The main problems raised in Anna Snegina's poem. Anna Snegina analysis of the work

...I understood what poetry is. Do not speak,..
that I stopped finishing poetry.
Not at all. On the contrary, I'm now in shape
became even more demanding. I just came to simplicity...
From a letter to Benislavskaya
(while writing a poem)

I think it's the best thing I've written.
S. Yesenin about the poem

Lyric plan of the poem. Name.
The image of Anna Snegina. The image of the main character - Poet

The poem is autobiographical, based on memories of youthful love. But in the poem, the personal fate of the hero is comprehended in connection with the fate of the people.

In the image of the hero - the poet Sergei - we guess Sergei Yesenin himself. The prototype of Anna is L.I. Kashin (1886-1937), who, however, did not leave Russia. In 1917, she gave her house in Konstantinov to the peasants, she herself lived in the estate on the White Yar on the Oka. Yesenin was there. In 1918 she moved to Moscow and worked as a typist and stenographer. Yesenin met with her in Moscow. But the prototype artistic image- things are different, and the artistic image is always richer; The richness of the poem, of course, is not limited to a specific biographical situation.

The poem "Anna Snegina" is lyric-epic. Its main theme is personal, but epic events are revealed through the fate of the poet and the main character. The title itself suggests that Anna is the central image of the poem. The name of the heroine sounds especially poetic and ambiguous. In this name - full sonority, the beauty of alliteration, the richness of associations. Snegina - a symbol of the purity of white snow, echoes the spring color of bird cherry, white as snow, this name is a symbol of lost youth. There are also many images familiar from Yesenin's poetry: "a girl in white", "thin birch", "snowy" bird cherry ...

The lyrical plot - the story of the heroes' failed love - is barely outlined in the poem, and it develops as a series of fragments. The failed romance of the heroes of the poem takes place against the backdrop of a bloody and uncompromising class war. The characters' relationships are romantic, unclear, and their feelings and moods are impressionistic and intuitive. The revolution led the heroes to part, the heroine ended up in exile - in England, from where she writes a letter to the hero of the poem. But time, the revolution did not take away the memory of love from the heroes. The fact that Anna Snegina was away from Soviet Russia, - a sad pattern, the tragedy of many Russian people of that time. And Yesenin's merit is that he was the first to show this. But this is not the main point of the poem.

The poet - the hero of the poem - constantly emphasizes that his soul is already largely closed to better feelings and wonderful impulses:

Nothing broke into my soul, Nothing confused me. Sweet smells flowed, And there was a drunken fog in my thoughts ... Now I would have a good romance with a beautiful soldier.

And even at the end of the poem, after reading a letter from this woman forever lost to him, he seems to remain as cold and almost cynical as before: "A letter is like a letter. No reason. I would not write such a life."

And only in the finale a bright chord sounds - a memory of the most beautiful and forever, forever lost. Separation from Anna in the lyrical context of the poem is the poet's separation from youth, separation from the purest and most holy that a person has at the dawn of life. But - and this is the main thing in the poem - everything humanly beautiful, bright and holy lives in the hero, remains with him forever as a memory, as a "living life":

I'm walking through an overgrown garden, my face touches the lilac. So dear to my flashing glances Hunched wattle fence. Once at that gate over there I was sixteen years old, And a girl in a white cloak Said to me affectionately: "No!" They were far, dear!.. That image did not die out in me. We are all in these years loved But that means they loved us too.

epic plan. The attitude of the hero to the world and fratricidal civil war; images of peasants (Pron Ogloblin, Labuti Ogloblin, miller)

The main part of the poem (four chapters out of five) reproduces the events of 1917 on the Ryazan land. The fifth chapter contains a sketch of rural post-revolutionary Russia - the action in the poem ends in 1923. The events are given in sketches, and it is not the events themselves that are important to us, but the attitude of the author towards them, - after all, the poem is primarily lyrical. Yesenin's poem is both about time and about what remains unchanged at all times.

One of the main themes of the poem is the theme of imperialistic and fratricidal civil war. In the village during the revolution and the civil war, it is restless:

We are now restless here. Everything blossomed with sweat. Solid peasant wars - They fight village against village.

These peasant wars are symbolic; they are the prototype of a great fratricidal war, a national tragedy, from which, according to the miller's wife, Raseya almost "disappeared." The condemnation of the war - imperialist and civil - is one of the main themes of the poem. The war is condemned by various characters in the poem and by the author himself, who is not afraid to call himself "the country's first deserter."

I think: How beautiful is the Earth And on it is a man. And how many unfortunate Freaks are now crippled with the war! And how many are buried in the pits! And how many more will be buried! And I feel in my stubborn cheekbones A cruel spasm of cheeks...

Refusal to participate in the bloody massacre is not a pose, but a deep, hard-won conviction.

Yesenin, despite the fact that the basis folk life he sees in the working peasantry, he does not idealize the Russian peasantry. The words that representatives of different intellectual strata called the peasant sound sarcastically:

Fefela! Breadwinner! Iris! Owner of land and livestock, For a couple of scruffy "katek" He will let himself be torn out with a whip.

Yesenin foresees the tragedy of the peasantry of 1929-1933, observing and experiencing the origins of this tragedy. Yesenin is worried that the Russian peasant is ceasing to be a master and worker on his land, that he is looking for an easy life, striving for profit at any cost.

For Yesenin, the main thing is the moral qualities of people, and in his poem he draws a number of colorful peasant types of the post-revolutionary era.

Revolutionary freedom poisoned the peasants with permissiveness, awakened moral vices in them. The poem, for example, does not romanticize the revolutionary nature of Pron Ogloblin: Pron for Yesenin is a new manifestation of the national character. He is a Russian traditional rebel of a new formation. People like him either go into the depths of people's life, or again break out to the surface in the years of "crazy action."

Pron is the embodiment of the Pugachev principle. Let us recall that Pugachev, who declared himself tsar, stood above the people, was a despot and a murderer (see, for example, Pushkin's "History of Pugachev" with a huge list of Pugachev's victims attached to it). Pron Ogloblin also stands above the people:

Ogloblin is standing at the gate And drunk in the liver and in the soul The impoverished people are dying. "Hey, you! Cockroach offspring! All to Snegina! .. R-time and kvass! You give, they say, your land Without any ransom from us!" And then, seeing me, Lowering his grumpy agility, He said in genuine insult: "The peasants still need to be cooked."

Pron Ogloblin, in the words of an old miller's woman, is "a brawler, a rude man" who "is drunk for weeks in the morning...". For the old miller's woman, Pron is a destroyer, a killer. And the poet himself Pron evokes sympathy only where it is said about his death. In general, the author is far from Pron, there is some kind of uncertainty between them. Later, a similar type of turning point will be encountered by M. Sholokhov in Virgin Soil Upturned (Makar Nagulnov). Having seized power, such people think that they are doing everything for the good of the people, justifying any bloody crimes. The tragedy of depeasantization in the poem is only foreseen, but the very type of leader standing above the people is correctly noticed. Pron is opposed in Yesenin's poem by a different type of popular leader, about whom the people can be said: "He is you" (about Lenin). Yesenin claims that the people and Lenin are united in spirit, they are twin brothers. The peasants ask the Poet:

"Tell me, who is Lenin?" I quietly replied, "He is you."

"You" - that is, the people whose aspirations were embodied in the leader. The leader and the people are united in a common faith, a fanatical faith in the imminent reorganization of life, in the next tower of babel, the construction of which ended with another moral and psychological breakdown. Not opportunistic considerations forced Yesenin to turn to Lenin, but faith, perhaps, more precisely, the desire for faith. Because the soul of the poet was divided, conflicting feelings in relation to the new world fought in it.

Another character, also correctly noticed by Yesenin, the peasant type of the transitional era, Labutya Ogloblin, does not need special comments. Next to Pron, Labutya "... with an important posture, like some gray-haired veteran", turned out to be "in the Council" and lives "not a corn on his hands." He is a necessary companion for Pron Ogloblin. But if the fate of Pron, with all its negative sides, acquires a tragic sound in the finale, then Labuti's life is a miserable, disgusting farce (and a much more miserable farce than, for example, the life of Sholokhov's grandfather Shchukar, who can be pitied in some way) . It is indicative that it was Labutya who "went first to describe Snegin's house" and arrested all its inhabitants, who were subsequently saved from a speedy trial by a kind miller. Labuti's principle is to live "not a corn of the hands", he is "a boaster and a devilish coward." It is no coincidence that Pron and Labutya are brothers.

Pron had a brother Labutya, Man - what is your fifth ace: At every dangerous moment, Khvalbishka and a devilish coward. Of course, you have seen these. Their rock was rewarded with chatter ... Such people are always in mind, They live without calluses on their hands ...

Another peasant type in the poem - the miller - is the embodiment of kindness, closeness to nature, humanity. All this makes the miller one of the main characters of the poem. His image is lyrical and dear to the author as one of the brightest and most popular beginnings. It is no coincidence that in the poem the miller constantly connects people. His proverb is also significant: "For a sweet soul!" He, perhaps, most of all embodies this whole, kind-hearted Russian soul, personifies the Russian national character in its ideal version.

The language of the poem

A distinctive feature of the poem is its nationality. Yesenin abandoned refined metaphor and turned to rich colloquial folk speech. In the poem, the speech of the characters is individualized: the miller, and Anna, and the old miller's woman, and Pron, and Labuti, and the hero himself. The poem is distinguished by polyphony, and this corresponds to the spirit of the reproduced era, the struggle of the polar forces.

The epic theme of the poem is sustained in the realistic Nekrasov traditions. There is a focus on national disasters, and a story about a national leader, and images of peasants with individual characters and destinies, and a story about the villages of Radovo and Kriushi, and a skaz style, and lexical and stylistic features of the speech of peasants, and a free transition from one language culture to another. It is no coincidence that in one of Yesenin's contemporary articles, the idea of ​​a novel-poem with its polyphony and versatility of depicting life was voiced.

"Anna Snegina", according to researchers of the poet's work, is Yesenin's most mature work both artistically and in depth of historical thinking. According to the genre, "Anna Snegina" is a poem, its genre originality is in the combination of lyrical and epic narration.

The plot-forming story is the story of the difficult relationship between the lyrical hero, the poet, to whom Yesenin gave his name - Sergey, and Anna Snegina. Once, in their youth, they were in love with each other, and the hero-narrator keeps a sad and bright memory of this:

Once at that gate over there
I was sixteen years old
And a girl in a white cape
She told me kindly: “No!”.
Far away, they were cute.
That image in me has not faded away ...
We all loved during these years,
But they didn't love us enough. (one)

This memory is, as it were, an exposition of the poem. The plot of the plot takes place when in the summer of 1917 main character comes to his native place and meets Anna again: she visits him during his illness. Both of them have changed, as Anna points out:

I became an important lady
And you are a famous poet. (3)

Love does not wake up in the hero again, but he is pleased to remember the past:

And at least there is no past in the heart.
I was strangely full
The rush of sixteen years. (3)

The climax comes in the scene when Anna receives news from the front about the death of her husband, an officer, and, beside herself with grief, reproaches the poet for cowardice. The hero in this scene behaves very dignified: he does not argue, does not make excuses, he simply leaves Anna's house. The second climax and at the same time the denouement is the last explanation of the characters. One evening, the miller brings Anna and her mother, a local landowner, to his house, as the peasants seized the master's farm and drove the two women out into the street. Anna asks for forgiveness from Sergei for her hurtful words expressed at the last meeting (she could not control her behavior when she learned about her husband's death), and suddenly admits that in her youth, when she said to the future poet: “No!” She loved him. She, like Sergey, remembers all her life about her half-childish, but such poetic love:

It was in my childhood...
Another... Not an autumn dawn...
We sat together...
We are sixteen years old. (4)

After that, the heroes part forever: Anna leaves, and the poet does not stop her, does not even ask about her plans for the future. He himself too

Quickly rushed off to St. Petersburg
Dispel sadness and sleep. (4)

The epilogue in the love story is Anna's letter from London, in which she talks about her distant homeland and her love:

My path is clear...
But you are still nice to me
Like home and like spring. (5)

The image of the heroine created in the poem is attractive not only due to external beauty - "slender face" (3), "beautiful and sensual mouth" (4), swan hands (4), but also spiritual charm. She visits a sick hero, asks for forgiveness for the offense, she does not complain about her fate when she is expelled from her home. Her letter from England proves that we are not a spoiled, capricious lady, but a smart and strong woman who endures her misfortunes with dignity: after all, she lost her husband, her father's house, her homeland. In emigration, she thinks of Russia without malice, fondly recalls Radov's favorite neighborhoods:

Now I'm away from you...
It's April in Russia now.
And blue veil
Covered with birch and spruce. (5)

Thus, the lyrical content of the poem is a love story of two good but unhappy people. At the same time, the hero understands his advantage over Anna: he lives in his homeland, his personal disorder is smoothed out by a completely conscious feeling of joy from the fact that he can come to his native village, see places familiar from childhood, communicate with friends and relatives. In other words, the problem of human happiness is solved in the poem in a broad social sense:

How beautiful
Land
And there is a person on it. (2)

In the poem, the lyrical hero not only experiences love-remembrance, but also peers with interest at the events taking place around him, expresses his attitude towards them. The time described in the poem is the era of social upheavals: the First World War, two Russian revolutions of 1917 are being made. Therefore, the content of the work can in no way be limited to a love story. In the poem, the relationship of the hero-narrator with the large social world is also important. The lyrical hero very emotionally expresses his assessment of the "world massacre" and deliberately deserts:

No no!
I won't go forever
Because some kind of scum
Throws to a crippled soldier
Pyatak or dime in the mud. (2)

The big social world is also the people. The hero willingly tells about his meetings with the peasants: they talk frankly about rural problems, the poet follows their fate with interest. Thus, the epic pictures of village life are imbued with frank authorial sympathy ( lyrical feeling) and show the direct participation of the protagonist in village events.

The poem reflected the revolutionary mood of the peasantry, the class struggle in the countryside, which resulted in the elimination of landownership. Therefore, there are many realistically drawn characters in the work: a talkative driver who cunningly extorts an extra ruble from the hero-poet; a troublesome and resourceful miller, his businesslike wife; Pron Ogloblin and his brother Labutya; many unnamed men. Among the motley village crowd, the hero-narrator himself is shown: he is inseparable from the people, from the people's worries and hopes. No wonder, having arrived in the village, he immediately

I went to bow to the men,
Like an old friend and guest. (2)

The most vivid image of a peasant in the poem is, of course, the image of Pron Ogloblin, a poor man from the village of Kriushi. This is a decisive, courageous, courageous person who is not afraid to come to the landowner and demand land. Hearing that "There are now Soviets in Russia" (4), he immediately declares that he is organizing a commune in his village. When Denikin's men attacked Kriusha, he did not hide in the straw, like Labute, and was killed as an active supporter of Soviet power. Pron in the poem curses with the last words, drinks, kills the foreman in a rage, the miller calls him “cobbler, fighter, rude” (2), but the hero-narrator sees the cordiality, strong character, desire to serve the people behind the outward rudeness of this peasant. The seriousness of Pron's personality is emphasized by comparing him with his brother Labutey, an empty braggart who, after the revolution, quickly joined the village council in order to do nothing, but live happily ever after.

The lyrical hero of the poem sympathizes with the "peasant truth" and considers Pron's actions fair, but something keeps him "above the fight." The poet remains an observer, not an active participant in events. Anna is a match for him. They both take the cruelty of their time hard and cannot come to terms with it. The lyrical hero considers necessary Bolshevik transformations in the countryside, but at the same time, with sadness and tenderness, he thinks about the village young lady, the daughter of the landowner, who left the revolution for England. He evaluates the people around him not from class positions, but from the point of view of kindness, responsiveness, decency, that is, from the point of view of universal moral criteria.

The compositional structure confirms the definition given at the beginning of the genre originality of the poem. Firstly, in Anna Snegina, the lyrical and epic narratives develop in parallel: they only occasionally touch, but do not collide. This contact is observed when the hero is in the midst of village life (for example, his conversation with the peasants about Lenin at a gathering). But there are very few such scenes in the poem.

Secondly, a feature of the poem is the ring composition, which emphasizes the paramount importance of the lyrical content in comparison with the epic (social). In the first and fifth chapters there are stanzas that almost completely coincide. They differ only in the last line: at first - “We all loved in these years, But we didn’t love us much”, at the end - “We all loved in these years, But, therefore, They loved us too.” This difference is significant: at the beginning of the poem, the hero bitterly recalls the refusal of a girl in a white cloak, and at the end, after a “unreasonable” (5) letter from England, he experiences “bright sadness”, because he knows that both in his distant youth and now he is loved.

So, in "Anna Snegina" two types of narration are combined, forming a complex unity. What is more important in a poem - epic or lyrics?

It is known that at first Yesenin intended to emphasize the epic content in the title of the poem - "Radovtsy", but in the end the author settled on the lyrical version of the title - "Anna Snegina", thereby emphasizing the paramount importance of the lyrical experiences of the characters in his work. In other words, the basis of the plot of the poem is not the development of events, but the feelings of the lyrical hero caused by these events, as well as communication with nature, memories of youth. The epic scenes in the poem are an important life background for the disclosure emotional experiences the main character, although it should be recognized that the development of the lyrical plot is driven precisely by epic events: the two revolutions of 1917 changed the social situation in Russia and made the parting of the poet and Anna inevitable. turning point historical era casts a dramatic reflection on the love story of the characters.

The plot and compositional features of "Anna Snegina" are due to the genre originality of the work. The composition of the poem is a logically sequential montage of separate completed scenes that demonstrate signs of historical time, relationships actors their inner experiences. The lyricism of the work is emphasized by the ring construction.

Sergei Yesenin's poem "Anna Snegina" is studied in the 11th grade at literature lessons. The author himself considered it his best work: he put all his skill into the poem, the most touching memories of his youth and a mature, slightly romantic look at past relationships. The story of the poet's unrequited love is not the main one in the work - it takes place against the backdrop of global events in Russian history - war and revolution. In our article you will find a detailed analysis of the poem according to the plan and a lot of useful information when preparing for a lesson or test tasks.

Brief analysis

Year of writing- January 1925.

History of creation- written in the Caucasus in 1925 "in one breath", based on memories of the past and rethinking historical events 1917-1923.

Topic- the main themes are homeland, love, revolution and war.

Composition- consists of 5 chapters, each of which characterizes a certain period in the life of the country and a lyrical hero.

genre- lyric epic poem (as defined by the author). Researchers of Yesenin's work call her a story in verse or a poetic short story.

Direction- an autobiographical work.

History of creation

The poem "Anna Snegina" was written by Yesenin in January 1925, shortly before his death. At that time he was in the Caucasus and wrote a lot. The work, according to the author, was written easily and quickly, in one breath. Yesenin himself was extremely pleased with himself, considered the poem his the best work. It rethinks the events of the revolution, military operations, political events and their consequences for Russia.

The poem is deeply autobiographical, the prototype of Anna Snegina was the poet's friend Lidia Ivanovna Kashina, who married a nobleman, a White Guard officer, became distant and alien. In their youth, they were inseparable, and at a more mature age, Yesenin accidentally met Lydia, and this was the impetus for writing a poem.

The meaning of the name quite simple: the author chose a fictitious name with the meaning of pure, white snow, the image of which appears several times in the work: through delirium during illness, in the poet's memoirs. Snegina remained pure, inaccessible and distant for the lyrical hero, which is why her image is so attractive and dear to him. Criticism and the public accepted the poem coldly: it was unlike other works, political issues and bold images frightened off acquaintances from comments and assessments. The poem is dedicated to Alexander Voronsky, a revolutionary and literary critic. It was published in its full version in 1925 in the Baku Worker magazine.

Topic

Intertwined in the work several main themes. A feature of the work is that it contains many personal experiences and images of the past. Homeland Theme, including the small homeland - the native village of the poet Konstantinovo (which is called Radovo in the narrative). The lyrical hero very subtly and touchingly describes his native places, their way of life and way of life, the mores and characters of the people living in the village.

Heroes of the poem very interesting, varied and varied. Love Theme revealed frankly in Yesenin's way: the lyrical hero sees in his beloved an image of the past, she became the wife of a stranger, but is still interesting, desirable, but far away. The thought that he, too, was loved warms the lyrical hero and becomes a consolation for him.

Revolution Theme revealed very honestly, shown through the eyes of an independent eyewitness who is neutral in his views. He is not a fighter and not a warrior, cruelty and fanaticism are alien to him. The return home was reflected in the poem, each visit to his native village worried and upset the poet. The problem of devastation, mismanagement, the decline of the village, the troubles that were the result of the First World War and the revolution - all this is shown by the author through the eyes of a lyrical hero.

Issues works are diverse: cruelty, social inequality, a sense of duty, betrayal and cowardice, war and everything that accompanies it. Main thought or idea works is that life is changeable, and feelings and emotions remain in the soul forever. From this follows the conclusion: life is changeable and fleeting, but happiness is a very personal state that is not subject to any laws.

Composition

In the work “Anna Snegina”, it is advisable to carry out the analysis according to the principle “following the author”. The poem consists of five chapters, each of which refers to a certain life period of the poet. The composition has cyclicality- the arrival of the lyrical hero at home. In the first chapter we learn that the main character is returning to his homeland to rest, to be away from the city and the hype. The post-war devastation has divided people, the army, which requires more and more investments, rests on the countryside.

Second chapter tells about the past of the lyrical hero, about what kind of people live in the village and how the political situation in the country changes them. He meets with a former lover, they talk for a long time.

The third part- reveals the relationship between Snegina and the lyrical hero - mutual sympathy is felt, they are still close, although age and circumstances separate them more and more. The death of a spouse separates the heroes, Anna is broken, she condemns the lyrical hero for cowardice and desertion.

In the fourth part there is a rejection of property from the Snegins, she and her mother move to the house of the miller, speaks with her lover, reveals her fears to him. They are still close, but the turmoil and rapid flow of life require the author to return to the city.

In the fifth chapter describes a picture of poverty and the horrors of civil war. Anna goes abroad, from where she sends news to the lyrical hero. The village is changing beyond recognition, only close people (especially the miller) remain the same relatives and friends, the rest have degraded, disappeared in trouble and got lost in the existing vague order.

genre

The work covers fairly large-scale events, which makes it especially epic. The author himself defined the genre - "lyric poem", however, contemporary critics gave the genre a slightly different designation: a story in verse or a poetic short story.

The short story describes events with a sharp plot and a sharp ending, which is very typical for Yesenin's work. It should be noted that the author himself was not theoretically savvy in matters of literary criticism and genre specificity of works, so his definition is somewhat narrow. Artistic media used by the author are so diverse that their description requires separate consideration: vivid epithets, picturesque metaphors and comparisons, original personifications and other tropes create Yesenin's unique style.

Artwork test

Analysis Rating

Average rating: 4.2. Total ratings received: 157.

The poem "Anna Snegina" rightly considers one of Yesenin's creations of the greatest significance and scale, the final work in which the personal fate of the poet is comprehended in connection with the fate of the people

The poem was written in Batumi in the autumn and winter of 1924-1925, and Yesenin, in letters to G. Benislavskaya and P. Chagin, spoke of it as the best of all that he wrote, and defined its genre as Lisichanskaya. But the question of the genre of the poem in Soviet literary criticism has become debatable. V. i. Khazan in the book "Problems of S. A. Yesenin's Poetics" (Moscow - Grozny, 1988) represents a number of researchers who observe thoughts that epic content prevails in the poem (A. Z. Zhavoronkov, A. T. Vasilkovsky - the point of view of the latter evolved over time towards attributing the poem to the lyrical-narrative genre), and their opponents, who recognize the lyrical beginning as dominant in the poem (e. B. Meksh, E. Naumov). Scientists V. and. Khazan are also opposed on another basis: to those who believe that the epic and lyrical themes in the poem develop side by side, colliding only at times (E. Naumov, F. N. Pitskel), and those who see "organic and fusion" of both lines of the poem (P. F. Yushin, A. Volkov). The author himself agrees with A. T. Vasilkovsky, who, using the example of a specific analysis of the text, shows how "interconnecting and interacting, the lyrical and epic images of the artistic reflection of life organically alternate in it. In epic fragments, lyrical "motives" and "images" are born, which, in turn, are internally prepared by the emotional and lyrical state of the author-hero, and this mutual transition of the epic into the lyrical and vice versa, deeply motivated by the general poetic content of the poem, represents the main ideological and compositional principle" (35; 162).

The poem was based on the events before and after the revolution in Russia, which added an epic scope to the work, and the story about the relationship of the lyrical hero with the "girl in a white cap" provides the poem with a penetrating lyricism. These two interpenetrating beginnings become decisive in the plot of the poem, according to affecting the style and intonation of the work:

“Having conveyed the feeling of tenderness that the author put to the test for a never loved person, telling about everything that he experienced “under the influx of sixteen years”, he gave an objective and natural resolution to the lyrical theme. “Anna Snegina” is both an “explanation with a woman” and "an explanation with the era", and the first is clearly subordinate to the second, because the basis of the poem, in spite of its local, nominal name, is a story about a revolutionary break in the village. human characters" (41; 93).

But in today's polimics about "Anna Snegina" it is not theoretical problems that come to the fore, but the question of the modern interpretation of the characters. And here the pendulum of assessments swung to the other extreme: from a rural activist, Pron turns into a criminal and a murderer:

"... Pron is a criminal and a murderer in the eyes of not only a miller, but also, it seems to me, any morally healthy person. He is devoid of regret for the old Snegina, who lost her son-in-law in the war, disrespectfully treats fellow villagers, considering "cockroach offspring" "But to his insignificant, that the brother's elementary pride has been lost, surprisingly benevolent, admits him to the Rada. Is it or the principledness of the "leader of the masses", especially in the village, where every step is before our eyes?" (18; 32)

The starting point for such interpretations of the image of Pron Ogloblin is the unbiased response of the miller's wife about him as a bully, a fighter, a rude person, and then the subjective thought of the old woman is reduced to the rank of objective truth. The miller's wife is often considered "the embodiment of a healthy peasant sense, with which it is impossible to argue" (16; 8, 138). However, this is not quite true. After all, if you believe her words, then all the Criushans, without exception, are "thieves' souls" and "they should be sent to prison after prison." There is a clear exaggeration in her assessments, especially since most often she judges not after what she saw with her own eyes, but according to the words of "parishioners".

As for the murder of the foreman by Pron, apparently, there were good reasons for this. The author does not expand the episode into a detailed scene and does not explain the motives for Pron's chinking, but the witness that took place - the cab driver - notes: "The scandal smells of murder Both in ours and in their fault." And, speaking of Pron as being beaten, one should probably not forget that he himself was shot by Denikin’s “in the twentieth year”, which gives his image a dramatic shade. And the statement about "strange benevolence" towards brother Labuta must be recognized as a complete misunderstanding, because Pron tested completely different feelings about him, and this is unequivocally stated in the poem: "He pulled Pron's nerves, And Pron did not use judgment." And the poem does not mention any "admitted" Labuti to the Rada

It must be said that the new interpretation of the image of Pron is independent of stereotypes, it contains indisputable and irrefutable observations, but the extra polemical harshness makes it difficult to judge the character soberly and calmly, as he deserves it. This is especially evident in generalizations, which also can hardly be considered justified: "... The victory of the revolution attracts Pron with the prospect of new reprisals, but not over one foreman, but over "all" (18; 32).

A. Karpov’s assessment is more balanced and does not contradict the text: Pron’s appearance in the poem is “not that reduced, but, so to speak, a little inhabited. He is always embittered at everything, Drunk from the morning for weeks." But the poet also prefers the iconography of the unadorned truth: Pron "I am drunk in the liver and the impoverished people are boned in the soul," he says, not hiding his "quarrelsome dexterity," speeches are found words and expressions that can distort the ear - he is a master of "cursing not by judgment ..." (14; 79).

The Leninist lines of the poem also became debatable. Because of their inherent peremptoryness, the fathers and son Kunyaev accuse literary science of being inscrutable about deciphering the content of the peasants' question "who is Lenin?" and the answer of the lyrical heroes "He - you". The authors of the biography of S. Yesenin shift the question to another plane: “The poet admits that Lenin is the leader of the masses, their flesh and blood. collective murder of foremen, "dashing villains", "thieves' souls". "They should be sent to prison after prison." Then the sharply negative characterization of Pron and Labuti is repeated and the conclusion is made: "This is the picture that is drawn to us upon careful reading, and if we recall the quiet the phrase of the hero of the poem about Lenin: “He is you!”, it becomes clear that we, as they say, simply did not see point-blank all the depth and all the drama inherent in it "(16; 8, 137).

It cannot be said that such a solution to the problem (a literal reading of the metaphor) is thoughtful, on the contrary, it is too flat and primitive to be like the truth. Kunyaev, intentionally or unconsciously, in the hero’s answer, the “-” sign is replaced by the “=” sign, and everything turns out very simply: since there is an equal sign between Lenin and the peasants, it means that all negative epithets addressed to the peasants are mechanically transferred to the image of the leader. But this "simplicity" is "worse than theft." We remind you that the poem was written from November 1924 to January 1925. Yesenin, as you know, did not appear in the "state" poets and, naturally, no one could force him, having specially absented himself from the hospital, to spend several hours in Lenin's coffins, and then in the unfinished poem "Gulyai-Pol" write sincere lines:

And then he died...

From the barking hulks

The last salute is given, given.

The one who saved us is no more.

In the same passage from the poem "Gulyai-Pol", Yesenin characterizes Lenin as a "severe genius", which again does not fit into the interpretation of the image of the leader proposed by Kunyaevs. Moreover, on January 17, 1925, that is, at the moment of the completion of "Anna Snegina", Yesenin creates the "Captain of the Earth", in which he describes, "How a modest boy from Simbirsk became the helmsman of his country." The poet, with all sincerity, which is not in doubt, confesses that he is happy that "by the same feelings" he "breathed and lived" with him.

And now, if we assume that Kunyaev is right in interpreting the image of Lenin in "Anna Snegina", it means that in "Gulyai-Pol" Yesenin sincerely lied to the reader, in "Anna Snegina" he said the camouflaged truth (simply speaking, he showed a shish in his pocket) , and in "Captain of the Earth" he again printed deceived. Whom to believe: Yesenin or Kunyaevim? We confess that Yesenin inspires much more confidence and, it seems, in none of the three works about Lenin he was cunning. And the answer of the hero to the peasants is "He is you!" means nothing more than Lenin - the personification of your hopes and expectations. In our opinion, the poetics also dictates such a reading: a detailed description of the circumstances of the conversation (“burdened with thought”, “under the ringing of the head”, “quietly answered”) indicate a sincere and benevolent answer. And in general, it is impossible to imagine that the hero of the poem could look him in the face of the peasants ("And each with a cloudy smile Looked into my face and eyes") to say that Lenin is as much a scoundrel as they are, as it goes to Kunyaevikh. A decade later, one can come to the conclusion that Yesenin's Lenin bears the stamp of that era, but one cannot distort the appearance of the author and his lyrical hero to please political topicality

Some modern interpretations of the image of Anna Snegina also cannot stand up to criticism: “The girl in a white overcoat” (...) is changing for the worse, expressively flirting with him”; “A woman, not accepting his feelings, seems to justify herself that she didn’t go like that as far as we would like..."; "As if finally realizing that they are speaking different languages, live in different times and different feelings, the heroine acts as it should be for a woman disappointed in her expectations ... "(16; 8, 139).

We join the position of those who believe that the image of Anna was written out by Yesenin in the best traditions of Russian classics; it is deep, devoid of schematism and unambiguity. "The heroine appears before us as an earthly woman, beautiful, contradictory in her own way, good-natured even at the moment of losing her lands (...)

Widowed, deprived of bail, forced to leave his homeland, Anna does not test the peasants who ruined her, neither anger nor hatred. Emigration also does not embitter her: she is able to rejoice at the successes of her distant homeland and, with a feeling of light sadness, mention the poet, all the irretrievable past. Anna's "unreasonable" letter is full of a lonely man's longing for his lost homeland. It is "above class", and behind the excited words it is a sin to try to consider only the "daughter of the landowner" (18; 33).

One cannot but agree with those literary critics who consider "Anna Snegina" one of Yesenin's most sincere creations. It is marked by monumentality, epic majesty and lyrical penetration. The leitmotif throughout the poem is lyrical lines about youth, spring dawn, which forever remains in the memory of a person; the novel with Anna is written in Esenin's subtly and tenderly, and the stories flow with the will that is inherent in the epic, which recreates nothing for a flow that is not compressed, life (14; 76-90).

Analysis of the poem by S.A. Yesenin "The Black Man"

"The Black Man" is one of the most mysterious, ambiguously perceived and understood works of Yesenin. It expressed moods of despair and horror before an incomprehensible reality. Its solution is primarily related to the interpretation of the image of a black man. His image has several literary sources. Yesenin acknowledged the influence of Pushkin on his poem Mozart and Salieri, which featured a mysterious black man. The “black man” is the poet's double, he chose everything that the poet himself considers negative and vile in himself. This theme - the theme of a painful soul, a divided personality - is traditional for Russian classical literature. She received her embodiment in Dostoevsky's "Double", Chekhov's "Black Monk". But none of the works, where such an image is found, carries such a heavy burden of loneliness as Yesenin's Black Man. The tragedy of the self-perception of the lyrical hero lies in the understanding of his own doom: all the best and brightest is in the past, the future is seen as frightening and gloomy hopeless. Reading the poem, you involuntarily ask the question: is a black man a deadly opponent of the poet or part of that force that always wants evil and always does good. The “duel” with a black man, whatever his nature, served as a kind of spiritual test for the lyrical hero, an occasion for merciless introspection. However, in literary work It is important not only what is written, but also how. The theme of duality is expressed at the compositional level. Before us are two images - a pure soul and a black man, and the flow of a monologue of a lyrical hero into a dialogue with a double is a poetic expression of the subconscious. The ratio of monologue and dialogic speech is revealed in the rhythmic-intonational structure of the poem. The hard rhythm of the dactyl reinforces the gloomy intonations of the black man's monologue, while the agitated trochee contributes to the expression of the dialogic form of thought and narration. The metaphor of a broken mirror is read as an allegory of a ruined life. It expresses both a piercing longing for the passing youth, and an awareness of one's uselessness, and a sense of the vulgarity of life. However, this "too early fatigue" is nevertheless overcome: in the finale of the poem, night is replaced by morning - a saving time of sobering up from the nightmares of darkness. A nightly conversation with a “bad guest” helps the poet to penetrate into the depths of the soul and painfully poke dark layers from it. Perhaps, the lyrical hero hopes, this will lead to purification.

Analysis of the poem "Anna Snegina"

Already in the very title of Yesenin's poem "Anna Snegina" there is a hint of plot similarity with the novel "Eugene Onegin". As in Pushkin's work, the heroes of the love story meet her years later and remember their youth, regretting that they once parted. By this time, the lyrical heroine is already becoming a married woman.

The protagonist of the work is a poet. His name, like the author, is Sergey. After a long absence, he returns to his native place. The hero participated in the First World War, but soon realized that it was being waged "for someone else's interest", and deserted, having bought himself a forged document. The plot of the poem contains autobiographical features. It is inspired by memories of the feelings of S.A. Yesenin to the landowner JI. Kashina, with whom he was in love in his youth.

In addition to the love line, the poem gives a broad plan of the social reality contemporary to the poet, which includes both pictures of peaceful village life and echoes of wars and revolutionary events. The poem was written alive spoken language, full of dialogues, gentle humor and deep nostalgic experiences.

The poet's patriotic feeling is embodied in the subtleties of the Central Russian landscape he created, a detailed story about the traditional peasant way of life that exists in the prosperous village of Radov. The very name of this place is symbolic. The men in the village live prosperously. Everything here is done in a business-like manner, in detail.

Prosperous Radov is opposed in the poem by the village of Kriushi, where poverty and wretchedness reign. Peasants have rotten huts. It is symbolic that dogs are not kept in the village, apparently, there is nothing to steal in the houses. But the villagers themselves, exhausted by a painful fate, steal the forest in Radov. All this gives rise to conflicts and civil strife. It is noteworthy that the display in the poem various types peasant life was an artistic innovation in the literature of that time, since in general there was a perception of the peasantry as a single social class community with the same level of prosperity and socio-political views. Gradually and once calm and prosperous Radovo is involved in a series of troubles.

An important feature of the poem is its anti-war orientation. Looking at the bright spring landscape, at the flowering gardens of his native land, the hero feels the horror and injustice that the war brings with it even more sharply. In theory, the heroes of the poem should have been happy, having spent it together among these beautiful gardens, forests and fields of their native land. But fate decreed otherwise.

Sergei is visiting an old miller. Here, thanks to the simple realities of rural life, the hero is immersed in the memories of his youthful love. Happy meeting with his native places, the hero dreams of starting a romance. Lilac becomes a symbol of love feeling in the poem.

Important in the work is the figure of the miller himself, the hospitable owner of the house, and his troublesome wife, who seeks to feed Sergei more deliciously. Sergey's conversation with the old woman conveys the popular perception of the contemporary era to the author: simple people Those who spend their lives in labor live for today and feel how their current worldly concerns have increased. In addition to the First World War, to which soldiers were taken to villages and villages, local conflicts aggravated in the era of anarchy exasperated the peasants. And even an ordinary village old woman is able to see the causes of these social unrest. S.A. Yesenin shows how the violation of the usual course of events, the very revolutionary transformations that were carried out in the name of the people, turned into a series of regular problems and concerns.

It is symbolic that it is the miller's wife who first characterizes Pron Ogloblin, the hero who embodies the image of a revolutionary-minded peasant in the poem. Yesenin convincingly shows that dissatisfaction with the tsarist regime and the desire for social change, even at the cost of cruelty and fratricidal massacre, was born primarily among those peasants who had a penchant for drunkenness and theft. It was people like Ogloblin who readily went to share the property of the landlords.

Sergei falls ill, and Anna Snegina comes to visit him herself. Autobiographical motifs are again heard in their conversation. The hero reads poetry to Anna about tavern Rus. And Yesenin himself, as you know, has a poetry collection "Moscow Tavern". Romantic feelings flare up in the hearts of the heroes, and soon Sergey finds out that Anna is a widow. In folk tradition, there is a belief that when a woman is waiting for her husband or fiance from the war, her love becomes a kind of amulet for him and keeps him in battle. Anna's arrival to Sergey and an attempt to continue romantic communication with him are perceived in this case as a betrayal. Thus, Anna becomes indirectly responsible for the death of her husband and is aware of this.

At the end of the poem, Sergei receives a letter from Anna, from which he learns how hard it is for her to be separated from her homeland and all that she once loved. From a romantic heroine, Anna turns into an earthly suffering woman who goes to meet the ships that sailed from distant Russia at the pier. Thus, the heroes are separated not only by the circumstances of their personal lives, but also by deep historical changes.