The image of a woman in the works of Yesenin. Favorite women of Sergei Yesenin

It is inextricably linked with the theme of love, as if it does not exist without this high feeling addressed to the entire universe. The poetic soul could not help but glow with passion, admire, love.

Yesenin's first poetic experience is connected with folklore motifs; it is in the country of "birch calico" that the first love of the poet is born. Poems relating to the beginning of the tenth years are similar in general mood to folk songs, stylized after them, full of rustic melody and melodiousness (“Imitation of the Song”, 1910).

And even later, already in 1916-1919, the poetry of love merges with the poetry of nature, drawing from it the chastity of spring flowering, the sensuality of summer heat.

The beloved of the lyrical hero is the embodiment of the beauty of the surrounding world, the beauty of a lovely rural landscape. “With a sheaf of hair ... oatmeal”, “with scarlet berry juice on the skin” - her “flexible frame and shoulders” were invented by nature itself (“Do not wander, do not crush in crimson bushes ...”, 1916).

In the poem "Green is hiding ..." (1918), the girl already appears in the form of a thin birch that "looked into the pond." She tells how “on a starry night” “on her bare knees ... hugged” her shepherd and “shed tears”, saying goodbye “to new cranes”.

The description of a love date is full of chastity and that tenderness that the pure beauty of nature is fraught with.

But already at the very beginning of the twenties in the cycle "Moscow Tavern" there is a sharp change in mood and intonation. Village song lyricism is replaced by a distinct, sharp, twitching rhythm. The poet "without return" leaves his "native fields" ("Yes! Now it's decided. Without return ...", 1922). "When ... the moon shines ... the devil knows how," he goes "alley to the familiar tavern." There is no sublime love here, no beauty of a pink sunset - only "noise and din in this eerie lair."

Feelings trampled, only carnal attraction remains. And the attitude towards a woman is changing: she is not a slender birch girl, but a “lousy” prostitute (“Rash, harmonica. Boredom ... Boredom ...”, 1923), who was “loved”, “hummed”. She is dirty, stupid and causes not love, but hatred.

However, such images are a deliberate, demonstrative expression of the state of the poet's inner world. Vicious "tavern" love is a poetic cry about the abomination and destructiveness of the pool of taverns that is engulfing it. And at the same time, Yesenin does not renounce the natural sincerity and lyricism inherent in him, which emphasize the tragic state of the poet's soul:

Darling I'm crying

Sorry Sorry…

With this pain, I feel younger...

This is the memory of a pure, bright village youth. But after years of gloomy tavern revelry, it is impossible to return the “former song”: “the dog died long ago”, but “her young son” remained, and, keeping in his heart the memory of how he “suffered”, the poet admits:

Yes, I liked the girl in white

But now I love in blue.

In the same period, the poet creates a cycle of poems "Persian Motifs" (1924-1925), the most famous of which is "Shagane you are mine, Shagane!" (1924). Like the whole cycle, it is imbued with a romantic mood and light sadness:

There in the north, the girl too,

Maybe he's thinking about me...

The sadness of unfulfilled hopes for happiness "by the age of thirty." (“It seems that this is the way it has been done forever…”, 1925). The hero was ready to burn with "pink fire", "burning" "together" with his beloved. And although she gave her heart "with laughter" to another, nevertheless this love, unrequited and tragic, "led the stupid poet ... to sensual poems."

Being rejected, the lyrical hero remains true to his former feeling. He finds again a faithful messenger, as in the poem "Son of a Bitch"; this is “dear Jim” (“Kachalov’s Dog”, 1925):

She will come, I promise you.

And without me, in her staring gaze,

You gently lick her hand for me

For everything in which he was and was not guilty.

This is true Yesenin's lyricism, tragic and sublimely romantic, sensitively subtle and at the same time addressed to those feelings that are clear and close to everyone, and therefore S. Yesenin's poems after more than half a century continue to excite readers with the drama of lyrical experiences.

Yesenin's lyrics are inextricably linked with the theme of love, as if it does not exist without this high feeling addressed to the entire universe. The poetic soul could not help but glow with passion, admire, love.

Yesenin's first poetic experience is connected with folklore motifs; it is in the country of "birch calico" that the first love of the poet is born. Poems dating back to the early 1910s are similar in general mood to folk songs, stylized after them, full of rustic melody and melodiousness (“Imitation of a Song”, 1910).

And even later, already in 1916-1919, the poetry of love merges with the poetry of nature, drawing from it the chastity of spring flowering, the sensuality of summer heat.

The beloved of the lyrical hero is the embodiment of the beauty of the surrounding world, the beauty of a lovely rural landscape. “With a sheaf of hair ... oatmeal”, “with scarlet berry juice on the skin” - her “flexible frame and shoulders” were invented by nature itself (“Do not wander, do not crush in crimson bushes ...”, 1916).

In the poem "Green is hiding ..." (1918), the girl already appears in the form of a thin birch that "looked into the pond." She tells how “on a starry night” “on her bare knees ... hugged” her shepherd and “shed tears”, saying goodbye “until the new cranes”.

The description of a love date is full of chastity and that tenderness that the pure beauty of nature is fraught with.

But already at the very beginning of the twenties in the cycle "Moscow Tavern" there is a sharp change in mood and intonation. Village song lyricism is replaced by a distinct, sharp, twitching rhythm. The poet "without return" leaves his "native fields" ("Yes! Now it's decided. Without return ...", 1922). "When ... the moon shines ... the devil knows how," he goes "alley to the familiar tavern." There is no sublime love here, no beauty of a pink sunset - only "noise and din in this eerie lair."

Feelings trampled, only carnal attraction remains. And the attitude towards a woman is changing: she is not a slender birch girl, but a “lousy” prostitute (“Rash, harmonica. Boredom ... Boredom ...”, 1923), who was “loved”, “hummed”. She is dirty, stupid and causes not love, but hatred.

However, such images are a deliberate, demonstrative expression of the state of the poet's inner world. Vicious "tavern" love is a poetic cry about the abomination and destructiveness of the pool of taverns that is engulfing it. And at the same time, Yesenin does not renounce the natural sincerity and lyricism inherent in him, which emphasize the tragic state of the poet's soul:

Darling I'm crying

Sorry Sorry…

In 1923, the poet returns from a trip abroad. He is disappointed in the bourgeois-democratic principles of the Western world, he is also disappointed in past ideals. In his lyrics, there is a motif of regret for the wasted years, wasted in taverns among vagrants and prostitutes.

Now the poet “sang about love”, refusing to “scandalize” (“A blue fire swept…”, 1923):

Enjoyed drinking and dancing

And lose your life without looking back.

“A gentle step, a light camp” and hair “colored in autumn” - revive the “blue fire” in the lyrical hero. Love as a saving force leads the hero to rebirth:

It's autumn gold

This strand of white hair -

Everything appeared as salvation

Restless rake.

(“Honey, let’s sit next to me…”, 1923)

In the poem "Son of a Bitch" of 1924, the poet recalls the "girl in white", and his soul comes to life:

The pain of the soul came up again.

With this pain, I feel younger...

This is the memory of a pure, bright village youth. But after years of gloomy tavern revelry, it is impossible to return the “former song”: “the dog died long ago”, but “her young son” remained, and, keeping in his heart the memory of how he “suffered”, the poet admits:

Yes, I liked the girl in white

But now I love in blue.

In the same period, the poet creates a cycle of poems "Persian Motifs" (1924-1925), the most famous of which is "Shagane you are mine, Shagane!" (1924). Like the whole cycle, it is imbued with a romantic mood and light sadness:

There in the north, the girl too,

Maybe he's thinking about me...

The sadness of unfulfilled hopes for happiness "by the age of thirty." (“It seems that this is the way it has been done forever…”, 1925). The hero was ready to burn with "pink fire", "burning" "together" with his beloved. And although she gave her heart "with laughter" to another, nevertheless this love, unrequited and tragic, "led the stupid poet ... to sensual poems."

Being rejected, the lyrical hero remains true to his former feeling. He finds again a faithful messenger, as in the poem "Son of a Bitch"; this is “dear Jim” (“Kachalov’s Dog”, 1925):

She will come, I promise you.

And without me, in her staring gaze,

You gently lick her hand for me

For everything in which he was and was not guilty.

This is true Yesenin's lyricism, tragic and sublimely romantic, sensitively subtle and at the same time addressed to those feelings that are clear and close to everyone, and therefore S. Yesenin's poems after more than half a century continue to excite readers with the drama of lyrical experiences.

Yesenin's lyrics are inextricably linked with the theme of love, as if it does not exist without this high feeling addressed to the entire universe. The poetic soul could not help but glow with passion, admire, love.

Yesenin's first poetic experience is connected with folklore motifs; it is in the country of "birch calico" that the first love of the poet is born. Poems dating back to the early 1910s are similar in general mood to folk songs, stylized after them, full of rustic melody and melodiousness (“Imitation of a Song”, 1910).

And even later, already in 1916-1919, the poetry of love merges with the poetry of nature, drawing from it the chastity of spring flowering, the sensuality of summer heat.

The beloved of the lyrical hero is the embodiment of the beauty of the surrounding world, the beauty of a lovely rural landscape. “With a sheaf of hair ... oatmeal”, “with scarlet berry juice on the skin” - her “flexible frame and shoulders” were invented by nature itself (“Do not wander, do not crush in crimson bushes ...”, 1916).

In the poem "Green is hiding ..." (1918), the girl already appears in the form of a thin birch that "looked into the pond." She tells how “on a starry night” “on her bare knees ... hugged” her shepherd and “shed tears”, saying goodbye “until the new cranes”.

The description of a love date is full of chastity and that tenderness that the pure beauty of nature is fraught with.

But already at the very beginning of the twenties in the cycle "Moscow Tavern" there is a sharp change in mood and intonation. Village song lyricism is replaced by a distinct, sharp, twitching rhythm. The poet "without return" leaves his "native fields" ("Yes! Now it's decided. Without return ...", 1922). "When ... the moon shines ... the devil knows how," he goes "alley to the familiar tavern." There is no sublime love here, no beauty of a pink sunset - only "noise and din in this eerie lair."

Feelings trampled, only carnal attraction remains. And the attitude towards a woman is changing: she is not a slender birch girl, but a “lousy” prostitute (“Rash, harmonica. Boredom ... Boredom ...”, 1923), who was “loved”, “hummed”. She is dirty, stupid and causes not love, but hatred.

However, such images are a deliberate, demonstrative expression of the state of the poet's inner world. Vicious "tavern" love is a poetic cry about the abomination and destructiveness of the pool of taverns that is engulfing it. And at the same time, Yesenin does not renounce the natural sincerity and lyricism inherent in him, which emphasize the tragic state of the poet's soul:

Darling I'm crying

Sorry Sorry…

In 1923, the poet returns from a trip abroad. He is disappointed in the bourgeois-democratic principles of the Western world, he is also disappointed in past ideals. In his lyrics, there is a motif of regret for the wasted years, wasted in taverns among vagrants and prostitutes.

Now the poet “sang about love”, refusing to “scandalize” (“A blue fire swept…”, 1923):

Enjoyed drinking and dancing

And lose your life without looking back.

“A gentle step, a light camp” and hair “colored in autumn” - revive the “blue fire” in the lyrical hero. Love as a saving force leads the hero to rebirth:

It's autumn gold

This strand of white hair -

Everything appeared as salvation

Restless rake.

(“Honey, let’s sit next to me…”, 1923)

In the poem "Son of a Bitch" of 1924, the poet recalls the "girl in white", and his soul comes to life:

The pain of the soul came up again.

With this pain, I feel younger...

This is the memory of a pure, bright village youth. But after years of gloomy tavern revelry, it is impossible to return the “former song”: “the dog died long ago”, but “her young son” remained, and, keeping in his heart the memory of how he “suffered”, the poet admits:

Yes, I liked the girl in white

But now I love in blue.

In the same period, the poet creates a cycle of poems "Persian Motifs" (1924-1925), the most famous of which is "Shagane you are mine, Shagane!" (1924). Like the whole cycle, it is imbued with a romantic mood and light sadness:

There in the north, the girl too,

Maybe he's thinking about me...

The sadness of unfulfilled hopes for happiness "by the age of thirty." (“It seems that this is the way it has been done forever…”, 1925). The hero was ready to burn with "pink fire", "burning" "together" with his beloved. And although she gave her heart "with laughter" to another, nevertheless this love, unrequited and tragic, "led the stupid poet ... to sensual poems."

Being rejected, the lyrical hero remains true to his former feeling. He finds again a faithful messenger, as in the poem "Son of a Bitch"; this is “dear Jim” (“Kachalov’s Dog”, 1925):

She will come, I promise you.

And without me, in her staring gaze,

You gently lick her hand for me

For everything in which he was and was not guilty.

This is true Yesenin's lyricism, tragic and sublimely romantic, sensitively subtle and at the same time addressed to those feelings that are clear and close to everyone, and therefore S. Yesenin's poems after more than half a century continue to excite readers with the drama of lyrical experiences.

Alexander Blok.

Love lyrics occupies a significant place in the poetic heritage of Sergei Yesenin. The experiences expressed in love poems reflect the whole gamut of the poet's feelings - melancholy, separation, joy ... Like all the creator's poetry, his love poems are largely autobiographical.

In March 1913, Yesenin tripled as a sub-reader in a printing house, and soon married the proofreader Anna Izryadnova. But very quickly he realizes that this is not the person he needs, not what he needs now. And he wanted only creative self-realization. And Yesenin leaves Anna with a small child. He leaves and leaves for Petrograd ... There, wandering through literary salons, he meets Zinaida Reich. They got married and she bore him two children. But Yesenin soon parted with her.

Isadora Duncan came to Russia to teach Russian girls to dance. There are many versions of Yesenin's first acquaintance with her:

Don't look at her wrists

And flowing silk from her shoulders.

I was looking for happiness in this woman,

And accidentally found death ...

What a capacious and accurate prediction.…

Yesenin died at the age of thirty, having lived a surprisingly eventful and dynamic life. His poems are deeply figurative and symbolic. Apparently, they were greatly influenced by the changes that were taking place in the life of Russia at that time. For all the drama of Yesenin's lyrics, the pathos of life-affirmation is clearly felt in it:

I thought many thoughts in silence.

I composed many songs about myself.

And on this gloomy earth

Happy that I breathed and lived.

The chanting of love is found in all the cycles of Yesenin's poems, and even in the Moscow Tavern. The motives of disappointment are especially strong there, but the poet believes that it is love that can save and heal from all ailments and misfortunes. Save even when there is no hope for anything else.

Gradually, the theme of love begins to converge with the main Yesenin theme - the theme of the Motherland. And this is especially characteristic of the last years of the life of the "village poet". In this case, the cycle of poems "Persian Motives" deserves special attention. The fragility of happiness far from one's native land is felt here very sharply and distinctly:

No matter how beautiful Shiraz is,

It is no better than Ryazan expanses.

Here love is international, huge. It fills the heart of a person to the brim and overwhelms him, even outside his native country. But the poet is very acutely aware of the lack of Russia.

Of great importance in Yesenin's poetics is sound writing, symbolism, and color scheme. For him, love is a miracle:

The one who invented your flexible frame and shoulders,

He put his mouth to the bright secret.

But a beloved woman is not only a lover, but also a mother, who is also associated by the poet with the Motherland. The image of the mother develops into a generalized image of a Russian woman. This is a hardworking peasant woman: “Mother can’t cope with grips, she bends low ...”.

Such a fusion of images of mother, beloved and Motherland is not an innovation in Russian literature, but in the image of Yesenin this theme has acquired a new sound, expression, imagery.

Alexander Blok.

Love lyrics occupies a significant place in the poetic heritage of Sergei Yesenin. The experiences expressed in love poems reflect the whole gamut of the poet's feelings - melancholy, separation, joy ... Like all the creator's poetry, his love poems are largely autobiographical.

In March 1913, Yesenin tripled as a sub-reader in a printing house, and soon married the proofreader Anna Izryadnova. But very quickly he realizes that this is not the person he needs, not what he needs now. And he wanted only creative self-realization. And Yesenin leaves Anna with a small child. He leaves and leaves for Petrograd ... There, wandering through literary salons, he meets Zinaida Reich. They got married and she bore him two children. But Yesenin soon parted with her.

Isadora Duncan came to Russia to teach Russian girls to dance. There are many versions of Yesenin's first acquaintance with her:

Don't look at her wrists

And flowing silk from her shoulders.

I was looking for happiness in this woman,

And accidentally found death ...

What a capacious and accurate prediction.…
Yesenin died at the age of thirty, having lived a surprisingly eventful and dynamic life. His poems are deeply figurative and symbolic. Apparently, they were greatly influenced by the changes that were taking place in the life of Russia at that time. For all the drama of Yesenin's lyrics, the pathos of life-affirmation is clearly felt in it:

I thought many thoughts in silence.

I composed many songs about myself.

And on this gloomy earth

Happy that I breathed and lived.

The chanting of love is found in all the cycles of Yesenin's poems, and even in the Moscow Tavern. The motives of disappointment are especially strong there, but the poet believes that it is love that can save and heal from all ailments and misfortunes. Save even when there is no hope for anything else.

Gradually, the theme of love begins to converge with the main Yesenin theme - the theme of the Motherland. And this is especially characteristic of the last years of the life of the "village poet". In this case, the cycle of poems "Persian Motives" deserves special attention. The fragility of happiness far from one's native land is felt here very sharply and distinctly:

No matter how beautiful Shiraz is,

It is no better than Ryazan expanses.

Here love is international, huge. It fills the heart of a person to the brim and overwhelms him, even outside his native country. But the poet is very acutely aware of the lack of Russia.

Of great importance in Yesenin's poetics is sound writing, symbolism, and color scheme. For him, love is a miracle:

The one who invented your flexible frame and shoulders,

He put his mouth to the bright secret.

But a beloved woman is not only a lover, but also a mother, who is also associated by the poet with the Motherland. The image of the mother develops into a generalized image of a Russian woman. This is a hardworking peasant woman: “Mother can’t cope with grips, she bends low ...”.

Such a fusion of images of mother, beloved and Motherland is not an innovation in Russian literature, but in the image of Yesenin this theme has acquired a new sound, expression, imagery.

"The Song about the Merchant Kalashnikov" takes us to even deeper antiquity than Pushkin's "The Captain's Daughter". But at the same time, in this poem about the 16th century, paradoxical as it may seem, connections with Lermontov's modernity shine through more strongly, perhaps because this is not an epic, but a lyrical-epic work (if one adheres to the classification of genres that L. I. Timofeev outlines ). An excerpt from the book by Olga Berggolts "Daytime Stars", included in the anthology, Readers read on their own: it creates a certain emotional mood before studying the topic and orients schoolchildren to the perception of

After the end of War and Peace, Tolstoy intensively studied materials about the era of Peter the Great, deciding to dedicate his new work to her. However, modernity soon captured the writer so much that he set about creating a work in which he showed the post-reform Russian life in a wide and versatile way. This is how the novel "Anna Karenina" arose, which made an unusually strong impression on contemporaries. Reactionary critics were frightened in the novel by the harsh truth with which the writer showed Russian life of that time with all its sharp contradictions. They were frightened by the harsh condemnation of that "dishonest act

It is generally accepted that a hero is someone who saved a drowning person or carried a child out of a burning house - such people are even awarded medals, but, in my opinion, a hero is not necessarily someone who commits such high-profile, and sometimes even desperate deeds. A hero can also be considered the one who is able to win a victory over himself. Here, for example, is such a story. For my friend Artem, physical education lessons are a real torment. Well, he can’t force himself to jump over a horse, make a coup on the horizontal bar, somersault. Once, at a physical education lesson, he unsuccessfully made a coup on the horizontal bar and fell. Ever since

Spring has come. Clear blue skies peeked through the low hanging clouds. It can only be so transparent blue in spring. Ringing streams ran across the land. At first there were few of them, but every day they more and more often cut through the ice with their streams. The singing of the early birds and ringing drops from the roofs fill the world, spring music replaces the long winter silence and the howling of the wind. Everything comes into motion: birds fuss on the branches, pearls drip merrily from the cornices. The snow is still hiding in dark corners, does not want to understand that every hour the snowdrifts are getting smaller, do not hide behind them.