Yesenin the golden foliage began to swirl. Yesenin the golden foliage was spinning “The golden foliage was spinning...” Sergei Yesenin

Composition

Russia was not only the strongest, but perhaps the only strong love of Sergei Yesenin. Outside of Russia there was nothing for him: no poetry, no life, no love, no glory. Everything is in her, nothing is without her. And therefore, the main theme of the poet’s lyrical works was love for the homeland. Sincere love for his native land, which is expressed in unique experiences and moods, gave Yesenin’s poems a unique sound. There is not a single poem about Russia in which he does not glorify its nature.

In this regard, in my opinion, the poet’s two poems, named after the first lines, are interesting: “The golden foliage began to spin.” (1918) and “Blue May. Glowing warmth..." (1925) These poems are imbued with sadness, which is felt not only in the mental state of the lyrical hero, but also in nature, despite the fact that the poems depict different seasons (autumn, spring):

There is coolness both in the soul and in the valley.

The loneliness and homelessness of the lyrical “I” are especially noticeable in stanzas where a person is alone among an autumn or spring landscape. It even seems that part of the lines of one poem smoothly flow into the lines of another, repeating each other:

I'm in love this evening,

The yellowing valley is close to my heart.

...I'm with myself at my leisure...

This evening my whole life is sweet to me,

What a sweet memory of a friend.

Yesenin's landscape is not a dead, deserted picture. Using Gorky’s words, we can say that a person is always “interspersed” in him. This man is a poet himself, in love with his native land. Yesenin had a unique gift of deep poetic self-disclosure. The general theme of fading, the feeling of the last days - this is what characterizes these poems. “But I don’t curse what has passed,” wrote Yesenin, expressing the same thought as A.S. Pushkin: “What has passed will be nice.”

It would be nice, smiling at the haystack,

The muzzle of the month chews hay...

Where are you, where is my quiet joy -

Loving everything, wanting nothing?

Only me in this blossom, in this expanse,

Under the sign of Merry May,

I can't wish for anything

The poet accepts everything as it is:

I accept - come and appear,

All appear, in which there is pain and joy...

Peace to you, noisy life.

Peace be with you, blue coolness.

It is also interesting that the image of the garden also appears throughout these verses:

Behind the gate of the silent garden

The bell will ring and die.

The garden is burning like a foamy fire.

An important role in both works, as in all others, is played by color, which is intended not only to create the color scheme of the poem, but also to convey the feelings and moods of the lyrical hero. The poet’s favorite colors, as we see from these works, are blue and cyan. They enhance the feeling of the immensity of the expanses of Russia (“blue twilight”, “blue May”, “blue coolness”).

But, at the same time, blue color for Yesenin is the color of peace and silence, which is why it appears when depicting the evening. The semantic content of this color is entirely transferred by the poet to the internal characteristics of a person. This always means peace of mind, peace, inner peace. Using various means of expressiveness (epithets: “golden foliage”, “in pinkish water”, “eccentric moon”, “sticky smell”, “sticky smell”, “lace patterns”; comparisons: “like a pleasant memory of a friend”, “laughs” so that everyone trembles”, “the blue twilight is like a flock of sheep”, “like willow branches, to capsize into the pink waters”; personifications: “a bird cherry tree sleeps in a white cape”, “golden foliage whirled”), Yesenin expresses his feelings more fully and deeply , experiences and mood.

Thus, once again Yesenin shows the beauty of his native country, regardless of the time of year, and we understand that the soul of a person living in Russia and marvelous landscapes are inseparable from each other.

Unusual metaphors force you to take a fresh look at familiar, familiar objects and phenomena of the world around you. The lyrical hero strives for unity with nature as the embodiment of happiness. Noted at the beginning of the lesson as Yesenin’s traditional images of nature in these poems, they embody the poet’s desire for harmony between the inner world and the outer...

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Golden leaves swirled
In the pinkish water of the pond,
Like a light flock of butterflies
Freezingly, he flies towards the star.

I'm in love this evening,
The yellowing valley is close to my heart.
The wind boy up to his shoulders
The hem of the birch tree was stripped.

Both in the soul and in the valley there is coolness,
Blue twilight like a flock of sheep,
Behind the gate of the silent garden
The bell will ring and die.

I've never been thrifty before
So did not listen to rational flesh,
It would be nice, like willow branches,
To capsize into the pink waters.

It would be nice, smiling at the haystack,
The muzzle of the month chews hay...
Where are you, where, my quiet joy,
Loving everything, wanting nothing?

The history of the creation of the poem “To Kachalov’s Dog”

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“Nothing, I tripped over a stone, it will all heal by tomorrow.” (With)

Give me your paw, Jim, for luck,
I have never seen such a paw.
Let's bark in the moonlight
For quiet, noiseless weather.
Give me your paw, Jim, for luck.

Please, darling, don't lick me,
Understand with me at least the simplest thing.
After all, you don't know what life is
You don’t know what life is worth in the world.

Your master is both nice and famous,
And he has a lot of guests in his house,
And everyone, smiling, strives
I can touch your velvet wool.

You are devilishly beautiful like a dog,
With such a sweet, trusting friend.
And, without asking anyone a bit,
Like a drunk friend, you try to kiss

My dear Jim, among your guests
There were so many different ones and not all kinds.
But the one that is the most silent and saddest of all
Did you happen to come here by any chance?

She will come, I guarantee you
And without me staring into her gaze,
For me, lick her hand gently
For everything I was and wasn’t guilty of.
<1925>

Isn’t it true that often something that has long been understood and familiar suddenly appears before us in a new, hitherto unseen image? How often do we just have to think a little, and something incomprehensible becomes completely understandable?! How many times have you read Sergei Yesenin’s poem “To Kachalov’s Dog”? Most likely, more than once, but probably, being under the general impression of the stanzas created by the genius, you have never wondered: who is Yesenin sad about, about whom are his thoughts that he shares with his beloved Jim?

In my research work, I tried to reveal the secret of the image, which, without violating the general structure of Yesenin’s poem “To Kachalov’s Dog,” makes it surprisingly touching and humane. In other words, I tried to find out whether the one who is “the most silent and saddest of all” had a prototype , why, remembering her, the poet experiences a painful feeling of guilt. Let us remember the final lines of the poem: “For me, gently lick her hand for everything that you were and were not to blame for.”

I took up this topic because it helps to develop logical thinking, and by becoming a real discoverer of the depths of the personal life of the poet S. Yesenin, not yet explored by historians-Yesenin scholars or simply amateurs. Poets are very extraordinary people and, for the most part, fickle in love. But through the prism of the characters of their beloved, their characteristics, one can unravel some of the character traits of the poets themselves. Isn’t it interesting to learn about the life of your beloved poet what no one has guessed yet?!

The first step of the research will be to study the history of the creation of the poem “To Kachalov’s Dog.”

Artist of the Moscow Art Theater V.I. Kachalov, recalling his first meeting with Yesenin, which took place in the spring of 1925, writes: “At about twelve o’clock at night I performed a performance, I come home... A small company of my friends and Yesenin are sitting with me... I get up down the stairs and hear the joyful barking of Jim, the same dog to whom Yesenin later dedicated poetry. Jim was only four months old at the time. I entered, saw Yesenin and Jim - they had already met and were sitting on the sofa, huddled close to each other. Yesenin put his arm around Jim’s neck with one hand, and with the other he held his paw and said in a hoarse basso: “What a paw, I’ve never seen one like it.”

Jim squealed joyfully, quickly stuck his head out of Yesenin’s armpit and licked his face; When Yesenin read poetry, Jim looked carefully into his mouth. Before leaving, Yesenin shook his paw for a long time: “Oh, damn, it’s hard to part with you. I’ll write him poetry today.”

From the dictionary:

Kachalov (real name Shverubovich) Vasily Ivanovich (1875-1948) Soviet actor, People's Artist of the USSR. On stage since 1896, since 1900 at the Moscow Art Theater. An actor of high intellectual culture and enormous charm. Kachalov performed a number of roles in plays by Chekhov and M. Gorky, where he played leading roles. He created outstanding images in works: Shakespeare (Hamlet - “Hamlet”), A.S. Griboyedov (Chatsky - “Woe from Wit”), from F.M. Dostoevsky (Ivan Karamazov - “The Brothers Karamazov”), from L.N. Tolstoy (author - “Resurrection”).

Soviet encyclopedic dictionary. Fourth edition. Moscow "Soviet Encyclopedia" 1988

Much to the surprise of owner Jim, the poet kept his word. Kachalov recalls: “I came home one day soon after my first acquaintance with Yesenin. My family says that Yesenin Pilnyak and someone else, I think Tikhonov, came in without me. Yesenin had a top hat on his head, and he explained that he had put on the top hat for the parade, that he had come to Jim on a visit and with poems specially written for him, but since the act of presenting poems to Jim requires the presence of the owner, he will come another time" ( "Memoirs" p.417-420).

Kachalov recalled one visit to his hotel, which occurred during the Moscow Art Theater tour in Baku in May 1925: “A young, pretty, dark-skinned girl comes and asks: “Are you Kachalov?” “Kachalov,” I answer. “Have you arrived alone?” - “No, with the theater.” - “Didn’t they bring anyone else?” I’m perplexed: “My wife,” I say, “is with me, comrades.” - “Is Jim not with you?” - she almost exclaimed. “No,” I say, “Jim stayed in Moscow.” - “A-yay, how Yesenin will be killed, he’s been here in the hospital for two weeks, he’s still raving about Jim and telling the doctors: “You don’t know what kind of dog this is!” If Kachalov brings Jim here, I will be instantly healthy. I’ll shake his paw and I’ll be healthy, I’ll swim in the sea with him.” The girl handed over the note and walked away from me, clearly upset: “Well, I’ll prepare Yesenin somehow so that I don’t count on Jim.” As it turned out later, it was the same Shagane, a Persian.”

In the note I read: “Dear Vasily Ivanovich. I'm here. Here I published a poem to Jim (the poem was published in the newspaper “Baku Worker” in 1925, No. 77, April 7). I'll be leaving the hospital on Sunday (I'm sick with my lungs). I would really like to see you behind the 57-year-old Armenian. A? I shake your hands. S. Yesenin."

But the famous Yesenin scholar Ilya Shneider in his book “Meetings with Yesenin,” published in 1974 by the publishing house “Soviet Russia,” writes:

“This is an absolute mistake: Shagane Nersesovna Talyan met Yesenin in the winter of 1924 in Batumi. She was not in Baku during Yesenin’s stay, which is confirmed by her own memoirs, in which she says: “At the end of January 1925, Sergei Yesenin left Batum, and since then we have not met with him.”

Be that as it may, Yesenin’s affection for Jim was actually noticeable and pleasant to all three: Yesenin, Kachalov and “dear” Jim.

Literary reference:

Sergei Alexandrovich met a young Armenian woman named Shagane in Batumi. She was an extremely interesting, cultured teacher of a local Armenian school, who spoke excellent Russian. “The external resemblance to his beloved girl and her melodious name aroused in Yesenin a great feeling of tenderness for Shagane” (as L. I. Povitsky recalls).

Shagane Nersesovna Terteryan (Talyan) is an Armenian teacher who became the prototype of the romantic female image that adorned the poetic cycle “Persian Motifs,” which was created by the poet during three trips to Georgia and Azerbaijan (to Persia, as Yesenin said in 1924-1925).

The golden foliage began to spin.
In the pinkish water of the pond
Like a light flock of butterflies
Freezingly, he flies towards the star.
I'm in love this evening,
The yellowing valley is close to my heart.
The wind boy up to his shoulders
The hem of the birch tree was stripped.
Both in the soul and in the valley there is coolness,
Blue dusk like a flock of sheep.
Behind the gate of the silent garden
The bell will ring and die.
I've never been thrifty before
So did not listen to rational flesh.
It would be nice, like willow branches,
To capsize into the pink waters.

It would be nice, smiling at the haystack,
The muzzle of the month chews hay...
Where are you, where is my quiet joy -
Loving everything, wanting nothing?
1918

As you know, Sergei Yesenin is a village poet, and therefore the love of nature, which surrounded him throughout his childhood and gave him inspiration (most of his early poems were dedicated to nature and the village), permeates all of the poet’s work. The poem “The golden foliage began to spin...” was written towards the end of Yesenin’s life, when he had already had enough of city life, which slowly but surely began to make him feel nauseous. Living in Moscow, Yesenin fell in love with his village and its nature even more. This can be seen in the last lines of the poem. In which he tried to reflect how simple, frank, kind and natural peasant life is, rather than the hypocritical city life. The lines, permeated with longing for home and childhood, allow us to observe the beginning of Yesenin’s great disappointment in life. Of course, this poem is not as poisonous as the poems of the 20s, but notes of sadness and disappointment have already salted the sweetness of admiration for the life he lived once upon a time.

Unusual metaphors force you to take a fresh look at familiar, familiar objects and phenomena of the world around you. The lyrical hero strives for unity with nature as the embodiment of happiness. Noted at the beginning of the lesson as Yesenin’s traditional images of nature in these poems, they embody the poet’s desire for harmony between the inner world and the outer...

Euphony, precise rhymes, and anaphors give both poems a songlike character. Yesenin himself admires the world around him and helps us see its beauty... Personification is the opposite - the image of a person is endowed with natural characteristics - reflects the author's worldview...

We note landscape images common to both texts:

evening dawn, starry sky, water, wind, but

coincidence of color definitions: in blue haze = blue twilight, but:

metaphors

motives

plot

lyrical hero

size

The second poem, written in 1918, seems to begin where the first (dated 1917) ends, in which sadness is replaced by love as a feeling of harmony between nature and man, as the acceptance of the world and eternity - space and time - as a home. The lyrical hero is called upon to name everything (And involuntarily, in a sea of ​​​​bread\ The image is torn from the tongue...), to become the voice of the silent universe. If in the first poem the hero’s gaze is turned to the sky, all metaphors are connected with it, it symbolizes, first of all, another, eternal world (at first - hostile, frightening, oppressive, now - dear and beloved), then the world of the second text seems more intimate and domestic, the landscape is described in more detail, both the sky and the star are given in a reflected, “grounded” form. Listening to the rational flesh, the hero comes to the desire to dissolve in the revealed beauty of nature, to become a part of it. The evolution of the lyrical hero does not lead to absolute harmony and peace (Loving everything, wanting nothing) - a painful desire remains: to merge with nature to the end (It would be nice, smiling on a haystack, to chew hay with the muzzle of the moon...).

“Golden foliage began to spin…” Sergei Yesenin

Golden leaves swirled
In the pinkish water of the pond,
Like a light flock of butterflies
Freezingly, he flies towards the star.

I'm in love this evening,
The yellowing valley is close to my heart.
The wind boy up to his shoulders
The hem of the birch tree was stripped.

Both in the soul and in the valley there is coolness,
Blue twilight like a flock of sheep,
Behind the gate of the silent garden
The bell will ring and die.

I've never been thrifty before
So did not listen to rational flesh,
It would be nice, like willow branches,
To capsize into the pink waters.

It would be nice, smiling at the haystack,
The muzzle of the month chews hay...
Where are you, where, my quiet joy,
Loving everything, wanting nothing?

Analysis of Yesenin’s poem “The golden foliage began to spin…”

The early works of Sergei Yesenin have amazing magical powers. The poet, who has not yet become disillusioned with life and has not lost the meaning of his own existence, never tires of admiring the beauty of the surrounding nature. Moreover, he communicates with her on an equal basis, endowing inanimate objects with the qualities and characters of ordinary people.

The poem “Golden Foliage Spun…”, which was written in the fall of 1918, also belongs to this romantic period of the poet’s work. This work exudes amazing peace and purity, as if in such a simple way Yesenin is trying to mentally escape from the bustle of Moscow, which causes melancholy and irritation in him.

It is in the poems of the wounded period that the poet reveals his true feelings and aspirations; he is irresistibly drawn to his homeland, where “the boy-wind covered the hem of the birch tree up to his shoulders.” Surely in Yesenin’s life there were many such quiet and joyful evenings, when he was in complete harmony with the world around him. And he managed to carry this feeling through the years, trying again and again to resurrect it in his memory. He compares the blue twilight of the coming night to a flock of sheep; the month reminds him of a young foal, which seems to be chewing hay, collected into a haystack by someone’s caring hands. At the same time, the poet notes that “never before have I listened so carefully to rational flesh.” With this phrase, he emphasizes that the surrounding nature is much wiser than man, and one should learn from it not only restraint, but also the quiet joy that it knows how to give so generously and free of charge.

In every line of this poem one can feel how much the author admires the ordinary rural landscape, which he identifies with his homeland. It is the pond, with water colored by the sunset in a soft pink color, and the yellowed leaves falling into it, that give Yesenin the feeling of peace and joy that a loving mother earth can give to her unlucky prodigal son who has returned home. However, creating these images of extraordinary beauty, the author only mentally returns to the village of Konstantinovo, where he spent his carefree childhood. His real life is already closely connected with the capital's elite, although the poet himself does not yet realize that in his poems he is forever saying goodbye to his homeland, which is close, understandable and infinitely dear to him. However, in the lines of this poem there are already clearly visible notes of mental confusion and anxiety when Yesenin asks: “Where are you, where, my quiet joy - loving everything, wanting nothing?” The poet understands that his past life is turning into a mirage every year, but he is unable to give up what he truly loves, although he understands that fate confronts him with the need for a choice, cruel but inevitable.