The place of love lyrics in Yesenin's work. Love lyrics in the works of S. Yesenin. Several interesting compositions

The work of Sergei A. Yesenin is inextricably linked with the theme of love, as if it does not exist without this high feeling. The poet's soul cannot but love, admire, and burn with passion. She breathes love, lives by it, which is reflected in the lyrics.

The poet's first love is born in his homeland, in the "country of birch calico." Poems related to this period (the beginning of the tenth years of the 20th century) are similar in mood to folk songs, full of rustic melodiousness and melodiousness. Folklore motives are clearly audible in them ("Imitation of the Song", 1910). From an early age, folk legends, sayings, riddles have sunk into the soul of S. A. Yesenin. Therefore, his first poems are distinguished by the fullness of colors, sounds, smells. In his poems - the soft green of the fields, the crimson light of the dawn, the white smoke of the bird cherry, the blue sand of the sky.

Love lyrics occupy a significant place in the poetry of S. A. Yesenin. His poems reflect the various experiences of the poet - the joy of meeting with his beloved, longing in separation, sadness, despair. But the theme of love in his poems is closely intertwined with the main Yesenin theme - the theme of love for the Motherland. His love for a woman is revealed through his love for his native land. With amazing ability he animates the nature of the fatherland:

Green hairstyle,

Girlish breasts.

Oh, thin birch,

What looked into the pond?

Birch - his favorite image, becomes a birch-girl with a green hem, with which the wind plays; maple on one leg; mountain ash burning with its fruits; aspen trees looking into rose water; rye with a swan neck and many other amazing metaphors and images create their own special world in the work of Sergei Yesenin - the world of living and spiritualized nature, in which he himself lived.

The poetry of love, merging together with the poetry of nature, draws from it the chasteness of spring flowering, the sensuality of summer heat.

The poet's beloved is the embodiment of the beauty of the surrounding world, the beauty of the native village landscape. She appears before us "with a sheaf of hair ... oatmeal", "with scarlet juice of a berry on her skin," and her "flexible body and shoulders" was invented by nature itself. So S. Yesenin describes his beloved in the poem "Do not walk, do not wrinkle in the crimson bushes ...", written in 1916.

In the poem "Green is hiding ..." the girl appears before us in the poet's favorite image - in the image of a thin birch tree that "looked into the pond." The birch itself tells us how the shepherd hugged her “on a starry night” “for his bare knees ... and shed tears”, saying goodbye to her “until the new cranes”.

In the early twenties, there is a sharp change in the mood of the poet in his love poems. Yesenin, witnessing the events of the revolution, seeing the changes taking place in the country, deeply felt the inner mood of the people. It is reflected in the cycle of poems "Moscow tavern", where the village song lyricism is replaced by a distinct, sharp rhythm. The poet, going through difficult changes in Russia together with the people, cannot determine his place in life, deeply suffers from the consciousness of spiritual duality. He expected the revolution to fulfill the dream of a "peasant's paradise", a free, well-fed, happy life on earth. But in fact, the ruin of the village "blue Russia" took place. S. A. Yesenin felt that there was a destruction of harmony with nature. In one of his letters from that time, he wrote: “It touches me ... only sadness for the outgoing dear, dear animal and the unshakable power of the dead, mechanical ... I am sad now that history is going through a difficult era of mortification of the individual as a living, because it goes completely not the socialism I thought about. " This heavy mood is also expressed in the love lyrics. Here we no longer find words about sublime love, there is no such admiration for nature that was always present in the early verses. The poet “without return” leaves his “native fields”. "Yes! It has now been decided. No return ... ", - he writes in 1922. Feelings are trampled, momentary impulses come to the fore: "When ... the month is shining ... God knows how", he goes "along a side street to a familiar tavern." There is no beauty of a pink sunset, there is only "noise and din in this creepy den."

The attitude towards a woman is changing dramatically: she is no longer a slender birch-girl, but a "lousy" prostitute who was "loved" and "filthy". She is dirty, stupid, and instead of love, she only evokes hatred. This mood of the poet is expressed in the poem “Rash, harmonica. Boredom ... Boredom ... ”, written in 1923. However, such images are a demonstrative expression of the suppressed state of the poet's inner world. Vicious "tavern" love is a desperate poetic cry about the destructive passion of taverns. And yet, through the painful spiritual mood of poetic works, the lyricism inherent in S.A.Esenin breaks through, intimacy breaks out onto the pages of poems, which further emphasize the deep tragedy of the poet's state of mind: Darling, I am crying, Forgive ... forgive ...

In 1923, the poet returned from a large foreign trip, which played a significant role in his work. He becomes disillusioned with the bourgeois democratic principles of the Western world, and is disenchanted with past ideals. S. A. Yesenin is convinced, “how beautiful and rich Russia is. It seems that there is no such country yet, and there cannot be. " He does not write poems about foreign impressions, nothing inspires him to work away from his native land. In his lyrics, there is a motive of sadness, regret about the departed youth, about wasted years, wasted energy and time in taverns among vagabonds and prostitutes. Now the poet again "sang about love", vowing to make a scandal. In the poem "The blue fire swept around ..." he writes: Lost drinking and dancing And losing my life without looking back. The lyrical hero is again shrouded in a “blue fire”, he is kindled by “a gentle, light camp” and, of course, his hair “in color in autumn”. Love, as a saving force, leads the poet to rebirth, to the desire to live and create. In the poem "Darling, let's sit next to ..." he writes:

This is autumn gold

This strand of whitish hair -

Everything appeared as salvation

Restless rake.

In the poem "Son of a bitch", written in 1924, S. A. Yesenin recalls the forgotten "girl in white", and his soul comes to life again: The pain of the soul floated out again. With this pain I seem to be younger ... The thoughts of a bright, pure rural youth are revived in my memory. But the riotous tavern life has already left its mark on the fate of the poet and it is no longer possible to return the “old song”: Yes, I liked the girl in white, But now I love in blue. In the same period, Yesenin creates a cycle of poems "Persian motives", the most famous of which is "You are my Shagane, Shagane!" It talks about how, being far from his homeland, the poet wants to tell his beloved woman about the incomparable beauty of the Ryazan expanse, which filled his life with vivid, unforgettable impressions:

... I'm ready to tell you the field,

About wavy rye under the moon ...

No matter how beautiful Shiraz is,

It is no better than Ryazan's expanse ...

Like the entire cycle of poems, it is filled with romantic mood and light sadness:

Up there in the north, a girl too

Maybe he is thinking about me ...

“Apparently, it has been established forever ...” - this poem, written in 1925, pours out the sadness of unfulfilled hopes for happiness “by the age of thirty”. The lyrical hero was ready to burn with "pink fire", "burning" together with his beloved. And although she gave her heart "with laughter" to another, but, nevertheless, this love, unrequited and tragic, "the stupid poet led ... to sensual verses." Rejected, the lyric hero remains true to the old feeling. He finds again a faithful messenger - this is "dear Jim":

She will come, I give you a guarantee.

And without me, in her gaze,

Lick her hand gently for me

For everything that I was and was not to blame.

The poems of Sergei A. Yesenin continue to excite us with their dramatic lyrical experiences many years after they were written. This is due to the fact that Yesenin's lyricism, tragic and sublimely romantic, evokes feelings in the reader that are close and understandable to everyone.

Anna Snegina (1925)

The poem by Sergei Alexandrovich Yesenin "Anna Snegina" is largely a final work, in which the personal fate of the poet is correlated with the fate of the people. The poem is closely related to Yesenin's lyrics, absorbing many of her motives and images.

The central, organizing beginning of the poem is the speech of Yesenin himself, the voice of the author, the personality of the author, his attitude to the world permeates the entire work. It is noteworthy that the author does not impose his views, his attitude towards the world to other heroes, he only unites them in the poem.

The poet defined his work as lyric-epic. His main theme is personal. Therefore, all epic events are revealed through fate, the feelings of the poet and the main character.

The very title of the poem suggests that everything is fundamental in Anna Snegina and in those relations that connect the poet with her. It has already been noted more than once that the name of the heroine sounds somehow especially poetic and ambiguous. Snegina - a symbol of the purity of white snow - echoes the spring flowering of the bird cherry, white as snow, and therefore a symbol of youth lost forever. There are also many images familiar from Yesenin's lyric poetry: “girl in white”, “thin birch”, “snowy” bird cherry. But everything familiar is connected in the image of the main character.

The fact that Anna Snegina found herself far from her homeland is a sad pattern for many Russian people of that time. And Yesenin's merit is that he was the first to show it. The separation from Anna in the lyrical context of the poem is the separation of the poet from his youth, the separation from the purest and most holy that happens to a person at the dawn of life. But everything that is humanly beautiful, light and sacred lives in the hero, remains with him forever as a memory, as a "living life."

The theme of the homeland and the theme of time are closely related in the poem. And in a chronological sense, the basis of the poem is as follows: the main part (four chapters) is the Ryazan land of 1917; the chapter contains a sketch of the fate of one of the corners of large rural Russia from the revolution to the first peaceful years (the action in the poem ends in 1923). Naturally, the fate of the country and the people is guessed behind the fate of one of the corners of the Russian land. The author selected those facts that relate to the time of the largest historical events in the country: the First World War, the February Revolution, the October Revolution and the class struggle in the countryside. But for us, it is not the very image of epic events that is especially important, but the poet's attitude to them.

Yesenin does not idealize the Russian peasantry, he sees its heterogeneity, he sees in him both a miller and an old woman, and a driver from the beginning of the poem, and Prona, and Labutya, and a peasant clutching his hands from the profit ... The poet sees a peculiar basis of life in the working peasantry, whose fate is the epic foundation of the poem. This fate is sad, as is evident from the words of the old miller's wife:

We are now restless here.

Sweat bloomed everything.

Continuous peasant wars-

They fight village against village.

These peasant wars are symbolic, which are the prototype of a great fratricidal war, from which, according to the miller's wife, Raceya almost disappeared ... Condemnation of the war - imperialist and fratricidal - is one of the main themes. The war is condemned by the entire course of the poem, by its various characters - the miller and his old woman, the driver, the two main tragedies of Anna Snegina's life (the death of her husband, emigration). The rejection of the bloody massacre is the author's hard-won conviction and a historically accurate poetic assessment of events:

The war has consumed my whole soul.

For someone else's interest

I shot at my close body

And he climbed on his brother with his chest.

I realized that I- toy,

In the rear, the merchants know ...

And only in the finale of the poem a light chord sounds - the memory of the most beautiful and forever, forever gone. We make sure that all the best that is left behind the hero lives in his soul:

I walk in an overgrown garden,

The face touches the lilac.

So sweet to my flashing eyes

The proud wattle fence.

Once upon a time at that gate

I was sixteen years old

And the girl in the white cape

Told me affectionately:

"Not!" They were far, lovely!

That image in me has not faded away.

We all loved these years

But that means

They loved us too.

The epilogue was very important for Yesenin - a poet and a person: after all, all this helped him to live. The epilogue also means that the past and the present are interconnected for the hero, it seems to connect the times, emphasizing their inseparability from the fate of his native land.

The breadth of the historical space of the poem, its openness to life impressions, the best movements of the human soul characterizes the last and main poem of Sergei Yesenin's "poetic heart of Russia".

The theme of love in Yesenin's lyrics occupies a special place. True connoisseurs of Russian literature cannot be left indifferent by these heartfelt lines, filled with a vivid, bright feeling. You read them and, it seems, you touch eternity, because they awaken the innermost feelings in the soul. The addressees of Yesenin's love lyrics are women whom he admired and idolized. It should be noted with what sincere tenderness he addresses them, how charming epithets he selects. Yesenin's poems about love are incredibly melodic and beautiful. You want to read them aloud, pondering every word.

No one can remain indifferent to these stunning lines. In this article we will look at the theme of love in Yesenin's lyrics. How is it different? What can be found in it that is truly amazing for an ordinary person?

Features of Yesenin's love lyrics

When you get to know these mesmerizing poems, it seems that they touch every string of your soul. There is a complete immersion in the process of contemplating these heartfelt lines. You read them and you are filled with some majestic beauty that brings joy and moral satisfaction. The peculiarities of Yesenin's love lyrics lie in the fact that it very easily fits the music.

That is why so many beautiful and soulful songs appeared on the verses of this wonderful poet. Literary critics rightly call Sergei Yesenin a "poetic singer" who knew how to say a lot, expressing his feelings in rhyme.

"The blue fire swept around"

One of the most beautiful lyrical works. The poem is imbued with tender feelings and reflects the reassessment of values that occurs in the soul of the lyric hero. It seems that he is ready to completely submit to fate, give up bad habits and even "stop making scandals." The heart of the lyrical hero is filled with bright emotions, he feels in himself the opportunity to change a lot in life, to correct the mistakes of the past.

Sergei Yesenin uses very beautiful means of artistic expression to express his state: "fire blue", "golden-brown whirlpool", "hair in color in autumn". It is evident that the experience of feeling awakens in his soul feelings leading to change. The poem leaves a pleasant feeling of tender sadness for unfulfilled dreams and helps to remember real goals.

"You do not love me, you do not regret"

The poem is quite famous and beautiful. These lines captivate the imagination, make the soul shrink with delight. The lyrical hero is in a state of confusion. The key line here is "Whoever loved, he cannot love." The heart of the lyric hero is not yet ready to experience new love. There are too many scars in the soul that do not make it possible to feel truly happy. It may seem that he is too withdrawn and fears the onset of additional experiences. Moral agony brings a lot of mental pain, from which sometimes it is impossible to find deliverance. The lyrical hero is somewhat disappointed in life.

He simultaneously wants to change something, and is afraid to accept significant events into his fate, which is why the words appear in the poem: "He who loved, he cannot love." After all, there is always the possibility that you will find yourself deceived and abandoned. It is these feelings that the lyrical hero experiences, fearing the onset of new disappointment.

"Cute hands - a pair of swans"

The poem is incredibly tender, quivering and full of spiritual warmth. The lyrical hero Sergei Yesenin admires female beauty, is captivated by her. He wants to find his true happiness, but the conflict is inevitable: there are too many regrets in his soul that prevent a happy self-feeling. There is great concentration on the experience of the subjective feeling.

“I don’t know how to live my life” is an expression of confusion, anxiety and invisible loneliness. The lyrical hero is disturbed by the thought that most of his life has been lived in vain. It is difficult for him to decide on the choice of the direction in which he needs to follow. The feeling of love beckons him to conquer unexplored peaks, but he is afraid to experience disappointment, he is afraid to be deceived. The lyrical hero often turns to his previous experience in order to compare some things, to understand how to proceed.

“Sing, sing. On the damn guitar ... "

The poem is incredibly sensual and dedicated to experiencing a passionate feeling. The lyrical hero feels like an unarmed knight who embarked on an exciting adventure. He is attracted by wonderful impulses and at the same time alarming. This is one of the most heartfelt works of Sergei Yesenin.

“I didn’t know that love is an infection” - this line shows how sometimes we are not ready to experience the feeling of love. It frightens many, because they have to face something hitherto unknown, go to unknown distances. The lyrical hero understands love as "death" that inevitably comes when it comes to a beautiful woman. He is already internally ready for disappointment.

"Foolish Heart, Don't Beat"

The poem reflects the state of the lyric hero going through an existential crisis. The lyrical hero does not believe in love, calls it a deception, because the very feeling always makes him suffer. He has already gone through numerous trials as a result of past relationships and does not want to repeat the mistakes he once made. The work is shrouded in a note of sadness, but hopelessness is not felt in it. The theme of love in Yesenin's lyrics takes a central place.

"I remember, darling, I remember"

The poem is imbued with a note of nostalgia. The lyrical hero yearns for the time when he was different: without thinking about anything, he started a relationship, while not imposing certain obligations on himself. He longs for the past and seems to want to return to it for a moment. At the same time, some circumstances of life do not allow to return there.

The hero regrets some mistakes of the past, but at the same time realizes that there is no extra time left to try to correct them. Yesenin's poems about love are imbued with unprecedented tenderness, inspiration and light sadness. Strong feelings capture the soul of the reader and do not let go for a long time. I want to reread these lyric works again in order to feel all their charm and grandeur.

Instead of a conclusion

Thus, the theme of love in Yesenin's lyrics is a special direction in the poet's work. Feelings and their development are of great importance here. The lyrical hero is revealed from an unexpected and wonderful side. He has to learn a lot about himself, learn to accept his own emotional state.

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FACULTY OF RUSSIAN PHILOLOGY

GRADUATE QUALIFICATION WORK

LOVE LYRICS IN THE WORKS OF SERGEY ESENIN

Introduction

1. The concept of love in the lyrics of Sergei Yesenin

Conclusion

List of used literature

application

Introduction

Yesenin was born on October 3, 1895 in the village. Konstantinovo Ryazan province in a peasant family. He graduated from the village school, and then the school in Spas - Klepiky.

In 1912 he came to Moscow and for 1.5 years he listened to lectures at the Shanyavsky People's University. He read a lot, had a rare memory, knew well the folklore and mythology of many peoples of the world, Russian and foreign literature.

In 1915, he meets with A. Blok. "My literary journey began with him," the poet will later recall with gratitude. In Petrograd, Yesenin met the peasant poet N. Klyuev, and then with M. Gorky, S. Gorodetsky, R. Ivnev, N. Gumilyov, A. Akhmatova, D. Merezhkovsky, Z. Gippius and others.

Its rapid appearance in literature has been compared to a miracle, to the sudden appearance of a comet. "The universal calling came true literally in just a few weeks", - R. Ivnev recalled.

Sergei Yesenin rose to the heights of world poetry from the depths of folk life. "Ryazan fields, where the peasants mowed, where they sowed their bread", became his reliable launching pad, the cradle of his poetry. Here "at dawn and by the stars" he went through school, and thought, and read ... "according to the Bible of the winds", here he became friends, for life ", with" green-haired "," in a white skirt "with birch and old maple" on one leg ", here the awakening of his creative thoughts began, and he wrote his first poems.

The young poet was then barely 15 years old. Could anyone have imagined at that time that years would pass and this Ryazan boy would become the poetic heart of Russia.

From a young age, the sad and free songs of Russia, its bright sadness and valiant prowess, the rebellious Razin spirit and the shackled Siberian ringing, church evangelism and peaceful rural silence have sunk into Yesenin's heart from a young age.

From heartfelt poems about the country of "birch chintz", the width of its steppe expanses, blue lakes, the noise of green oak forests to disturbing thoughts about the fate of Russia in "severe terrible years", every Yesenin image, every Yesenin line, warmed by a feeling of boundless love.

In 1922 - 1923, having married the American dancer Isadora Duncan, the poet made a long journey to Europe and the USA. The impression of this trip was very vividly reflected in Yesenin's letter to his loved ones: "What can I tell you about this terrible kingdom of philistinism, which borders on idiocy? I have not yet met a person and do not know where it smells. In a strange fashion, the dollar, on the art of sneezing is the highest music hall. Let us be poor, even if we have hunger, cold and cannibalism, but we have a soul, which was rented here as unnecessary for "smerdyakovism." 1924 - 1925 - new attempts to understand Russia Soviet:

"Rejoicing, ferocious and tormented, It is good to live in Russia."

The main components of the writer's artistic world are images of the earth, sky, mother, nature, homeland, beloved woman. The natural-aesthetic imaginative world of the poet is rich and diverse. Love is the main theme of Sergei Yesenin's work, it runs like a red thread through all his works. This is an overarching topic.

1. The concept of love in the lyrics of S. Yesenin

Pictures of Russian nature, its breadth, the unique aroma of fields and meadows were the first and strongest impression of childhood. In Konstantinov they knew and loved the Russian song, they sang a lot in the Yesenin family. The song made me sad and happy, comforted and warmed in difficult moments of life. Subsequently, addressing his sister Shura, Yesenin wrote:

Sing me the song that you used to

An old mother sang to us,

Not regretting the lost hope,

I can sing along with you.

The poet carried his love for song and native nature throughout his life. He never tired of writing about this love in his poems, which were akin to a free and pensive Russian song.

Yesenin had his own poetic world. It is quite indicative that the first poems were published in children's magazines: these were poems that were distinguished by childish spontaneity, amazement sounded in them at the beauty of the natural world that surrounded a person from childhood. In Yesenin's poems, both the song "white birch", and the Russian snowy winter, which "sings and echoes a hundred with the ringing of a pine forest," and nettle shimmering with mother-of-pearl, "congratulating" everyone on a good morning, are sung.

Lyric poems occupy the main place in Yesenin's work. The poet writes about the beauty of Russian nature, draws pictures of village life. Intimate lyrics occupy an important place in early poetry.

Yesenin's landscape is not a list of compositional elements, not an impassive application of color strokes and spots - it is always a moral result, confession, delight, repentance, admonition, testament.

Even in his early poems, Yesenin is original and unique. His poetry evokes thoughts, awakens a feeling of sadness, makes one think about human life. This is because Yesenin's works are distinguished by deep philosophical overtones.

Yesenin's poems are extremely laconic. Sometimes in one quatrain, he can create a unique picture of nature, correlate it with human life. In most poems, the poet is present as a character. He expresses his attitude to the life of nature, hears the song of the nightingale, is intoxicated in the spring. Sometimes his feelings are in contrast to the feelings of the living world: "the oriole is crying," "the wood grouses are crying," but the hero "does not cry," he has "light in his soul." Many poems are associated with folk poetry, with ritual lyrics and folk songs:

Under the wreath of forest chamomile

I planed, repaired canoes,

Dropped the cutie ring

In a stream of foamy waves.

In such verses, a lot is taken from the poetic arsenal of folk poetry: "the ring of a cutie", "dashing parting", "insidious mother-in-law", "dark night", "birch-candle", "maiden beauty", "silk bells", etc. ... Figuratively and visually Yesenin draws a village life, a hut where "it smells of loose fighters", "soot hovers over the shutter", "restless chickens cackle", and "cocks are singing slender mass" ("In the hut", 1914).

A special place is occupied by poems about animals, about which Yesenin wrote with such love, as few of the Russian poets. He writes touchingly about a cow - the breadwinner of a peasant family, whose teeth "fell out" and "a scroll of years on its horns." Yesenin writes about a dog whose "gloomy master" drowned seven puppies ("Song of the Dog").

Yesenin is an artist who managed to create epic works with a wide coverage of reality. In a number of poems, the poet draws pictures of the hard life of his native land.

The theme of love for the Motherland, the people, the native Ryazan region passes through Yesenin's earlier work.

Autumn sadness takes possession of the poet, and nature breathes sadness, shading his feelings and experiences.

But sadness is not a constant feeling of the poet. He is not abandoned by faith and happiness, the ability to be in love and amazed to admire the beauty of his native nature.

"My lyrics," Yesenin said, not without pride, "I live with one great love, love for the Motherland, the feeling of the Motherland is the main thing in my work."

The years 1924-1925 are distinguished in Yesenin's work by combining the epic coverage of reality with a deep lyrical penetration into life and human relations. The pinnacle of the poet's creativity was the poem "Anna Snegina". The poem is to some extent the final work in which Yesenin reflected his long-suffering thoughts about the life of the people, about the revolution, his philosophical reflections on human life on earth and, finally, his truly sacred attitude to first love, which opens up new worlds for a person and is kept in the heart all my life.

Yesenin is capable of great human feelings. Thinking about his youth, he also remembers his first love:

Once upon a time at that gate

I was sixteen years old

And the girl in the white cape

She said to me affectionately: "No!"

In the last period of creativity Yesenin, as before, expresses a feeling of great love for the places where he was born, where he spent his childhood. He writes that the "sweet land" has changed, the life and consciousness of people have changed. Everything related to the beginning of life, with family and friends, becomes close and dear to the poet. Addressing his sister in the poem "you sing me that song that before ...", the poet states:

Sing to me. After all, my joy is

That I have never loved alone

And the gate of the autumn garden,

And the fallen leaves of rowan trees ...

In lyric poems, in descriptions of nature, Yesenin feels a close connection with folk poetry, especially with song. Therefore, many of Yesenin's poems are set to music among the people ("You are my maple, fallen ...", "You hear - the sleigh is racing ...", "Above the window is a month, under the window is the wind ...", "I have no regrets, I don’t call, I don’t cry ... ").

Yesenin's skill and maturity are associated with his admiration for Russian and world classics, with his desire to follow classical examples in his poetry. Pushkin becomes his favorite poet, he worries about oriental lyrics. The poet dreams of a trip to Persia. He carefully prepares for it - not only reads the classics of the East Saadi, Ferdowsi, but also creates a cycle "Persian motives", which was innovative in the development of Russian poetry in the 1920s. This cycle testifies to the poet's ability to master samples of oriental lyrics, while preserving the originality of the Russian poet.

Paying tribute to the East - the beauty of the girls, tea roses that quietly "run through the fields", the teahouse and the teahouse who treats with tea, the life and customs of this distant poet assesses, guided by the new views of liberated Russia.

He writes that he likes that the Persians "keep women and girls under a veil," which is why his words, addressed to the Persian, sound so heartfelt:

Darling, don't be friends with the chador,

Memorize this commandment in short,

After all, our life is so short,

Little happiness is given to admire

In the poem "Shagane, you are mine, Shagane ..." the poet recalls "Ryazan expanses", which are more beautiful for him than Shiraz.

The poet also remembers a girl in the north who, "maybe thinks of me." The cycle contains many philosophical reflections on love, life, human feelings. Often the poet's words about love sound aphoristic:

They don't talk about love in words,

They sigh about love only furtively,

Yes, eyes, like yachons, are burning.

Love does not require bail,

with her they know joy and misfortune.

As a Russian poet, Yesenin never confined himself to the national framework. He admired examples of classical and world poetry, paid tribute to his sincere respect to other poets.

2. Love for a woman as "intimate" in the lyrics of S. Yesenin

From the earliest poems of the poetry of S. Yesenin, the theme of love was constantly sounded, and in those verses purely Yesenin motives emerged, combining together the poetry of love with the poetry of nature, conveying the high spirituality of feeling and its chastity. The poem "Green Hairstyle" compares a girl with a thin birch tree peeking into a pond, her braids with branches pierced with a moon comb.

The moon cast shadows

Shone green

Behind bare knees

He hugged me.

In the "house with blue shutters" Yesenin met his first love - a mischievous dark-eyed dark-skinned woman Anyuta Sardanovskaya. He dedicated to her:

At fifteen

I loved to the liver

And I thought sweetly

I will only retire

What am I on this

The best of the girls

Having reached the age, I will marry.

Her name, being a famous poet, Yesenin will take for his best poem. The poem "Over the mountains, beyond the yellow valleys" is dedicated to Anna. But this relationship was broken off very soon.

At the beginning of July 1916, Yesenin wrote to Anna Sardanovskaya: “I have not yet broken away from all that was, therefore I have not broken the final clarity in myself. urban nonsense.

It is good to be bad when there is someone to feel sorry for and love you, that you are bad. I miss this very much. It seems to be for everyone, but not for me.

Forgive me if I was rude to you, this is feigned, because the main thing is the core, about which you, though small, but have an idea. I sit, idle, and the willows under the window are still breathing the familiar dope. In the evening I will drink beer and remember you. Sergey".

A friend of the poet Gruzinov recalled that Yesenin never lied in his poems. Yesenin woman poetic lyrics

The captivating image of the main character of the poem "Anna Snegina" constantly appeared in new unexpected facets. One of them is widely known - This is Lydia Ivanovna Kashina - a beautiful and educated woman who graduated with honors from the Alexandria Institute for Noble Maidens in 1904 and mastered several languages. Yesenin often visited their house, where literary evenings were held. He dedicated several poems to her.

The poet uses the epithet "white" more than once. The white flower is a symbol of spiritual purity, high morality, and infallibility. The epithet "white" replaces the surname and appears where the author speaks of Anna without mentioning her name. The image of a girl in a white cape symbolizes the poet's great love.

"For the fact that you appeared to me in my way as a naive girl" (Zinaida Nikolaevna Reich).

Zinaida Nikolaevna Reich (1894-1939) was the leading actress of the Meyerhold Theater. In 1917, Yesenin married Zinaida Reich, and in 1918 he broke up with her. Reich was born in the family of a Rostov bourgeois, graduated from high school, tried to join the circle of advanced youth, but these attempts were unsuccessful. She moved to Kiev and entered the Higher Women's History and Literature Courses. In 1914, already in Petrograd, he studied at the Faculty of History and Literature of the Higher Courses for Women, at the same time working as a secretary in a sculpture workshop. The paths of Yesenin and Zinaida Reich crossed in the difficult time between the February and October revolutions, on the eve of great historical achievements, when Yesenin was inspired and happy with the consciousness of his inexhaustible poetic potential. It seemed that they were created for each other: blue-eyed, golden-headed Yesenin and dark-haired, with eyes like cherries, feminine Zinaida Reich. This union was fraught with contradictions. Reich and Yesenin were married on August 4, 1917 in a church near Vologda. In the few happy months spent with Reich, Yesenin lived in a state of continuous creation, creative take-off. In one of the letters to his friend, he wrote that he was not alone, that he had his own nest, a family, and that he loved his wife. Reich gave birth to a child and had to quit her job. Due to the complexity of the situation, Yesenin and Reich at times lost sight of each other, there was a civil war. Yesenin lived in Moscow, and Reich lived in the city of Orel.

On March 20, 1920, Zinaida Reich gave birth to a son. Since there was no means of subsistence, she was forced to stay with her son in the home of the mother and child. Both Yesenin and Reich had a strong character, and it is quite natural that an "emotional explosion" burst out, the echoes of which were heard for a long time both in the fate of Reich and in the fate of Yesenin.

After breaking up with Reich, Yesenin allowed himself to be loved by Duncan, and Benislavskaya, and Tolstoy, and Shagane Talyan, and Augusta Mitlashevskaya. And such bitter reproaches Yesenin addressed himself:

But you are children

Lost in the world

Your wife

I gave it easily to another

And without family, without friendship,

No berth

You with your head

He went to the tavern pool.

This poem reveals all the sorrow of the poet, from the loss of the most beloved person in life. Reich found the strength to start a new life, rebuild her family, create a house where her children grew up carelessly, and friends were surrounded by kind attention, but the past still had power over her feelings. He and Yesenin, when the severity of the break passed, saw each other in public - in Paris, where Reich was with Meyerhold, and the poet with Isadora Duncan, and in Moscow, and at Meyerhold's, when the poet came to visit the children ...

"I was looking for happiness in this woman ..." (Isadora Duncan). The famous American ballerina came to Russia in the summer of 1921. They invited her to create a dance school in Moscow for children from the people. Isadora was accompanied by her student, adopted daughter Irma and maid Jeanne. In 1924, the dancer was still in the prime of her fame, but evil tongues claimed that interest in the "sandals" had faded away. Isadora accepted the invitation to Russia as a gift of fate. She was inspired by the idea of the Russian revolution, and sincerely believed that the revolution "will make people more harmonious - through Beethoven's music and Greek styles."

At one of the receptions organized in her honor, Isadora Duncan met Sergei Yesenin. “In the first hour of the night, Duncan arrived,” recalls Mariengof, “Red, flowing tunic in soft folds, red, with a reflection of copper, hair, a large body that steps lightly and softly. She looked around the room with eyes like saucers of blue faience, and stopped them on Yesenin. A small, gentle mouth smiled at him. Isadora lay down on the sofa, and Yesenin at her feet. She dipped her hands in his curls and said: "Angel!" ... She kissed again and said: "Tschort." nights Isadora and Yesenin left. "

Yesenin moves to a mansion on Prechistenka. From that day on, Duncan's mansion became the main refuge of poets - emajinists. Later, Isadora will say that the three years spent in Russia, despite all the hardships, were the happiest in her life ...

"The novel was hurricane and as short as Duncan's idealistic communism." Before meeting with the poet, Isadora experienced a tragedy. Her two young children were killed in a car accident. It was her unhealed wound ... And Isadora gave Yesenin not only female, but also maternal feelings. She said that Yesenin reminds her of her deceased son.

It was maternal affection that he lacked, and he looked for it in all the women he met. It is no coincidence that they were all older than him. The age difference with Duncan was the most significant - 18 years. Yesenin-26, Isadore-43. Yesenin called her Isadora in the Irish manner, as she called herself.

Isadora's dances drove Yesenin crazy. Especially with a scarf. He asked her endlessly to dance for his friends. "She dances wonderfully with a scarf!" - Yesenin said to the poet Geogy Ivanov.

On April 12, 1922, Isadora Duncan's mother died in Paris. The dancer decided to leave Russia for a while. She was forced to do this by the desperate financial situation of the school. The Soviet government stopped subsidizing the school. There was nothing to pay for the heating. Isadora decides to go on a European tour with a group of her best students. She invites Yesenin and wants to give the whole world: England, Germany, America, France, Italy. Isadora hopes that the participation of the first poet of Russia, as she will certify Yesenin everywhere, will attract the attention of the press to her tour.

To speed up the paperwork, they decided to register their marriage. This happened in Moscow on May 2, 1922, on May 10, they flew to Berlin. The news that Yesenin and Isadora Duncan were legally married, broadcast by the press to the whole world, stunned many. All the performances of the famous couple were widely covered in newspapers, overgrown with rumors. But Yesenin turned out to be a bad tourist. He was not at all interested in the sights of European cities. Yesenin rode all over Europe and America like a blind man, not wanting to know or see anything.

But what was eagerly interested in was the fate of compatriots who found themselves after the revolution on a foreign shore - without a homeland.

Yesenin and Duncan returned to Russia in 1923 in August (the trip took 15 months), and separated in the fall.

The marriage with Isadora broke up. After making several unsuccessful attempts to get Yesenin back, Duncan left Russia. Yesenin's days were already numbered. Moscow, Leningrad, Angleterre Hotel - where he and Duncan spent their honeymoon.

After Yesenin's death, Isadora lived only two years. Her death in Nice in 1927 is very similar to suicide - she died strangled by her own scarf, the end of which hit the wheel in the wind on the way.

Yesenin and Isadora, love and break - and almost simultaneous death.

"Don't look at her wrists

And from her shoulders flowing silk.

I was looking for happiness in this woman

And accidentally found death "

He had never worshiped a single beloved like that before, no other had awakened a special creative stream in his soul, which suddenly burst out, unexpected and for him himself, a whole poetic cycle under the general title "The Love of a Hooligan", which had developed in Yesenin by the end of 1923. The initial motives of this cycle are regret for wasted days, renunciation of the tavern past, purification through love. He swore and promised this woman what he never promised to anyone:

I forgot the taverns forever

And I would have forgotten to write poetry,

Only use a thin hand to touch

And your hair color in autumn.

I'd follow you forever

At least to ours, at least to strangers gave ...

The first time I sang about love

For the first time I renounce making a row.

The poet condemns what was dislike, but bad passion, hangover delirium, reckless senseless daring. He calls for help sublime, pure love, which gives birth to "the words of the most tender and shortest songs", which is in devotion and constancy.

Yesenin had been thinking about creating a cycle of poems "Persian motives" for a long time, from the time he got acquainted with the masterpieces of the Persian classics. The idea of such a cycle arose along with the dream of Persia. This cycle was supposed to be extraordinary - the pinnacle of his creativity. It was clear to Yesenin that it had not yet been achieved. Yesenin liked Persian poetry, he considered them the best of all that he wrote. "Persian Motives" is a multifaceted work.

Firstly, the poems speak about the world in which the poet lives, otherwise he cannot. Secondly, the verses of the cycle tell about human love. Yesenin saw the constant modernity of this topic. And when he read the poems of A. Fet, and when he got acquainted with the translations of Persian lyricists, he understood that human emotions, if they change, are extremely rare. He believed in contributing to the eternal theme. The first two poems were about love. in the poem "Shagane, you are my Shagane! ..." the poet addresses the Persian Shagane with words of love and tenderness. He does not call her beautiful, as was the case in the second poem, when it came to the Persian woman Lala. Shagane is not a service image. The poet gives the new poetic image certain life features: Shagane is intelligent and serious and at the same time cheerful and cheerful. With a clear smile, with a song, like a bird, she greets the morning of life. Shagane is real also because the girl who lives in the north and is well known to the poet "looks terribly like" her. At the same time, Yesenin's attitude to the Persian woman receives a new form of expression. In the poem, for example, there are no rhetorical declarations of love. And at the same time, from line to line, from stanza to stanza, the lyrical saturation of "Shagane, you are my Shagane! ..." is gradually increasing, this effort is achieved both by constructing the name of the Persian woman in the line, and by completing the stanza with this line, and at the expense of, finally, the use of ring rhyme. The same thing happens that in colloquial speech happens with the word "beloved". Frequently repeated, hackneyed, in the mouth of a lover it has an inexplicable attractiveness and perfect novelty.

The poet's feelings are heightened and changeable, "like wavy rye in the moonlight." And in this tension and instability, emotion is his whole life.

The fourth poem of the cycle "You said that Saadi ..." was written on December 19, 1924. The theme of love develops in it. In the poem "Shagane, you are my Shagane! ..." the poet's feelings for the Persian woman are clear, although they are not expressed in direct speech. It is built on the opposition of a provocative joke of a Persian woman and a serious response from a lyric hero.

The poem expresses the poet's jealous admiration for the beauty of Shagane. To convey this admiration, Yesenin resorts to the beloved in Persian poetry comparison of the beauty of the beloved with the beauty of the rose, the best flower of the garden: all roses must be destroyed so that they cannot compete with Shagane:

I would cut these roses,

After all, she delights me

That was not in the world

Better than cute Shagane.

On February 19-20, 1925 Yesenin left Batumi. They separated. A young Batumi teacher-girl-mother, to whom he owed a wonderful feeling of proud friendship - love, remained forever in the memory of the poet. Under this impression, he created the heroine of the cycle, the Persian Shagane, immortalizing the woman who became her prototype.

Conclusion

The work of Sergei Alexandrovich Yesenin is uniquely bright and deep, now it has firmly entered our literature and enjoys great success among numerous foreign readers. The poet's poems are full of warmth and sincerity, passionate love.

Having passed away at the age of 30, Yesenin left us a wonderful poetic legacy. His talent was revealed especially brightly and distinctively in the lyrics. The lyrical hero of the poet is a contemporary of the era of the grandiose breakdown of human relations: the world of his thoughts, feelings, passions is flaky and contradictory, his character is dramatic.

Yesenin possessed a unique gift of deep poetic self-disclosure, the gift of capturing and transmitting the subtlest shades of the most tender moods that arose in his soul. The value system in Yesenin's poetry is one and indivisible.

Yesenin lived only 30 years, but he created true masterpieces of Russian poetry, expressed the disturbing thoughts of a contemporary about the present and future of the Motherland. The strength of his creativity is not only in the fact that it reflected the present, but also in the fact that it was directed into the future. He conveyed faith in man, sang the beauty of native nature, called to love all life on earth.

Yesenin's poems are distinguished by deep penetration, philosophicality and that sincere cordiality that brings the human world closer to nature, with everyone who lives on earth.

Yesenin's poetry received international recognition. Already in the 1920s and 1930s, his works were translated into many foreign languages: English, German, Czech, Polish, Italian, Bulgarian, Finnish.

Yesenin's poetry has long stepped over the national framework and became the property of all multinational poetry. His nationality, closeness to oral poetry, striving to penetrate into the depths of the events that have taken place, ardent love for his people, whose son he felt, the extraordinary lyricism and poetry of everything that was created had an impact on many poets.

The poetry of Sergei Yesenin awakens in us all the best human feelings. From the distant 1920s, the poet invisibly stepped into our time and further into the future.

References

1. Bazanov V.G. Yesenin and peasant Russia. - L., 1982.

2. In the world of Yesenin: Collection of articles. - M., 1986.

3. Volkov A.A. Esenin's artistic quest. - M., 1976.

4. Yesenin and Russian poetry. - L.: Science, 1967.

5. Used information from the Internet.

6. Kashechkin S.P. thinking about the poet. - M., 1974.

7. Kuznetsov F.F. essays. Portraits. Essay. M.: Education, 1987.

8. Marchenko A. Yesenin's poetic world .- M .: Soviet writer, 1972.

9. Muratova KD History of Russian literature. - L., 1983.

10. Naumov E. Sergei Yesenin. Creation. Epoch. - Lenizdat, 2nd edition-1973.

11. Prokushev Y.S. Image. Poems. Epoch - M., 1978

12. Prokushev Y.S. Sergei Yesenin. Collected works. - M .: "Pravda", 1977.

13. S.A. Yesenin in the memoirs of contemporaries: In 2v.-M., 1986.

14. Collected works of S. Yesenin in 3 volumes. - M., 1989.

15. Smirnova L.A. Russian literature of the twentieth century - M.: Education, 1991.

16. Sokolov A.G. The history of Russian literature of the twentieth century.- M., 1984.

17. Evenov I. S. Sergei Yesenin. Biography of the writer. - L .: Education, 1977.

18. Yushin P.F. Sergei Yesenin. Ideological and creative evolution.-M., 1989.

application

"BOOK OF WOMAN'S SOUL ..."

(after lyrics by A. Akhmatova)

THE FIRST STEPS

At the turn of the past and present centuries, although not literally chronologically, on the eve of the revolution, in an era shaken by two world wars, perhaps the most significant "female" poetry in the entire world literature of modern times, the poetry of Anna Akhmatova, emerged and took shape in Russia. The closest analogy, which arose already among her first critics, turned out to be the ancient Greek singer of love Sappho: the young Akhmatova was often called Russian Sappho.

Anna Andreevna Gorenko was born on June 11 (23), 1889 near Odessa. As a one-year-old child, she was transported to Tsarskoe Selo, where she lived until she was sixteen years old. Akhmatova's first memories were those of Tsarskoye Selo: "... the green, damp splendor of the parks, the pasture where the nanny took me, the hippodrome where little colorful horses galloped, the old station ..." Anna studied at the Tsarskoye Selo women's gymnasium. He writes about it like this: "I studied poorly at first, then much better, but always reluctantly." In 1907, Akhmatova graduated from the Fundukleevskaya gymnasium in Kiev, then entered the law faculty of the Higher Courses for Women. The beginning of the 10s was marked in the fate of Akhmatova with important events: she married Nikolai Gumilyov, found friendship with the artist Amadeo Modigliani, and in the spring of 1912 her first collection of poems "Evening" was published, which brought Akhmatova instant fame. Immediately, she was unanimously ranked by the critics in the ranks of the greatest Russian poets. Her books have become a literary event. Chukovsky wrote that Akhmatova was greeted by "extraordinary, unexpectedly noisy triumphs." Her poems were not only heard, they were recalled, quoted in conversations, copied into albums, they even explained lovers. “All of Russia,” Chukovsky noted, “remembered the glove that the rejected woman spoke of Akhmatova, walking away from the one who pushed her away.”

"So helplessly my chest grew cold,

But my steps were easy.

I put it on my right hand

Left hand glove. "

Song of the last meeting.

ROMANCE IN LYRICS

Akhmatova

The lyrics of the “Silver” age are diverse and musical. The very epithet "silver" sounds like a bell. The Silver Age is a whole constellation of poets. Poets - musicians. The poems of the Silver Age are the music of words. In these verses there was not a single superfluous sound, not a single unnecessary comma, out of place. Everything is thought out, clear and. ... ... musically. Various styles have also been used in literature. Acmeism, a style invented and founded by Gumilev, meant the reflection of reality in light and capacious words. This style was used in Akhmatova's poetry.

Lyrics Akhmatova period of her first books ("Evening", "Rosary", "White flock") - almost exclusively the lyrics of love. Her innovation as an artist manifested itself initially precisely in this traditionally eternal, repeatedly and seemingly played out theme to the end.

If you re-read her early poems, including those collected in the first book "Evening", which is considered to be Petersburg through and through, we will involuntarily wonder how many southern, nautical reminiscences there are in them. We can say that through her inner ear of grateful memory, throughout her long life, she constantly caught the echo of the Black Sea that never completely died away for her.

In her first poem, Near the Sea, written in 1914 in the Slepnevo estate (Tverskaya province), she recreated the poetic atmosphere of the Black Sea region, combining it with a fairy tale of love:

The bays cut the low coast

All the sails have fled to the sea

And I was drying a salty braid

A mile from the ground on a flat stone.

A green fish swam to me

A white seagull flew to me

And I was cocky, angry and funny

And she did not know at all that it was happiness.

She buried her yellow dress in the sand,

So that the wind does not blow away, the tramp does not carry away,

And floated away into the sea

Lying on the dark, warm waves.

When I returned, a lighthouse from the east

Already shone with an alternating light

And to me a monk at the gates of Chersonesos Said:

What are you roaming at night?

I made friends with the fishermen.

Under an overturned boat often

During the downpour I sat with them,

I listened about the sea, remembered

Secretly believing every word.

And the fishermen are very used to me.

If I'm not at the pier,

The elder sent the girl after me,

And she shouted: “Ours are back!

Today we will fry the flounder "...

The novelty of Akhmatova's love lyrics struck contemporaries almost from her first poems published in Apollo, but, unfortunately, the heavy banner of acmeism, under which the young poetess stood, for a long time seemed to drape in the eyes of many her true, original appearance and forced her to constantly correlate her poems with acmeism, then with symbolism, then with one or another linguistic or literary theories that for some reason came to the fore.

Speaking at Akhmatova's evening (in Moscow in 1924), Leonid Grossman wittily and justly said: “For some reason it has become fashionable to test new theories of linguistics and the latest trends in poetry on the Rosary and White Pack.” Questions of all sorts of complex and difficult disciplines began resolved by experts on the fragile and delicate material of these wonderful examples of love elegy. The poetess could have applied Blok's sorrowful verse: her lyrics became “the property of an associate professor." a poetic expression that is dear to countless generations of readers. "

Indeed, two books about Akhmatova published in the 1920s, one of which belonged to V. Vinogradov, and the other to B. Eichenbaum, almost did not reveal to the reader Akhmatov's poetry as a phenomenon of art, that is, embodied in the word of human content. Eichenbaum's book, in comparison with Vinogradov's work, of course, gave incomparably more opportunities to form an idea of Akhmatova - an artist and a person.

The most important and, perhaps, the most interesting thought of Eikhenbaum was his consideration of the "romance" of Akhmatov's lyrics, that each book of her poems is like a lyrical novel, which, moreover, has Russian realistic prose in its genealogical tree. Proving this idea, he wrote in one of his reviews: "Akhmatova's poetry is a complex lyric novel. We can trace the development of the narrative lines that form it, we can talk about its composition, right down to the ratio of individual characters. a characteristic sense of interest in the plot - in how this novel will develop. "

Vasily Gippius (1918) also wrote interestingly about the "romance" of Akhmatova's lyrics. He saw the clue to Akhmatova's success and influence (and her echoes had already appeared in poetry) and at the same time the objective meaning of her love lyrics was that these lyrics replaced the form of the novel that had died or dozed off at that time. Indeed, the average reader may underestimate the sound and rhythmic richness of such, for example, lines: "and for a century we have cherished the barely audible rustle of steps" - but he cannot but be captivated by the originality of these stories - miniatures, where the drama is told in a few lines. Such miniatures are a story about a gray-eyed girl and a murdered king and a story about parting at the gate (the poem "She clenched her hands under a dark veil ..."), published in the first year of Akhmatova's literary fame.

The need for romance is obviously an urgent need. The novel became an essential element of life, like the best juice extracted, in the words of Lermontov, from each of its joys. It immortalized hearts with inappropriate features, and a cycle of ideas, and the elusive background of a sweet life. It is clear that the novel helps to live. But the novel in its previous forms, the novel, like a smooth and high-water river, began to be encountered less and less, began to change at first with impetuous streams ("short story"), and then with instant "geysers". Examples can be found, perhaps, in all poets: for example, Lermontov's "novel" - "Child", with its riddles, hints and omissions, is especially close to Akhmatov's modernity. In this kind of art, in a lyrical novel - miniature, in the poetry of "geysers" Anna Akhmatova achieved great skill. Here is one such novel:

"As simple courtesy dictates,

He came up to me and smiled.

Polulaski, half-lazy

I touched my hand with a kiss.

And mysterious ancient faces

The eyes looked at me.

Ten years of fading and screaming.

All my sleepless nights

I put in a quiet word

And she said it in vain.

You are gone. And it became again

The soul is both empty and clear. "

The novel is over. The tragedy of ten years is told in one brief event, one gesture, one look, one word.

Often, Akhmatova's miniatures were, in accordance with her favorite style, fundamentally incomplete and suited not so much a small novel in its, so to speak, traditional form, as an accidentally torn page from a novel or even a part of a page that had neither a beginning nor end and forcing the reader to think about what happened between the characters before.

"Do you want to know how it was all? -

Three struck in the dining room,

And saying goodbye, holding on to the railing,

She seemed to have difficulty speaking:

"That's all ... Oh, no, I forgot,

I love you, I loved you

Even then! "" Yes. "

Do you want to know how it all was?

It is possible that the observant Vasily Gippius called such verses "geysers", because in such verses - fragments, the feeling really, as it were, instantly breaks out from some heavy captivity of silence, patience, hopelessness and despair.

The poem "Do you want to know how it all happened? .." was written in 1910, that is, even before the first Akhmatov's book "Evening" (1912) was published, but one of the most characteristic features of Akhmatova's poetic manner in it was already expressed in in an obvious and consistent manner. Akhmatova always preferred the "fragment" to a coherent, consistent and narrative story, since it provided an excellent opportunity to saturate the poem with sharp and intense psychologism; in addition, oddly enough, the fragment gave the depicted a kind of documentary: after all, in front of us, indeed, it is as if not an excerpt from an accidentally overheard conversation, or a dropped note that was not intended for prying eyes. Thus, we look into someone else's drama as if by accident, as if contrary to the intentions of the author, who did not assume our involuntary immodesty.

Often Akhmatova's poems resemble a fluent and, as it were, not even "processed" entry in the diary:

"He loved three things in the world:

Over the evening singing, white peacocks

And the erased maps of America. Did not love,

when children cry, I didn’t like tea with

raspberries And female hysteria.

And I was his wife. "He loved ...

Sometimes such love "diary" entries were more common, included not two, as usual, but three or even four faces, as well as some features of the interior or landscape, but the internal fragmentation, similarity to the "novel page" invariably remained and in such miniatures:

"There my shadow remained and yearns,

Everyone lives in the same blue room

Guests from the city await after midnight

And kisses the little enamel little image. And in

the house is not entirely safe:

The fire will be lit, but still it's dark ...

Isn't that why the new mistress is bored,

This is not why the owner drinks wine

And he hears how behind a thin wall

The guest who comes is talking with me. "

There my shadow remained and yearns ...

In this poem, one feels rather a fragment of an inner monologue, that fluidity and unintentional life of the soul, which Tolstoy loved so much in his psychological prose.

Particularly interesting are poems about love, where Akhmatova - which, by the way, is rare for her - goes to the "third person", that is, it would seem that she uses a purely narrative genre, which presupposes both consistency and even descriptiveness, but in such verses she is all he prefers lyrical fragmentariness, blurredness and lack of agreement. Here is one of these poems, written on behalf of a man:

"I came. I didn't give out excitement,

Looking indifferently out the window.

Sat like a porcelain idol

In the pose she had chosen for a long time.

Being cheerful is a common thing

Being attentive is more difficult ...

Or languid laziness prevailed

After the spicy nights in March?

The agonizing hum of conversations

Yellow chandelier lifeless heat

And a flicker of skillful partings

Above a raised light hand.

The interlocutor smiled again

And he looks at her with hope ...

My lucky rich heir

You read my will. "

I came up. I didn't give out excitement ...

RIDDLE OF LOVE'S POPULARITY

LYRICS Akhmatova

Almost immediately after the appearance of the first book, and after "Rosary" and "White flock" in particular, they began to talk about "Akhmatova's riddle". The talent itself was obvious, but unusual, which means that its essence was unclear, not to mention some really mysterious, albeit side-effects. The critically acclaimed "romance" did not explain everything. How can one explain, for example, the captivating combination of femininity and fragility with the firmness and clarity of the pattern, which testifies to imperiousness and an extraordinary, almost tough will? At first, they wanted to ignore this will, it quite contradicted the "standard of femininity." Aroused bewilderment admiration and the strange laconicism of her love lyrics, in which passion resembled the silence of a pre-storm and usually expressed itself in only two or three words, similar to lightning flashing beyond the menacingly darkened horizon.

But if the suffering of a loving soul is so incredible - to the point of silence, to the loss of speech - closed and charred, then why is the whole world around so huge, so beautiful and captivatingly trustworthy?

The point, obviously, is that, like any major poet, her love story, unfolding in the poems of the pre-revolutionary years, was broader and more meaningful than her specific situations.

In the complex music of Akhmatov's lyrics, in its barely flickering depths, all the darkness escaping from the eyes, in the subsoil, in the subconscious, a special, frightening disharmony that embarrassed Akhmatova herself constantly lived and made itself felt. She later wrote in "Poem Without a Hero" that she constantly heard an incomprehensible rumble, like a kind of underground bubbling, shifts and friction of those original solid rocks on which life had eternally and reliably been based, but which began to lose stability and balance.

The very first foreshadowing of such a disturbing feeling was the poem "The First Return" with its images of death sleep, shroud and funeral ringing and with the general feeling of a sharp and irreversible change that took place in the very air of time.

Akhmatova's love story included an era - she voiced and altered poems in her own way, brought in them a note of anxiety and sadness, which had a broader meaning than her own destiny.

It is for this reason that Akhmatova's love lyrics over time, in the pre-revolutionary, and then in the first post-revolutionary years, conquered more and more readers and generations and, without ceasing to be the object of admiring attention of subtle connoisseurs, clearly left the seemingly intended her a narrow circle of readers. This "fragile" and "chamber", as it was usually called, the lyrics of female love began soon, and to everyone's surprise, no less captivating to sound also for the first Soviet readers - the commissars of the Civil War and workers in red kerchiefs. At first, such a strange circumstance caused considerable embarrassment - primarily among proletarian readers.

It must be said that the Soviet poetry of the first years of the October Revolution and the Civil War, occupied with the grandiose tasks of overthrowing the old world, loving images and motives, as a rule, of a universal, cosmic scale, preferring to talk not so much about man as about humanity, or at least about the mass, was initially not attentive enough to the microcosm of intimate feelings, referring them, in a burst of revolutionary Puritanism, to the category of socially unsafe bourgeois prejudices. Of all the possible musical instruments, she preferred drums in those years.

Against this rumbling background, which did not recognize halftones and shades, in the vicinity of thunderous marches and "iron" verses of the first proletarian poets, Akhmatova's love lyrics, played on obscene violins, should, according to all the laws of logic, get lost and disappear without a trace ...

But that did not happen.

Young readers of the new, proletarian Soviet Russia, embarking on the socialist path of Soviet Russia, workers and workers' faculty, Red Army women and Red Army men - all these people, so distant and hostile to the very world mourned in Akhmatov's poems, nevertheless, noticed and read the small, white, elegantly published volumes of her poems, which continued to appear calmly all these fiery years.

"GREAT EARTH LOVE" IN THE LYRICS OF AHMATOVA

Akhmatova, indeed, is the most characteristic heroine of her time, manifested in an endless variety of women's destinies: a mistress and wife, a widow and a mother who was unfaithful and abandoned. According to A. Kollontai, Akhmatova gave "a whole book of a woman's soul." Akhmatova "poured out in art" a complex story of the female character of a critical era, its origins, breakdown, new development.

The hero of Akhmatov's lyrics (not the heroine) is complex and multifaceted. Actually, it is even difficult to define it in the sense that, say, the hero of Lermontov's lyrics is defined. It is he - a lover, a brother, a friend, who appeared in an endless variety of situations: insidious and magnanimous, killing and resurrecting, the first and the last.

But always, with all the variety of life collisions and everyday incidents, with all the unusual, even exotic character of the heroine or the heroine of Akhmatova, they carry something important, primordially feminine, and a verse in the story about some rope dancer breaks through to him, for example, walking through the usual definitions and memorized positions ("My beloved friend left me on the new moon. Well, so what!") to the fact that "the heart knows, the heart knows": the deep longing of an abandoned woman. This ability to get to what "the heart knows" is the main thing in Akhmatova's poems. "I see everything, I remember everything." But this "all" is illuminated in her poetry by one source of light.

There is a center that, as it were, brings together the rest of the world of her poetry, turns out to be its main nerve, its idea and principle. This is Love. The element of a woman's soul inevitably had to start with such a declaration of herself in love. Herzen once said as a great injustice in the history of mankind that a woman was "driven into love." In a sense, all of Anna Akhmatova's lyrics (especially early ones) are "driven into love." But here, first of all, the possibility of an exit opened up. It was here that truly poetic discoveries were born, such a view of the world that allows us to speak of Akhmatova's poetry as a new phenomenon in the development of Russian lyric poetry of the twentieth century. Her poetry contains both "deity" and "inspiration." Keeping the high value of the idea of love associated with symbolism, Akhmatova returns to her a lively and real, by no means abstract character. The soul comes to life "Not for passion, not for fun, For great earthly love."

"This meeting is not sung by anyone,

And without songs, the sadness subsided.

The cool summer has come

As if a new life had begun.

The sky seems to be a stone vault,

Stung by yellow fire

And more needed than our daily bread

I have a single word about him.

You, who sprinkle the grass with dew,

Bring my soul to life, -

Not for passion, not for fun

For great earthly love. "

"Great earthly love" is the driving principle of all Akhmatova's lyrics. It was she who made me see the world in a different way - no longer symbolist or acmeist, but, if we use the usual definition, realistically - to see the world.

"That fifth season

Only praise him.

Breathe your last freedom

Because it is love.

The sky flew high

The outlines of things are light

And no longer celebrates the body

Anniversary of his sadness ".

In this poem, Akhmatova called love "the fifth season of the year." From this unusual, fifth, time she saw the other four, ordinary. In a state of love, the world is seen anew. All the senses are sharpened and tense. And the unusualness of the ordinary is revealed. A person begins to perceive the world with tenfold strength, really reaching the heights in the sense of life. The world opens in an additional reality: "After all, the stars were larger, After all, herbs smelled differently." Therefore, Akhmatova's verse is so substantive: it returns the original meaning to things, it focuses attention on what we in the usual state are able to pass by indifferently, not appreciate, not feel. "Above the dried dodder A bee is floating softly" - this was seen for the first time.

Therefore, the opportunity opens up to experience the world in a childish way. Poems such as "Murka, don't go, there is an owl" are not thematically set poems for children, but they have a feeling of completely childish spontaneity.

And one more related feature. In Akhmatova's love poems, there are many epithets that were once the famous Russian philologist A.N. Veselovsky called syncretic and which are born from a holistic, inseparable, unified perception of the world, when the eye sees the world inseparably from what the ear hears in it; when feelings are materialized, objectified, and objects are spiritualized. "In a white-hot passion," Akhmatova will say. And she sees the sky, "wounded by yellow fire" - the sun, and "chandeliers lifeless heat".

THE ROLE OF DETAILS IN LOVE LOVE IN AHMATOVA

In Akhmatova's works there are poems that are literally "made" from everyday life, from everyday simple life - right down to the green washstand, on which a pale evening ray plays. One involuntarily recalls the words Akhmatova said in her old age that poems "grow out of litter", that even a spot of mold on a damp wall, burdocks, and nettles, and a damp fence, and a dandelion can become the subject of poetic inspiration and images. The most important thing in her craft - vitality and realism, the ability to see poetry in everyday life - was already inherent in her talent by nature itself.

And how, by the way, is this early line characteristic of all her subsequent lyrics:

Today I am silent since the morning,

And the heart - in half ...

No wonder, when speaking about Akhmatova, about her love lyrics, critics later noticed that her love dramas, unfolding in verse, take place as if in silence: nothing is explained, not commented, there are so few words that each of them carries a huge psychological load. It is assumed that the reader either has to guess, or that, most likely, he will try to turn to his own experience, and then it turns out that the poem is very broad in its meaning: its secret drama, its hidden plot refers to many, many people.

So it is in this early poem. Does it really matter to us what exactly happened in the life of the heroine? After all, the most important thing is pain, confusion and a desire to calm down even when looking at a sunbeam - all this is clear, understandable and almost everyone is familiar with. A specific decoding would only damage the power of the poem, since it would instantly narrow, localize its plot, depriving it of universality and depth. The wisdom of the Akhmatov miniature, somewhat remotely similar to the Japanese hoku, lies in the fact that it speaks of the healing power of nature for the soul. The sunbeam, "so innocent and simple," illuminating with equal caress the green of the washstand and the human soul, is truly the semantic center, focus and result of all this amazing Akhmatov's poem.

Her love verse, including the earliest one printed on the pages of Apollo and Hyperborea, a verse still imperfect (“the first timid attempts,” Akhmatova said later), sometimes almost adolescent in intonation, nevertheless grew out of immediate life impressions, although these impressions were limited to the concerns and interests of "their circle". The poetic word of young Akhmatova, the author of the first book of poems "Evening" published in 1912, was very keen-sighted and attentive to everything that came into her field of vision. The concrete, material flesh of the world, its clear material outlines, colors, smells, strokes, everyday fragmentary speech - all this was not only carefully transferred into poetry, but also made up their own existence, gave them breath and vitality. Despite the lack of prevalence of the first impressions that served as the basis for the collection "Evening", what was imprinted in it was expressed both visibly, and precisely, and laconically. Already Akhmatova's contemporaries noticed what an unusually large role a strict, deliberately localized everyday detail played in the poems of the young poetess. She was not only accurate. Not content with one definition of any aspect of an object, a situation or a mental movement, she sometimes carried out the whole idea of the verse, so that, like a lock, she kept the entire construction of the work on herself.

Biography of the poet

Sergei Yesenin was born on September 21 (October 3) in 1895 in the Ryazan province, the village of Konstantinovo, and died on December 28 in 1925 in Leningrad. All his life he passionately loved his homeland, which, of course, can be traced in many of his poems. The country inspired him to lyrics.

The inhabitants of Russia became heroes in poems. He often described a simple peasant life.

Unlike the same Nekrasov, Sergei Alexandrovich knew about peasant problems firsthand, since he himself was in the same situation.

Fate was favorable to him, and in 1904 the boy went to comprehend the basics of science at the Konstantinov Zemstvo School. Then he continued his studies at the parish school. After finishing it, Yesenin packed his things and moved to Moscow. There he first worked in a butcher's shop, then in a printing house. At the same time, I did not forget about training. He was a volunteer at the People's University. Shanyavsky, where he attended courses in history and philosophy.

The beginning of a poetic life

Working in a printing house made it possible to get acquainted with the writers and poets who came to be published. His first poems were published by the magazine "Mirok" in 1914. He was not embarrassed by the fact that he had to write on children's topics. Love in Yesenin's lyrics manifested itself later.

In 1915, Gorodetsky and Blok heard it for the first time. A year later he was drafted into the army. There was a war in which he became an orderly. At the same time, the first collection of poems "Radunitsa" was published, which brought him popularity.

Yesenin was loved by Empress Alexandra Feodorovna and her children. He spoke to them in Tsarskoe Selo.

New era

In the early 1920s, young Sergei Alexandrovich discovers imagism and becomes its representative.

After a trip to Central Asia, he became interested in oriental motives, songs, poems.

In the twenty-first year, an event occurs that changes his life. He falls in love with Isadora Duncan, a dancer whom he will marry six months later. After the wedding, they went abroad and spent their honeymoon there. In America, the couple stayed for four months.

Soon after his return, the marriage broke up.

Yesenin devoted himself to publishing and a small bookstore. Until his death he traveled a lot.

Last years

In recent years, several criminal cases have been brought up against him for fights, drunkenness, and indecent behavior.

The Soviet government tried to support Yesenin, considering him a genius of that time. Rakovsky advised Dzerzhinsky to send the poet to a sanatorium, where he would be cured of drunkenness.

In 1925, Sergei Alexandrovich was forced to go to the hospital. But in December of the same year, he was discharged, took all the money from his savings and left for Leningrad. There he met with prominent writers and literary men, lived in an expensive hotel.

Yesenin suffered from depression. And in the same hotel, having written a couple of lines of a new poem, he hanged himself.

The theme of love in Yesenin's lyrics

Sergei Alexandrovich was not just a poet, he was an artist and even a musician. Such a sensual artist's nature suffered from loneliness. He has been married three times. Changed one mistress after another. None of them brought him the long-awaited happiness.

But all of them were at one time a revelation for the poet. Each became a muse.

The theme of love in Yesenin's lyrics was not similar to those of others. The author made it relevant and very intimate.

This theme began to sound from the very beginning in his poems. In the first works stylized as folklore, such as "Imitation of a Song," he relishes the desire to be loved, the opportunity to steal a girl's kiss. The poem is more like a lyrical tune.

Young love in the work of Yesenin

He dedicated his first works to Anna Sardanovskaya. In them, Yesenin anticipates the joy of the upcoming meeting.

The theme of love in Yesenin's work later began to mix with the delight of the nature of his country. He endows flowers, trees, natural phenomena with characteristic female forms. For example, he compares Kashina to an innocent young birch. The moon is combing her long braids. And at the same time, the poem tells how a shepherd boy comes to a tree, which turns metaphorically into a girl. He hugs her bare knees. But this courtship is innocent.

Yesenin's book "Poems of Love" is also saturated with chaste feelings. It has not received the attention it deserves and has not been published. And then the theme of love in Yesenin's poems began to transform. She has changed.

Yesenin at the crossroads

His mood in the "Moscow tavern" is changing. Not only did Yesenin experience personal difficulties. Russia was changing. An absolutely new state arose, with different moral values. It seemed to him that no one else would need his work.

At the same time, the poet began to seek solace in alcohol. He tried to numb the pain, and for a while he felt better. Since then, Yesenin could not deny himself.

Drunk with wine, he lost his innocence of stares. The poet writes "A Letter to a Woman", which became his confession, a confession that he gets drunk because of suffering.

The theme of love in Yesenin's work is now turning from a divine sign into a plague, into a disease. And he becomes a cynic who sees only the fleshly manifestations of something previously saint.

Women turn into a pack of dogs, ready to gnaw at him. But at the end of the poem, the poet describes that he cannot hold back his tears, and asks for forgiveness.

Sergei tries to drown out his own pain with love. The theme of love in Yesenin's poetry becomes a medicine. And again his works become elated and full of hope.

New love

He has a new muse - Augusta Miklashevskaya. She heals Yesenin, makes it possible to create. The poet has a cycle of poems called "The Love of a Bully". He again idealizes the once hated feeling.

A striking example of this period of life can be called the verse "The blue fire swept around." Yesenin assures that for him this feeling arose as for the first time, and now he does not want scandals and quarrels. Alcohol is forgotten. Life took on bright colors. The theme of love in Yesenin's lyrics has changed. The poet compared himself to a bully who was tamed.

August became its new meaning. He even compared her to the Mother of God.

And in 1924, the poet begins a new round in his life. He meets another muse in Batumi, Shagane. The lyricist dedicated many poems to her. For her he created "Persian motives". They are all like one recognition of their feelings.

He wrote that he does not know Persian, but the language is not a hindrance. The theme of love in Yesenin's poetry is clear to everyone. In this collection, a light feeling is mixed with nostalgia for the home.

There are two sides fighting in it. One of them goes crazy for the girl, the second cannot leave her homeland.

Final chords of the lyrics

Yesenin, after many attempts to find love, is finally disappointed in it. The last verses are more saturated with hatred of a light feeling, irony, cynicism. He notices only insincerity in the female field, sees his cunning. In one of the poems, Yesenin calls the ladies empty.

Until the last moment, he believed that he could meet his dream, a real feeling. He wanted to see the ideal. In the poem "Leaves are Falling, Leaves are Falling," there is not so much despair as the desire to be loved, to surrender to love, to meet a pure girl with whom you can live until the end of your days. Yesenin wanted to calm down. And he was looking for one that could heal the wounds of the poet who had seen a lot.

Yesenin's lyrics convey to the readers a full and genuine gamut of his feelings. There is no lie in it. It fully corresponds to the biography of the poet. All his emotions were splashed out on paper. It seemed that Yesenin was not hiding anything from others. He lived like an open wound.

Perhaps that is why his poetry is still so relevant today. She will always be popular, loved by many. After all, he spoke for people and about human feelings.

The poet understood this. The theme of love in Yesenin's lyrics is accessible and understandable to everyone. Everyone is experiencing it. Most suffer from some kind of problem.

Love for Russia

The types of love lyrics are different. It can be addressed to relatives, loved ones, or it can refer to the whole state.

Yesenin was a favorite poet for the imperial family, and later became a national treasure under Soviet society. How could this happen?

The thing is that he spoke in a common language with the people. The theme of love in Yesenin's works was filled with gratitude to his country. He sacrificed his personal happiness more than once for her.

Most often, the Motherland reciprocated him.

Sergei Alexandrovich once noticed that all his lyrics live only thanks to his love for Russia. In his poetry, this name appears, perhaps more often than all the others.

Yesenin never tired of making confessions of his feelings for Russia. This love formed the basis of all his life deeds. She turned out to be stronger than the poet himself.

Everything that Yesenin felt, that surrounded him, was his homeland. It was difficult for him to separate one topic from another. Love for his state was intertwined with other plots. Very often she connected with female images and became even more personal.

For example, his lines about autumn describe a girl "drunk" by others, with fatigue in her eyes.

The nature of Russia has always been for Yesenin something alive, with soul and heart. Animals and trees, the seasons become as important as the images of women.

Perhaps only this beauty, tenderness of the environment kept for a long time the depression that Sergei Yesenin was experiencing. The theme of love for nature became his outlet.

Poet and Politics

He was not blind in his love. Sergei Alexandrovich saw the depravity of the work of the peasants, their hard life. The February revolution was an unprecedented achievement and progress for him. He hoped for a change.

Yesenin is disappointed that not the Socialist-Revolutionaries, but the Bolsheviks, are coming to power, and they are no longer interested in culture.

Over time, the poet made attempts to come to terms with and love the new government. He practically got it after a trip to America. But later verses indicate that he perfectly remembers those times when power belonged to the monarchy, and it is difficult for him to keep up with progress.