms, but scorches, and you want to hide from it.
In conclusion, one sentence should be quoted:
“The dark summer dawn faded far ahead, gloomily, sleepily and multi-coloredly reflected in the river... and the lights floated and floated back, scattered in the darkness around”
This is what reveals the author’s concept of love. Bunin himself once said that there is no happiness in life, but there are some happy moments that you need to live and appreciate. After all, love can appear suddenly and disappear forever. As sad as it may be, in Bunin’s stories the characters constantly break up. Perhaps he wants to tell us that there is great meaning in separation, because of it, love remains deep in the soul and diversifies human sensitivity. And all this really looks like sunstroke.
Ivan Alekseevich Bunin wrote the story “Sunstroke” in 1925, while in the Maritime Alps. This story, like many other works of Bunin written in exile, has a love plot. The author in this work shows that mutual feelings can stir up a series of love experiences.
Bunin thought a lot about the title of the story. There were two poorly chosen titles for the story, which the author himself considered simple and completely obvious. They did not reflect Bunin’s mood, the first reported on the events taking place, the second indicated the possible name of the heroine. This is how the writer came up with the idea for the third and most successful title, “Sunstroke.” This title simply screamed about the feeling that the main character experienced, such a sudden, bright feeling that instantly captures a person and, as it were, burns him to ashes.
In the work, the author does not give a clear description of the characters in the story, everything is extremely vague, no names, no ages. In this way, the writer seems to elevate his main characters above environment, conditions and time. Characters The story is about the lieutenant and his companion. Having previously been strangers, after spending one day together, they felt such a sincere, pure feeling that they had not experienced before. But on the way, the lovers encountered obstacles and the machinations of fate, and they involuntarily said goodbye. Bunin wanted to show that gray everyday life, everyday life is very harmful for love, they only destroy it.
Bunin tells the story of a fleeting romance that arose between a lieutenant and a married lady. He delves into all the intricacies of the inflamed passion that arose between the heroes, who, after spending the night without even knowing each other’s names, are forced to part. The lieutenant was so captivated by his fellow traveler that after parting he felt melancholy and spiritual emptiness. Sitting in the empty cabin, he felt that he had aged ten years. But what aggravated his condition was confusion and bewilderment. He didn’t know how to find the lady of his heart and confess to her about his feelings and doesn’t see more life without her.
Bunin's narrative style is very "dense". He's a craftsman short genre, in a small volume, he manages to fully reveal all the images of his characters and convey the whole essence of his plan and plot.
ABOUT happy love I. A. Bunin never narrated. The story “Sunstroke” is no exception. He believed that the union of souls is a completely different feeling, incommensurate with passion. True love comes and goes as suddenly as sunstroke.
Option 2
We don't know anything about the heroes of this short story. He is a lieutenant. Judging by the mention of the deserts of Turkestan, he returns from extreme south Russian Empire. She is a young lady who has a husband and a three-year-old daughter somewhere. Among the characters in the story, we can also mention the footman “in a pink shirt” and the cheerful cab driver. In the evening he took two people to the hotel, and on the next ship he brought one officer in a cab. That's it. The rest of the story is occupied by a description of the feelings of a young rake in a Volga town scorched by the sun.
Why didn't she want to continue the journey together? Apparently, she understood the difference between the passion that gripped them and love. Then the vulgarity of the illegal relationship would begin married woman and a young officer. From this we can draw another conclusion: she is older and more experienced. The love affair will remain a secret, remembering which she will not be so bored while away winter evenings in some provincial town. And what happened to them will not happen again. Then, if they don’t break up, “everything will be ruined.”
The lieutenant's wanderings around an unfamiliar town deserve a separate discussion. Everything seems too ordinary and boring to him compared to what he has just experienced. Perhaps it’s too early to call him a rake. The young man is in love. Maybe this happened to him for the first time. The sun blinds him, the air suffocates him. But he is sincerely mistaken. Beautiful woman gave him a feeling of happiness. And it’s good that it won’t last long. Now he knows what it is, but has not yet experienced disappointment. She gave him a future.
Perhaps the beautiful stranger is not so happy family life. Otherwise, she would not have gone to the resort alone. Girls were married off early, and she did not have time to experience anything like this before she walked down the aisle. That evening she gave vent to her feelings for the first time. Why do so many assumptions and impressions arise after reading just a few pages? After all, the usual everyday situation. But the author paid such attention to subtle, seemingly insignificant details that thanks to this the story seems to become larger, depicting not a provincial town and two people who accidentally got off the ship there, but the whole country. One can also say about the painting of Bunin, who painted both a picture and a story at the same time. But this painting shows not only external features heroes, but also their subtlest experiences.
Several interesting essays
Talking about great dream, it would be more appropriate to compare it with a great and global goal, since each of them is part of human life.
When a class sits in front of the teacher and there is large number students, each of whom needs to devote time to explain the lesson, a lot of energy is wasted
