The 20th century was a fateful one for our country, full of upheavals and disappointments. Its beginning was scorched by the fire of revolutions that changed the course of the entire world history. It was in that era that S. A. Yesenin had a chance to create, the inimitable singer of Russia, the great patriot, who with all his work sang "A sixth part of the earth // With a short name Rus." October 1917...
“the hour of transfiguration is ripening”, the poet is looking forward to the appearance of the “bright guest”. In the poem "Jordan Dove", written in 1918, the poet admits his belonging to the revolution:
month tongue,
the "dove" carries the joyful news of the transformation of the world, the "bright guest" will lead the people to happiness. Welcoming the revolutionary new, Yesenin expected that it would bring prosperity and happiness to the peasants. It was in this that he saw the meaning of the revolution, its purpose. She had to create a world where there are no "taxes for arable land", where they rest "blissfully", "wisely", "round dance". The poem "Heavenly Drummer" (1919) is completely different, it is close to the invocative and accusatory lyrics of proletarian poets.
"muzhiks' paradise", but in it Yesenin unexpectedly saw other sides that he could not perceive positively. “There is absolutely not the socialism that I thought about ... It is crowded in it to the living, closely building a bridge to the invisible world ... because these bridges are cut and blown up from under the feet of future generations.” What is foresight? Isn't this what everyone saw and understood decades later? Indeed, "great is seen at a distance." "My Rus', who are you?" the poet asks in the early 1920s, realizing that the revolution brought ruin, not grace, to the countryside. The attack of the city on the village began to be perceived as the death of all real, living things. It seemed to the poet that life, in which the native fields resound with the mechanical roar of the “iron horse”, contradicts the laws of nature, violates harmony. Yesenin writes the poem "Sorokoust".
“Doesn’t he know that the living horses // The steel cavalry won?” A trip abroad again forced the poet to rethink the post-revolutionary reality.
I am the most furious fellow traveler"
The poet is writing.
However, the mental anguish continues. The inconsistency of events causes inconsistency of feelings, a bleeding wound in the poet's soul, he is unable to understand his feelings and thoughts. In the poem "Letter to a Woman" Yesenin laments:
What I don't understand
Where does the fate of events take us ... "
In the poem “Rus' is leaving”, Yesenin exclaims with pain: “Friends! Friends! What a split in the country, What sadness in the seething merry!..” The poet could not decide between the two warring camps, finally choose someone's side. This hides the drama of his situation: “What a scandal! What a big scandal! I found myself in a narrow gap ... "On the one hand, he ranks himself among the "pets of the Leninist victory", and on the other hand, he declares that he is ready to "lift up his pants, // Run after the Komsomol" with undisguised irony.
In the poem "Rus' is leaving", Yesenin bitterly admits his uselessness new Russia: "My poetry is no longer needed here." Nevertheless, he does not completely renounce his belonging to Soviet Russia: "I will give my whole soul to October and May ...", although he does not recognize himself as a singer of the revolution: "but I will not give up my dear lyre." The poet never found peace of mind, could not fully comprehend social processes affecting Russia. Only one feeling never left his work - the feeling of sincere love for the Motherland. That is what his poetry teaches. Like a spell, like a prayer, Yesenin’s call sounds in our hearts: “O Rus, flap your wings!”
Coincided with the era when sharp turns took place in Russia. Among them, it is worth mentioning, first of all, the revolutionary events, which were immediately reflected in the writer's poems and poems. Just by studying the work of Yesenin, we can trace the attitude of the writer to the revolution.
How the revolution was reflected in the work of Yesenin
Initially, as for many people, including writers, the revolution was seen by Yesenin as a new milestone in the history of the country, where everything old had to collapse and instead a new one was born. Yesenin perceives the revolutionary events with joy, because, like others, in his naivety, he really believed in better changes. Yesenin just looked at what was happening from the side of the peasantry, and it is this view that will appear a little later. In the meantime, the writer sees a new time, where there will be happiness for the peasant and his life will be well-fed and free. He believes in change, and refers his post-revolutionary poems to the Transfiguration bloc. This name was symbolic, because the writer believed in the best transformation of the country. So in his Inonia the poet calls himself a Bolshevik, and in the Heavenly Drummer he welcomed the revolution with the words: Long live the revolution.
However, already in 1920, the writer radically changes his opinion about the revolution. Enthusiasm is replaced by disappointment, which began to be displayed in creativity. Socialism does not justify Yesenin's hopes. Now the poet criticizes the revolution and repents for his naivety and faith in the correctness of their ideas. The writer saw the devastation that the revolution carried in itself, and the established order was alien to Yesenin. There are such works as the Return to the Motherland, where the lyrical hero saw a foreign land, with strangers, although he returned to his homeland.
Yesenin: the last poet of the village
Such an expected peasant paradise becomes far away, because socialism had completely different goals. As a result, the country was mired in civil war, and devastation and poverty reigned around. Rural life is coming to an end, the windows are broken, and the live horse has been replaced by steel cavalry. The village clashed with the city, where the former is doomed. In desperation, the poet in his works sends curses to the iron horse, and after the revolutionary events he calls himself the last poet of the village. He sees that if the theme of the village is raised in literature, then the rural way of life itself will perish.
Studying the works of the writer, we saw that Yesenin did not reject the new government, he simply could not understand and accept the new way of life, and turned out to be superfluous among what was happening. The socialist authorities could not forgive such an attitude towards themselves, therefore they forget about the writer, and after death his works are also prohibited. However, Yesenin's contribution to the development of literature is enormous, and despite everything that happened, the poet did not stop loving his homeland, trying to accept new world, albeit without enthusiasm. This means that they could not completely erase him from the pages of history, so they remembered him and today many admire his works and creativity.
1. The role of the revolution in Yesenin's work.
2. The meaning of the poem "Anna Snegina"
3. Heroes - antipodes: Proclus and Labutya.
4. Anna Snegina as a symbol of superfluous, elusive beauty.
5. The poet's ambivalence towards the revolution.
The sky is like a bell
The month is the language
My mother is the motherland
I am a Bolshevik.
A. A. Blok
The avalanche of revolution that swept across Russia left many memories behind. These memories and emotions - joyful, associated with the hope for a new, brighter future, and sad, associated with disappointment in it - remained with each participant and witness. Many poets and writers - contemporaries of the revolution conveyed their feelings from it through their works, forever capturing the image of the revolution. There are such works in the work of S. A. Yesenin.
The poem "Anna Snegina" plays a special role in the poet's work. It reflected both Yesenin's personal experiences and his thoughts - premonitions about further fate post-revolutionary Russia. The author himself considered the poem to be programmatic, his best work. In many ways, the poem has become biographical. The lyrical hero of the work, who received the same name as the author, Sergei, and on behalf of whom the story is being told, comes to his native village of Radovo in the interval between the two revolutions of 1917 - February and October. He casually remarks: "Then Kerensky was caliphed over the country on a white horse," thereby letting the reader understand that Kerensky was caliph for an hour. The driver, with whom Sergei returns home, tells the hero about what happened in the village. The first picture he paints seems perfect:
We don’t get into important things very much,
But still, happiness is given to us.
Our yards are covered with iron,
Everyone has a garden and a threshing floor.
Everyone has painted shutters,
On holidays meat and kvass.
No wonder once a police officer
He loved to stay with us.
The inhabitants of the village of Radovo, as the reader can learn from the same story, knew how to get along with the previous authorities:
We paid dues on time,
But - formidable judge - foreman
Always added to quitrent
As far as flour and millet.
And to avoid adversity
Surplus us was without hardships.
Once - the authorities, then they are the authorities,
And we are just ordinary people.
However, the idyllic picture of the life of the Radov peasants was destroyed even before the revolution because of the inhabitants of the neighboring village of Krikushi, where "life ... was bad - almost the entire village plowed at a gallop with one plow on a pair of hackneyed nags." Chief among the screamers Pron Ogloblin, in one of the gatherings with the peasants of Radov, kills their chairman. The driver from Radov says the following about this:
Since then, we have been in trouble.
The reins rolled down from happiness.
Almost three years in a row
We have either a case, or a fire.
It should be noted that the beginning of the poor life of the peasants falls on the first years of the World War. And then came the great February Revolution. At this moment, Sergei, who arrived home, learns that Pron Ogloblin, having returned from hard labor, again became the ideological leader of the peasants from Krikushin.
Himself lyrical hero, reflecting on the topic “How beautiful the earth and the man on it”, the peasant people are close, their aspirations and problems are close, although love for the local landowner Anna Snegina is still alive in Sergey’s heart. Together with Pron, Sergei arrives at her estate at not the best time for the heroine - she receives news of her husband's death. The purpose of the visit is an attempt to take the land of the landowners in favor of the peasants. Moreover, if Pron demands her quite rudely: “Give it back! .. Don’t kiss your legs!” - then Sergei has the courage to stop the screamer: "Today they are not in the spirit ... Let's go, Pron, to the tavern ...".
Pron is a reckless person. Sergei's friend, speaking of him, clearly does not feel much sympathy for him: “Bulldyzhnik, fighter, rude. He is always angry at everyone, drunk in the morning for weeks on end. But the character of this character still attracts Sergei, because Ogloblin is a disinterested peasant who stands up for the interest of the people. After the coup that happened in the first revolution, Pron promises: "I will be the first to establish a commune in my village right now." But during civil war he dies in his place comes his own brother Labutya:
... Man - what is your fifth ace:
At every dangerous moment
Hvalbishka and devilish coward.
Of course, you have seen these.
Their rock was rewarded with chatter.
Yesenin, with an authorial digression, characterized this hero as follows: “Such are always in mind. They live without calluses on their hands. Indeed, he wore two royal medals and constantly boasted of imperfect feats in the war. With the advent of the revolution,
...Of course, in the Council.
I hid the medals in a chest,
But with the same important posture,
Like some grey-haired veteran
Wheezed under a fusel jar
About Nerchinsk and Turukhan:
“Yes, brother! We saw grief
But we were not intimidated by fear ... "
Medals, medals, medals
Ringing in his words.
He is the first to start an inventory at the Onegin estate: There is always speed in the capture: - Give it up! We'll figure it out later! The whole farm was taken to the parish With mistresses and cattle.
The most important thing for understanding this hero is the fact that during the execution of the bat by the Bolsheviks, Labutya hides, instead of protecting him. The poet feels that during the revolutions it was these Labutis who survived, and not the Prons, it was the cowards who survived, and not even the rude, but the brave people. The poet was also worried that it was these characters who most often found themselves not only in people's power, but also played the first roles in the leadership of parties and the state. It is no coincidence that Labutya speaks of an imaginary exile to the Turukhansk region. This is the very place where Stalin served his exile. The author of the poem also understood that under the leadership of Labutya, the peasants' dreams of happiness in the image of the village of Radova would never come true. And the heroine of the poem, whose image embodies beauty, leaves Russia. At the end of the work from the London letter received by the hero from Anna, the reader learns:
I often go to the pier
And, whether for joy, or in fear,
I look among the courts more and more closely
On the red Soviet flag.
Now we have gained strength.
My path is clear...
But you are still nice to me
Like home and like spring.
In the new Russia, which has turned into beggars Krikushi, there is no place for beauty.
It is worth noting that villages with such names actually existed in native Yesenin Konstantinovsky district. Only they weren't next to each other. And they were far apart. Most likely, the author was interested in speaking names: Radovo, associated with the word "joy", and Krikushi, reminiscent of "whoops", "shout".
In August 1920, the poet writes: “... Socialism is not at all the one that I thought about, but definite and deliberate, like some kind of Helena Island, without glory and without dreams. It is crowded in it for the living, closely building a bridge to the invisible world, because these bridges are cut and blown up from under the feet of future generations. Most likely, Yesenin foresaw the fact that the Soviet government would not be able to satisfy the peasant needs, but, on the contrary, would squeeze out all the already liquid juices from them. Therefore, like his heroine, Yesenin looked at the red flag not only with hope, but also with fear.
In the autobiographical note "About Myself" (1924), Yesenin wrote:
“The most delicate stage is my religiosity, which is very clearly reflected in my early works.
I do not consider this stage to be creatively mine. It is the condition of my upbringing and of the milieu in which I moved during the first period of my literary activity.
I would ask readers to treat all my Jesuses, Mothers of God and Mykols as fabulous in poetry.
“If there hadn’t been a revolution, I might have dried up on useless religious symbols or would have turned in the wrong direction ... During the years of the revolution, I was completely on the side of October”
(Yu.A. Andreev, Soviet literature,
Moscow, Enlightenment, 1988)
The name of Sergei Yesenin is well known in our country. His poetry leaves no one indifferent. She is imbued with an ardent love for the country and nature. Nature is depicted by Sergei Yesenin as humanized, spiritualized, a mirror of human feelings and states. Love for Russia and pain for a poor country sound in verses.
You are my abandoned land,
You are my land, wasteland.
Hay is uncut.
Forest and monastery (1914),
- the poet exclaims bitterly, and at the same time, what love for this poor and abandoned land is imbued with such lines:
If the holy army shouts:
"Throw you Rus', live in paradise!"
I will say: “There is no need for paradise,
Give me my country."
(“Goy you, Rus', my dear ...” (1914))
In 1916, at the height of the imperialist war, Yesenin was drafted into the army, but in battles active army he did not participate. He was left first in St. Petersburg, and then they were assigned to the Tsarskoye Selo military hospital train. Here he participated in concerts, read poetry in infirmaries. The palace elite tried to "tame" Yesenin so that he would write poetry in praise of Tsar Nicholas II, but Yesenin refused and was punished for this and exiled to the front. Yesenin wrote about this: “The (February) revolution caught me in one of disciplinary battalions where he landed because he refused to write poetry in honor of the king. This punishment followed on February 23, 1917, but Big History intervened: it was on that day that the February Revolution took place. Yesenin left the army of Kerensky.
This important point and the act of Yesenin, who refused to write poetry to the glory of the tsar and was exiled to the front to be killed, is hidden from schoolchildren !!!
With warm sympathy, Yesenin met the October Revolution. Together with Blok, Bryusov, Mayakovsky, he took the side October revolution.
Americanism for Soviet Union- unacceptable!
Yesenin's revolutionary mood was noticed, and it was he, together with Klochkov and Gerasimov, who was entrusted with the creation of the text of the cantata, which was performed on the first anniversary of the Great October Socialist Revolution at the opening of a memorial plaque in honor of the fallen revolutionaries, created by the famous sculptor S.G. Konenkov. This celebration was attended by V.I. Lenin. He cut off a seal on a draped board with scissors - the cover fell to his feet, and the figure of a blond girl with a branch of peace in her hand opened up to everyone's eyes.
Yesenin was present at the rally and listened to the performance of his solemnly sounding poems:
The sun with a golden seal
The guard stands at the gate ...
Sleep, dear brothers,
An army is moving past you
To the dawns of the universal people.
This moment in his life is also hidden from schoolchildren.
His works: "Transfiguration", "Inonia", "Heavenly Drummer" and others - are imbued with the pathos of liberation, the greatness of the revolution.
"Heavenly Drummer" (1918 - early 1919). In it, the poet rejoices, seeing the collapse of the old world, he is carried away by the grandiose scope of events:
Stars are shedding leaves
In the rivers in our fields
Long live the revolution
On earth and in heaven!
Do we need commanders
White herd of gorillas?
Whirling cavalry is torn
To the new shore of the world.
Rip off and go along the roads
To pour a call over the lakes of forces -
On the shadows of churches and prisons,
To the white herd of gorillas.
In its marching rhythm, there is a distinct opposition of two worlds: the swirling cavalry of the revolutionary people, rushing to the “new shore”, and the “white herd of gorillas”. This poem is thrown out of school textbooks.
But it would be wrong to think that Yesenin accepted the ideas of the October Revolution without any contradictions, hesitations, doubts and torments. It was very hard for him to break with the old. It took him a while to understand the new things that were coming into his life.
The revolution was led by the proletariat. The village was followed by the city. Only thanks to this, it was possible to win, but Yesenin exclaims:
“After all, there is absolutely not the kind of socialism that I thought about!”
Yesenin did not understand the real situation of the revolution and socialism. Hence his transition from delight to disappointment, from joy to despair, from greeting to accusation.
Yesenin perceived the revolution in his own way, with a peasant bias. He begins to curse the "iron guest", bringing death to the patriarchal rural way of life, and mourn the old "wooden Rus'".
On the basis of such sentiments, he created a whole cycle of works "Sorokoust": "Sorokoust", "I am the last poet of the village", "Hooligan" (1919 - 1921) - they capture the painful contradictions between the old and the new. From these works lay the path to literary bohemia and to the infamous cycle "Moscow Tavern", in which there is decadence, emptiness, despair, there is also a desire to overcome these moods, to escape from the restlessness of their anguish, there is also a poetization of drunken revelry, there is also an impulse to wholeness and healthy life:
Maybe tomorrow will be different
I'll leave healed forever
Listen to the songs of rain and bird cherry,
How does a healthy person live?
Yesenin wrote about this irreconcilable, not allowing conciliation, mental struggle in the poem “Rus' is leaving” (November 2, 1924):
I'm not new!
What to hide?
I stayed in the past with one foot.
In an effort to catch up with the steel army,
I slide and fall another.
significant role in creative development Yesenina played him foreign trip in May 1922 - August 1923 He traveled to Germany, France, Belgium, Italy, spent four months in the United States.
Upon learning of Yesenin's upcoming trip abroad, the enemies of the Soviet country rejoiced: "Yesenin will not return to Russia!", "Yesenin will make a grand scandal of the Soviet power!"
Arriving in Berlin, Yesenin really made a scandal, but not the one that was expected of him. Wishing to "tame" the poet, the Russian emigration gave him performances. The poet came and immediately demanded that they sing the "Internationale", without him he did not agree to start reading poetry. In response, of course, there were indignant cries and whistles. Then Yesenin himself sang the Internationale. The whistles grew. Then Yesenin jumped up on a chair and shouted: “Don’t whistle, I’ll put four fingers in my mouth and whistle - that’s the end for you.”
The fact that Yesenin sang and propagated the revolutionary anthem of the communists is also concealed from the students.
MM. Litvinov,
Dear comrade Litvinov!
Please, if you can, make sure that we get out of Germany and get to The Hague. I promise to behave correctly and not to sing the Internationale in public places. Respectfully yours, S. Yesenin and Isadora Duncan.
S. Yesenin,
collection of essays, v.2,
Moscow, " Soviet Russia»,
"Contemporary", 1991
Returning to his homeland, Yesenin said: “Well, yes, I scandalized, but I scandalized well, I scandalized for the Russian revolution. Wherever I am and in whatever black company I sit (and this happened), I am ready to cut my throat for Russia. He became a direct watchdog, he could not endure any abuse of the Soviet country. And they understood it ... "
V.D. Svirsky, E. K. Franzman,
Russian Soviet literature
Publishing house "Zvaygzne", Riga, 1977 .
What did the poet see in the West? The pernicious influence and effect of the capitalist way of life on the souls and hearts of people. He keenly felt the spiritual squalor of Western bourgeois civilization.
Letters from abroad are evidence of his protest against bourgeois civilization, against the culture of night restaurants and corrupt newspapers, against the leveling and humiliation of the individual, against the master of the dollar, which is in terrible fashion with them, and they sneeze at art.
A.B. Mariengof, Ostend,
“My dear ... How I want from here from this nightmarish Europe back to Russia. My God! What a beautiful Russia!
This is a complete cemetery. All these people who scurry faster than lizards are not people, but graveworms, houses are their coffins, and the mainland is a crypt.
A.B. Mariengof, New York,
“My dear Tolya! How glad I am that you are not with me in America, not in this disgusting New York. The best thing I've seen in this world is still Moscow.
My God! It was better to eat smoke with your eyes, cry from it, but if only not here ... "
(S. Yesenin, v.2)
Some contemporary writers of Yesenin saw in the United States an ideal of technical power, which, in their opinion, Soviet Russia should follow. But they seemed to forget about the social class difference.
Yesenin saw the successes of civilization in capitalist America, but it was all the more striking for him spiritual squalor of the "average" American, whose main hobby is the notorious "business", dollar "profit" (benefit): the dominance of the dollar fascinates Americans, and they do not want to know anything else.
"Iron Mirgorod" (1923) - this essay is a work of high civic sound. Yesenin was in solidarity with Mayakovsky, who bluntly stated:
"Americanism - the way of life - is unacceptable for the Soviet Union!".
"Country of scoundrels" (1922-1923) - a poem in which Yesenin promotes the moral superiority of Soviet power. Foreign observations helped Yesenin to better understand the significance of the great transformations that took place in his homeland.
The pathos of these transformations, this grandiose construction, permeated the pages of the "Country of Scoundrels": "Just work! Just work hard! And in the Republic of Soviets there will be whatever anyone wants!”
Yesenin's correct assessment of American reality testified to his political insight. And as a result of the tireless uncompromising search for the highest truth during the years of the revolution, Yesenin's excited voice sounds:
1. "Only abroad did I understand quite clearly how great the merit of the Russian revolution, which saved the world from hopeless philistinism."
2. “My vision was broken especially after America ... I remembered the smoke of the fatherland, about our villages, where almost every peasant in a hut sleeps a calf on straw or a pig with piglets, remembered impassable roads ... and fell out of love with impoverished Russia. I fell even more in love with communist construction.”
3. “Although I am not close to the communists as a romantic in my poems, I am close to them in mind and I hope that I will, perhaps, be close to my work.”
This was said by the poet in 1923, shortly after his trip to Europe and America in 1924, in the poem "Answer" he wrote:
But that spring
I love
I am the great revolution
And only about her
I suffer and mourn
I'm waiting and calling!
The people groaned, and in this horror the Country was waiting for someone ...
And he came.
The trip abroad made Yesenin fall in love with the Socialist Fatherland, evaluate everything that happens in it in a different way.
So, 1924-1925 were the most fruitful years in Yesenin's work. (The year and a half spent by Yesenin abroad was an exceptional time in his biography without poetry - nothing inspired the poet away from native nature He almost never wrote poetry. It is no coincidence that it was abroad that the dramatic lines of "Moscow Tavern" were created and the idea of the tragic poem "The Black Man" arose.) It was in 1924-1925 that he wrote about a hundred poems and poems: "The Song of the Great Campaign", "The Poem of 36", poem "Anna Snegina". Intending to release his works in a special collection, Yesenin prefaces them with a special appeal:
Nice publisher! In this book
I indulge in new feelings
Learning to comprehend in every moment
Rearing Rus' by the Commune!
Healthy beginnings prevailed in the soul of the poet. An intense interest in living, concrete reality, an ardent love for the new, Soviet Rus' and the revolutionary changes taking place in it, the desire to be a real, and not a half-son in the states of the USSR - these are the main motives of his new works.
"Stans" (1924) - in this poem Yesenin writes:
write a poem,
Perhaps everyone can
About girls, about stars, about the moon...
But I have a different feeling
The heart is gnawing
Other thoughts crush my skull.
I want to be a singer
And a citizen
So that everyone
As pride and example
Was real
And not a half-son -
In the great states of the USSR.
I see everything
And I clearly understand
That the era is new -
Not a pound of raisins for you
What is the name of Lenin
Noisy, like the wind, along the edge,
Giving thought a go
Like mill wings.
Yesenin outlines ways for the development of problems that until recently seemed hopeless to him. If earlier he was against it, now he is ready to admire both the “steel horse”, and the “steel cavalry”, and everything new. A particularly strong new attitude to reality was reflected in the poem “Uncomfortable liquid lunar» (1925):
Now I like something else.
And in the consumptive moonlight
Through stone and steel
I see the power of my native country ...
Field Russia! Enough
Drag along the fields!
It hurts to see your poverty
And birches and poplars...
I don't know what will happen to me...
Maybe in new life I'm not fit
But still I want steel
To see poor, impoverished Rus'.
In the poem "Return to the Motherland" (1924), Yesenin is surprised:
How much has changed there
In their poor, unsightly life.
What a lot of discoveries
Followed me around.
Friends! Friends!
What a split in the country
What sadness in a merry boil!
Know that's why I want so much
Pull up your pants -
Run after the Komsomol.
"Soviet Rus'" (1924). The poet sees Soviet Rus' not as an “abandoned land”, a wasteland land”, a “stripe of grief”, but awakened, reborn to a new life.
And yet the poet is sad: “My poetry is no longer needed here. And, perhaps, I myself am not needed here either. But changes for the better bring peace to the soul:
“Remember! Why are you offended?
After all, it's only New World lit
Another generation at the huts.
Yesenin writes:
I will accept everything.
I accept everything as is.
Ready to follow the beaten tracks.
I will give my whole soul to October and May ...
And he welcomes the young generation from the bottom of his heart:
Bloom, young ones!
And healthy body!
You have a different life!
What bright, bewitching, grateful, grateful and kind lines of Yesenin dedicated to youth!
And the same confident, firm and unwavering lines dedicated to Soviet Russia:
But even then,
When all over the planet
The tribal feud will pass,
Lies and sadness will disappear, -
I will chant
With the whole being in the poet
sixth of the earth
With a short name "Rus"!
Anna Snegina (1925) is the most significant work. It is based on a lyrical plot connected with memories of the poet's youthful love, named here Anna Snegina. But Yesenin is not limited to this. Starting with the names of the villages of Kriushi and Radovo, Yesenin reveals a picture of the class struggle in the “severe, terrible years” - in the first years of the revolution. The main theme of the poem is October in the village. Life was hard for people.
Our life was bad.
Almost the whole village jump
Plowed with one plow
On a couple of worn-out nags ...
That is why the poor people accepted Soviet power with enthusiasm and enthusiasm. Yesenin's great artistic achievement is the creation of the image of Pron Ogloblin. Even before the revolution, Pron entered into a dispute with the authorities and was exiled to Siberia. He welcomes the news of the victory of October with joy. Preparing to organize a commune in the village. Wealthy peasants do not like him, but the poor revere him.
The poem deals with the theme of revolution and civil war. The author criticizes the bourgeois Provisional Government for the ongoing fratricidal war, calls for peace, he is on the side of the Soviet government.
The peasants insistently ask Yesenin:
Who is Lenin?
I answered quietly:
"He is you."
In answer to the question of the peasants, the poet gives an aphoristic definition of the deep connection between the leader and the people.
The heroine of the poet Anna Snegina is of a different social origin. She finds herself in another camp and leaves for emigration. But it is also characterized by an unquenchable feeling of love for Russia. She is burdened by foreign life, yearns. And Yesenin receives a letter with a London seal:
“Are you alive?.. I am very glad…
I, too, how you are alive ...
I often go to the pier
And, whether for joy, only in fear,
I look among the courts more and more closely
On the red Soviet flag ... "
The image of V.I. Lenin in the work of S. Yesenin.
The death of Vladimir Ilyich Lenin forever echoed with grief in the memory of the poet. He spent several hours in the Hall of Columns at Lenin's coffin. In the days of national grief, Yesenin, like Mayakovsky, was full of thoughts about how to capture the image of V.I. Lenin. About Lenin, in whom all the strength and purposefulness of the revolution was embodied, Yesenin thought a lot and repeatedly, thought, referring to his name in poetry.
In a poem "Lenin"(excerpt from the poem "Walk-field" ( 1924 ) Yesenin seeks to reveal Lenin's simplicity, closeness to the people, the impact of his ideas on the hearts of millions; exalts him as an extraordinary man:
Shy, simple and sweet
He is like a sphinx in front of me.
I don't understand what power
Did he manage to shake the globe?
But he shocked...
Isn't it a very noticeable evolution - from the religious coloring of the first poems to the line "Shame on prisons and churches"?
Monarchy! An ominous stench!
For centuries there were feast after feast,
And sold the power to an aristocrat
industrialists and bankers.
The people groaned, and in this horror
The country was waiting for someone...
And he came.
He is a powerful word
He led us all to new beginnings.
He told us: “To end the torment,
Take everything into working hands.
There is no more salvation for you -
Like your power and your Council."
One of the most successful, clear and harmonious in proportion to thoughts and feelings of poems written in 1925 year, last year Yesenin's life, it was - "Captain of the Earth."
Nobody else
Didn't rule the planet
My song was not sung.
Only he
With your hand uplifted,
Said the world is
One family...
I'm not seduced
Hymns to the hero
I don't tremble
Lived in a bloodline.
I'm happy that
What is gloomy sometimes
One feeling
I breathed and lived with him ...
Continuing the metaphor, comparing the flight of his revolutionary country with the flight of a mighty ship over the waves, the poet foresees the times when the sailors of the great helmsman ("The whole party are his sailors") will lead the ship amid the roar of the waves to the desired mainland and light on it for all others "guiding lights »:
Then the poet
Another fate
And it's not me
And he is between you
Will sing you a song
In honor of the fight
New words.
He will say:
"Only that swimmer
Who, having tempered
In the struggles of the soul
Opened to the world at last
Nobody has seen
Sergei Yesenin, poet of the October era. His poetry, which told with unsurpassed power of sincerity about thoughts, feelings, doubts and finding the true path at a sharp historical turning point in history by the Russian working people, opens up new vistas of spiritual development.
Yesenin himself is a unique phenomenon. He was an artist of Russian defiant talent, the brightest passionate nature of the true power of his contradictory time, not an extinct, unsunsetting star.
Yuri Bondarev,
Soviet writer.
A. F. Neboga,
soviet teacher,
Krasnogvardeisky district
Sergei Yesenin was born in the village of Konstantinovo, Ryazan region (on the border with Moscow). His father, Alexander Yesenin, was a butcher in Moscow, and his mother, Tatyana Titova, worked in Ryazan. Sergei spent most of his childhood in Konstantinovo, at the home of his grandparents. In 1904-1909 he studied at primary school, and in 1909 he was sent to the parochial school of the village of Spas-Klepiki. His first known poems date from this period. Yesenin wrote them at the age of 14.
Sergey Yesenin. Photo 1922
Having completed his studies in the summer of 1912, Sergei went to his father in Moscow, where he worked for a month in the same store with him, and then got a job at a publishing house. Already realizing that he had a poetic gift, he contacted Moscow artistic circles. In the spring of 1913, Yesenin became a proofreader in one of the largest printing houses in Moscow (Sytin) and made the first contacts with revolutionaries from the Social Democratic Labor Party, as a result of which he came under police surveillance.
In September 1913, Yesenin entered the Shanyavsky People's University in the historical and philosophical department, and in January 1914 he met with one of his colleagues, proofreader Anna Izryadnova. His poems began to appear in magazines and in the pages of Golos Pravda, the predecessor newspaper of the Bolshevik Pravda.
The beginning of the war with Germany (1914) found Sergei Yesenin in the Crimea. In the first days of August, he returned to Moscow and resumed work at Chernyshev's printing house, but soon left to devote himself to writing. Sergey also left his girlfriend Izryadnova, who had just given birth to his first child.
Yesenin spent most of 1915 in Petrograd, which was then the heart of Russian cultural life. great poet Alexander Blok introduced him to literary circles. Yesenin became friends with the poet Nikolai Klyuev, met with Anna Akhmatova, Vladimir Mayakovsky, Nikolai Gumilyov, Marina Tsvetaeva, who highly appreciated his works. For Yesenin, a long series of public performances and concerts began, which then lasted until his death.
In the spring of 1916, his first collection, Radunitsa, was published. In the same year, Yesenin was mobilized to the ambulance train No. 143. He received such a preferential form of military conscription thanks to the patronage of friends. I listened to his concerts Empress Alexandra Feodorovna. Gravitating more to poetry than to war, Yesenin was subjected to a 20-day arrest in August for appearing too late from one leave.
Sergei Yesenin and the revolution
Secrets of the Century - Sergei Yesenin. Night in Angleterre
The version of the murder has a lot of indirect evidence. The examination of the corpse and the medical conclusion of suicide were made with excessive and incomprehensible haste. The related documents are unusually short. The time of Yesenin's death in some medical documents is indicated on December 27, in others - on the morning of the 28th. Bruises are visible on Sergey's face. At the Angleterre that same night there were prominent agents of the government. The persons who witnessed the poet's suicide soon disappeared. His ex-wife, Zinaida Reich, was killed in 1939 after declaring that she was going to tell Stalin everything about Yesenin's death. The famous poems written in blood were not found at the place of the poet's death, but for some reason were given to them on December 27 by Wolf Erlich.
Sergei Yesenin on his deathbed
The mystery of the death of Sergei Yesenin has not yet been solved, but everyone knows that in those troubled years, poets, artists and artists who were hostile to the regime were either shot, or thrown into camps, or committed suicide too easily. In the books of the 1990s, other information appeared that undermined the version of suicide. It turned out that the pipe on which Yesenin was hanging was not located horizontally, but vertically, and traces of the rope connecting them were visible on his hands.
In 1989, under the auspices of the Gorky Institute of World Literature, the Yesenin Commission was created under the chairmanship of the Soviet and Russian Yesenin scholar Yu. After investigating the then widespread hypotheses about the murder of Yesenin, this commission stated that:
The now published "versions" about the poet's murder followed by a staged hanging, despite some discrepancies ..., are a vulgar, incompetent interpretation of special information, sometimes falsifying the results of the examination.
However, it soon became clear that the "expertise" of the Prokushev Commission was reduced to correspondence with various expert institutions and individual experts who even earlier they expressed in the press their negative attitude towards the version of the murder of Yesenin. V.N. Solovyov, a forensic prosecutor of the General Prosecutor’s Office of the Russian Federation, who participated in the work of the commission, later gave the following ambiguous description of its “specialists” and the conditions of their “investigation”:
“These people worked within the strict limits of the law and were used to realizing that any biased conclusion can easily transfer them from their office chair to prison bunk beds, that before crowing, you need to think hard”
