Why Anna Snegina is the best work of Yesenin. Analysis of “Anna Snegina” Yesenin

The soulful lyrics of Sergei Yesenin leave no one indifferent. The poem “Anna Snegina” is one of the peaks in the poet’s work. The subtle, simple and gentle soul of Yesenin emerges in it, who made himself the main character and the poem autobiographical.

The poem was written in 1925 in Batumi, shortly before the poet's death. Just as Bunin, before his death, recalled his youth and love in the “Dark Alleys” cycle, so Yesenin recalls with bright sadness his past love and a new meeting with Anna. Both writers created their works in one breath, as if they were afraid of not having time. Both have similar realities: an old estate, a garden, a girl’s dress turning white in the twilight at the gate, images of poor peasants, doubts about the rightness of their actions:

I'm walking through an overgrown garden,

The face is touched by lilac.

So sweet to my flashing glances

Aged wattle fence.

Once upon a time at that gate

I was sixteen years old

And a girl in a white cape

She told me affectionately: “No!”

The poem shows not only the personal story of the hero, in it the author sums up his creative path and the historical path of the country. Two lines, lyrical and epic, are closely intertwined in the plot of the work. The lyrical beginning is manifested in the story of the hero’s love for the landowner’s daughter Anna Snegina. For the poet, it was a bright, pure feeling of youthful love, which remained that way for the rest of his life. The attitude towards the girl shows tenderness and grateful respect.

The story told in the poem begins when the author was sixteen years old, and ten years later he returned to his native village, where the house of the landowner Snegina still stands. The lyrical beginning comes through even in social scenes, since the author is tuned to personal memories. The hero walks through the village, and the past appears before him:

Moon with golden powder

Scattered the distance of villages.

Pre-revolutionary events constitute the epic plan of the poem: First World War, February Revolution, struggle for power in the countryside. Yesenin is aware of political events. He comes to the village between the February and October revolutions. The poet recalls the war with condemnation and indignation. He considers it madness and a crime. People were killed en masse for someone's fat wallets. Yesenin assesses the war:

The war has eaten away at my soul.

For someone else's interest

I shot at a body close to me

And he climbed onto his brother with his chest.

In the hands of clever politicians, people turn into toys that they cleverly manipulate. Smart people understand the anti-human essence of any war. The poet speaks with indignation about agitators and false propaganda that called on people to die for other people's interests. These screamers quietly sat in the rear while the bloody battles were going on.

In the village, Yesenin meets peasants who remember him well. The poet perceives the revolution realistically and does not embellish the life of the peasants. He is far from idealizing men. Men from neighboring villages are fighting. The reason is envy of more prosperous neighbors. The men realized that they could rob with impunity, and they wanted to get the land of the landowner Snegina. “Activists” during the years of the revolution became the most worthless, former drunkards, rowdies and lazy people. This is the brother of Pron Ogloblin. The villagers know his “merits” very well, but it is he who becomes the head of the village council. The hero says condemningly:

These are always on the lookout.

They live without calluses on their hands.

And here he is, of course, on the Council,

He hid the medals in the chest.

Pron Ogloblin himself is exhaustively characterized by the old miller’s wife:

A bully, a brawler, a brute.

He is always angry with everyone

Drunk every morning for weeks.

Already in the city, the poet learns what happened in the village after the revolution. The miller writes in a letter: “We do not live in paradise.” That says it all.

Like many people from the noble class, Anna ended up in exile after the revolution. Deprived of her homeland, the exile yearns for her native land, for past love. Old Miller hands Sergei a letter with a London stamp from Anna Snegina. Exciting memories arise in the hero’s soul:

They were such distant darlings!..

That image has not faded away in me.

We're all in these loved for years,

But that means

They loved us too.

With these words Yesenin ends the poem. A grandiose revolution has taken place in the country, everything has changed, but love remains unchanged, it gives strength and hope.

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It's no secret that facts from the personal lives of poets, writers, and artists are often reinterpreted on a different level - so that they form the basis of a poem, novel, or painting. Maxim Gorky’s autobiographical trilogy “Childhood” is widely known. In people. My universities." This happened with the 20th century poet Sergei Aleksandrovich Yesenin. Having visited his native village of Konstantinov, Ryazan province, in 1918, after the outbreak of the October Revolution, he later created several poems dedicated to rethinking the events that had taken place, and his, perhaps, most important poem "Anna Snegina". It was completed before his death - by the end of January 1925.

Unfortunately, the poem was received indifferently and even negatively by the literary community and criticism. But it was a huge success among the average reader. Many explained this unusualness by its similarity to Pushkin’s novel Eugene Onegin. After all, even the similarity of the characters' surnames - Onegin and Snegin - involuntarily refers the reader to Pushkin's work.

Like Pushkin, the sad love story is inscribed in the context of the time. Before the reader's eyes, times change, the voices of different characters are heard: the hero himself, Anna, her mother, the landowner Snegina, Pron Ogloblin and his brother Labuti. Even the nameless driver, who leads the narrative at the beginning of the poem, involuntarily recalls the lines from the beginning of “Eugene Onegin”: “So thought the young rake...”. In a word, this is a new “encyclopedia of Russian life” - this time post-revolutionary.

The action of Sergei Yesenin's poem takes place in two neighboring villages - Radovo and Kriusha. Time of action- war and revolution. Therefore, the drama of this historical period of time is manifested even in the poetic meter: if Pushkin has iambic tetrameter, then Yesenin chooses Nekrasov’s meter - trimeter amphibrachium, slower, more thorough, weighty.

The poem is autobiographical, like many works of that period. The hero-narrator is a young peasant poet who became famous in the pre-revolutionary years, like Yesenin. And here prototype of Anna Snegina critics considered Lydia Kashina, whose estate was adjacent to the village of Konstantinovo, where Yesenin was born and raised. At one time, young Seryozha Yesenin dedicated one of his early poems to this girl, his first love:

Green hair, girlish breasts,
O thin birch tree, that looked into the pond? ...

The image of this bright time appears in the hero’s memory at the beginning of the poem and runs through the entire plot as a sign of unfulfilled happiness. Their paths diverged decisively: he is a famous poet, she is the wife of another man. But something remains, and, having met Anna, he feels like again "full of the influx of sixteen years".

And here is a new meeting after a sharp turn of fate: the heroine’s husband is killed, and she throws merciless words in the poet’s face:

You are a pathetic and low coward.
He died…
And here you are...

It seems that she has the right to such contempt, because in her eyes the narrator is a deserter. But he is a convinced deserter, what is called “ideological”, and in his understanding “The war has eaten away my soul”. Many people think and feel this way - those with whom the hero is connected by his "of peasant origin". For example, Pron Ogloblin, "boulder, brawler, brute", which “always angry with everyone”. However, at the moment when war was declared, he killed the foreman who organized mobilization in the village with an ax at "to all honest people". To some extent, he is the hero’s double, but not because he is also a deserter. Having learned about the October Revolution, Pron hurries to congratulate the hero on what happened.

Yesenin with cruel truthfulness portrays this drunkard and murderer as a kind of stronghold of the revolution. And with the same honesty, Yesenin makes his autobiographical hero responsible for what is happening - after all, he and Pron are taking the land from the Snegins.

Then the plot shifts another few years: the Civil War has passed, Pron is gone - he died from Denikin’s bullet, Anna is not there - she is in exile. But the hero reads her London letter and understands: in the soul that which, it seemed, should have been exterminated, destroyed by time and events forever, is still alive.

But no: the hero remembers how “at that gate over there” when he was sixteen years old, "girl in a white cape" told him kindly "No". Judging by the hero’s reflections, in such years everyone loved, but the last lines about how they were loved in return add optimism. Such an epilogue is important for the poet himself: it meant that both the past and the future are interconnected for the hero. The last part of the poem seems to connect all times into one, emphasizing their inseparability and inseparability from the fate of the homeland.

The breadth of the artistic space of the poem, its openness to the best movements of the human soul determine the uniqueness of the last and main poem of the “poetic heart of Russia” by Sergei Yesenin.

• “I left my home…”, analysis of Yesenin’s poem

...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. Only I came to simplicity...
From a letter to Benislavskaya
(while working on the poem)

In my opinion, it's better than anything I've written.
S. Yesenin about the poem

Lyrical outline of the poem. Name.
The image of Anna Snegina. The image of the main character - the Poet

The poem is autobiographical, based on memories of youthful love. But in the poem the personal fate of the hero is understood 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 handed over her house in Konstantinov to the peasants, and she herself lived in an estate on White Yar on the Oka River. 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 and 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. Her main topic- personal, but through the fate of the poet and main character Epic events are revealed. The name itself suggests that Anna is the central image of the poem. The name of the heroine sounds particularly poetic and polysemantic. This name has full sonority, beauty of alliteration, richness of associations. Snegina - a symbol of purity 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 tree”, “snowy” bird cherry...

The lyrical plot - the story of the failed love of the heroes - is barely outlined in the poem, and it develops as a series of fragments. The failed romance of the poem's heroes 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 parting, the heroine ended up in exile - in England, from where she writes a letter to the hero of the poem. But time and the revolution did not take away the memory of love from the heroes. The fact that Anna Snegina was away from Soviet Russia, is a sad pattern, a tragedy for 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 thing in the poem.

The poet - the hero of the poem - constantly emphasizes that his soul is already in many ways closed to the best feelings and wonderful impulses:

Nothing penetrated my soul, Nothing confused me.

Sweet smells flowed, And there was a drunken fog in my thoughts... Now I wish I could have a good romance with a beautiful soldier.

And even at the end of the poem, after reading a letter from this woman who was forever lost to him, he seems to remain as cold and almost cynical as before: “A letter is like a letter. For no reason. I wouldn’t write such things in my 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 thing that happens to a person 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 "":

living life

I walk through the overgrown garden, the lilac touches my face.

The main part of the poem (four chapters out of five) reproduces the events of 1917 on Ryazan land. The fifth chapter contains a sketch of rural post-revolutionary Rus' - the action in the poem ends in 1923. The events are given sketchily, and what is important to us is not the events themselves, but the author’s attitude 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 imperialist and fratricidal civil war. The village during the revolution and civil war is unquiet:

We're uneasy here now.

Everything bloomed with perspiration.

Continuous peasant wars - They fight from village to village.

These peasant wars are symbolic; they are a prototype of a great fratricidal war, a national tragedy, from which, according to the miller’s wife, Race almost “disappeared.” Condemnation of 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 first deserter in the country.”

I think: How beautiful the Earth is and the people on it.

And how many unfortunate Freaks are now crippled by the war!

And how many are buried in the pits!

And how many more will they bury!

And I feel in my stubborn cheekbones a cruel spasm of my cheeks...

Pron is the embodiment of the Pugachev principle. Let us remember that Pugachev, who declared himself a tsar, stood above the people, was a despot and a murderer (see, for example, “The History of Pugachev” by A.S. Pushkin with a huge list of Pugachev’s victims attached to it). Pron Ogloblin stands above the people:

Ogloblin stands at the gate And I'm drunk in my liver and in my soul, I'm stabbing the impoverished people.

"Hey, you! Cockroach spawn! Everyone to Snegina!

And immediately, seeing me, Reducing his grumpy agility, He said in genuine offense: “The peasants still need to be cooked.”

Pron Ogloblin, in the words of the old millwoman, is “a brawler, a rude man” who “has been drunk since morning for weeks at a time...”. For the old millwoman, Pron is a destroyer, a killer. And among the poet himself, Pron evokes sympathy only where his death is spoken of. In general, the author is far from Pron; there is some 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 de-peasantization is only foreshadowed in the poem, but the very type of leader standing above the people is correctly noted. Pron is opposed in Yesenin’s poem by a different type of national leader, about whom the people can say: “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.”, acquires a tragic sound in the finale, then Labuti’s life is a pathetic, disgusting farce (and a much more pathetic farce than, for example, the life of Sholokhov’s grandfather Shchukar, whom one can feel sorry for in some ways). It is significant that it was Labutya who “went first to describe the Sneginsky house” and arrested all its inhabitants, who were later saved from a speedy trial by a kind miller. Labuti’s principle is to live “not a callus on your hands,” he is “a boaster and a devilish coward.” It is no coincidence that Pron and Labutya are brothers.

Pron had a brother, Labutya, A man - like your fifth ace: At every dangerous moment, a boaster and a devilish coward.

Of course, you have seen such people.

Fate rewarded them with chatter... Such people are always in sight, 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 principles. It is no coincidence that in the poem the miller constantly connects people. His saying is also significant: “For the sweet soul!” He, perhaps, most of all embodies this whole, kind-hearted Russian soul, personifies the Russian national character in its ideal version.

Language of the poem

A distinctive feature of the poem is its nationality. Yesenin abandoned the 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 millwoman, and Pron, and Labuti, and the hero himself. The poem is distinguished by its polyphony, and this corresponds to the spirit of the era being reproduced, the struggle of polar forces.

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

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

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

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

The theme of the homeland and the theme of time are closely connected in the poem. And in a chronological sense, the basis of the poem is as follows: the main part (four chapters) is the Ryazan land of 1917; in this chapter there is a sketch of the fate of one of the corners of large rural Rus' from the revolution to the first years of peace (the action in the poem ends in 1923). Naturally, behind the fate of one of the corners of the Russian land, the fate of the country and people is guessed. The author has selected those facts that date back to the largest historical events in the country: the First World War, February Revolution, October Revolution and class struggle in the countryside. But for us, what is especially important is not the depiction of epic events itself, but the poet’s attitude towards them.

Yesenin does not idealize the Russian peasantry, he sees its heterogeneity, sees in it the miller and the old woman, and the driver from the beginning of the poem, and Pron, and Labute, and the peasant clasping his hands from profit... The poet sees a unique basis of life in the working peasantry, whose fate is the epic basis of the poem. This fate is sad, as is clear from the words of the old millwoman:

We're uneasy here now.

Everything bloomed with perspiration.

All men's wars-

D they fight from village to village.

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

The war has eaten away at my soul.

For someone else's interest

I shot at a body close to me

And he climbed onto his brother with his chest.

I realized that I- toy,

There are merchants in the rear, you know...

And only at the end of the poem a bright chord sounds - a memory of the most beautiful and forever, forever gone. We are convinced that all the best that is left behind the hero lives in his soul:

I'm walking through an overgrown garden,

The face is touched by lilac.

So sweet to my flashing glances

A proud fence.

Once upon a time at that gate over there

I was sixteen years old

And a girl in a white cape

She told me kindly:

"No!" They were distant and dear!

That image has not faded away in me.

We all loved these years,

But that means

They loved us too.

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

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

"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 ever parted. By this time, the lyrical heroine is already becoming a married woman.

The main character of the work is a poet. His name, like the author’s, is Sergei. In addition, he has a clear portrait resemblance to S.L. Yesenin. After a long absence, he returns to his native place. The hero took part in the First World War, but soon realized that it was being fought “for someone else’s interest,” and deserted, buying himself a forged document - a “linden tree.” The plot of the poem contains autobiographical features. It is inspired by memories of S.A.’s feelings. 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 outline of the poet’s contemporary social reality, including both pictures of peaceful village life and echoes of wars and revolutionary events. The poem was written alive spoken language, is full of dialogues, gentle humor and deep nostalgic feelings.

The poet’s patriotic feeling is embodied in the subtlety of the Central Russian landscape he created, a detailed story about the traditional peasant way of life that exists in the prosperous village of Radovo. The very name of this place is symbolic. Such a village really exists in Meshchera. The author's sympathies are clearly directed towards him. The men in the village live prosperously. Everything here is done in a proper and thorough manner.

The prosperous Radov is contrasted in the poem with the village of Kriushi, where poverty and squalor reign: “Their life was bad - Almost the entire village galloped Plowing with one plow On a pair of hackneyed nags.” The peasants have rotten huts. It is symbolic that no dogs are kept in the village; apparently, there is nothing to steal from houses. But the villagers themselves, exhausted painful fate, stealing timber in Radov. All this gives rise to conflicts and civil strife. Thus, with the description of a local conflict, the theme begins to develop in the poem social contradictions. 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 income and socio-political views. Gradually, the once calm and prosperous Radovo is drawn into a series of troubles: “The reins have slipped from happiness.”

An important feature of the poem is its anti-war orientation. Looking at the light spring landscape, as the gardens of his native land bloom, the hero feels even more acutely the horror and injustice that war brings: “I think: How beautiful the Earth is and the people on it. And how many unfortunate Freaks are now crippled by the war! And how many are buried in the pits! And how many more will they bury!” Human life is unique and inimitable. How happy the heroes of the poem must have been, spending it together among these beautiful gardens, forests and fields of their native land. But fate decreed differently.

Sergukha is visiting an old miller, who contributes to the story about the riches of Meshchera: “This summer we have more than enough mushrooms and berries in Moscow. And the game is here, brother, to hell, It’s like gunpowder itself.” While visiting the miller, thanks to the simple realities of village life, the hero is immersed in memories of his youthful love. Happy to meet his native places, the hero dreams of starting an affair. Symbol love feeling in the poem it becomes lilac.

Also important in the work is the figure of the miller himself, the hospitable owner of the house, and his busy wife, who strives to feed Sergei tastier: in the evening he serves a pie for tea, and already at dawn bakes pancakes for his dear guest. Sergei’s conversation with the old woman conveys the popular perception of the author’s contemporary era: simple people Those who spend their lives in labor, in close proximity to the natural world, do not understand high revolutionary ideas and bright romantic impulses directed to the future. They live for today and feel how much more current everyday worries they have. In addition to the First World War, for which soldiers were taken to villages and hamlets, the peasants are plagued by local conflicts that worsened during the era of anarchy. And even an ordinary village old woman is able to see the reasons for these social unrest: “All the misfortunes rained down on our unreasonable people. For some reason they opened prisons and let in the daring villains. Now on the high road there will be no peace from them.” S.A. Yesenin shows how a disruption in the usual course of events, the very revolutionary transformations that were carried out in the name of the people, actually turned into a series of new problems and anxieties.

It is symbolic that it is the miller’s wife (a busy housewife and a sensible woman, rich in folk practical wisdom) who first characterizes Pron Ogloblin, the hero who embodies the image of a revolutionary-minded peasant in the poem: “A bully, a brawler, a brute. He’s always angry with everyone, Drunk every morning for weeks.” S.A. 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 willingly went to share the landowners' property.

Sergei falls ill, and Anna Onegina comes to visit him herself. Autobiographical motifs are again heard in their conversation. The hero reads poems 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 Sergei finds out that Anna is widowed. IN folk tradition There is a belief that when a woman is waiting for her husband or fiancé to return from war, her love becomes a kind of amulet for him and keeps him in battle. Anna's arrival to Sergei and attempt to continue romantic communication with him are perceived in this case as betrayal. Thus, Anna becomes indirectly responsible for the death of her husband and realizes this.

At the end of the poem, Sergei receives a letter from Anna, from which he learns how hard she is experiencing separation from her homeland and everything that she once loved. From a romantic heroine with all her external attributes (gloves, shawl, white cape, White dress) Anna turns into an earthly suffering woman who goes to the pier to meet ships that have sailed from distant Russia. Thus, the heroes are separated not only by the circumstances of their personal lives, but also by profound historical changes.