Sergei Yesenin, "Persian motifs": analysis of the cycle of poems and a summary

Yesenin's poetry in the period from 1917 to 1923 was the most controversial for the entire period of the poet's work. However, the leading trend, the main trend, is especially noticeable in it. Disappointed and doubting, Sergei Aleksandrovich Yesenin closely follows the reality of the post-revolutionary period and eventually, although it is difficult for him, he realizes the need for Lenin's reforms in the country.

In this consciousness, the foreign impressions, feelings and thoughts that were reflected by the poet in the essay "Iron Mirgorod" and the play "The Country of Scoundrels" played a far from last role.

The foreign impressions received in America and Europe, were thought out especially sharply in conditions of active labor everyday life in which Yesenin appeared after returning to Russia. The Russian reality, the pictures of the life of the country were contrasted in the works seen abroad and reflected its analysis.

"Persian motifs" (Esenin) refers to the last period of the poet's work. In the last two years, he was haunted by the desire to be a worthy resident of his country, as well as an orientation toward the artistic heritage of A.S. Pushkin.

"Persian motifs" in the poet's work

In each poem, incessant searches of the refined classical form for reflection of the new content are audible. Yesenin again and again returns to the eternal themes of friendship, love, thoughts about the appointment of art. In other words, motifs about the transience of earthly life also sound in these years.

The most vivid lyrics of Sergei Alexandrovich are expressed in the cycle "Persian Motives". It reflects not only the psychological and ideological evolution of the poet, but also some features of poetic evolution.

Estimates of contemporaries

Like other works of Yesenin in 1924-1925, the cycle of poems "Persian motifs" was ambiguously appraised by the critics of that time. At that time, a serious critical literary analysis was not made. "Persian motifs" (Yesenin) were evaluated mainly on the impressions produced by a quick acquaintance with the text or reading it by the poet himself. Often these were largely subjective vague statements and notes. They can be found in the memoirs and articles of Yesenin's contemporaries. However, they do not give an exhaustive idea of the true attitude to the "Persian verses" of the literary circles of our country. Already at that time, there were other, more negative assessments.

Thus, V. Mayakovsky in his article "The Born Cities" contrasted the verses of this cycle with the current tasks of Soviet culture. However, the obviously erroneous and prejudiced attitude of these two poets to each other's lyrics was due to a clash of different interests and a heated literary struggle of that time. Yesenin also spoke negatively about the works of Mayakovsky, and he called "Persian motifs" only "eastern sweets," exotic.

Contemporary criticism

In modern criticism and domestic literary criticism of the last decade, the Persian cycle is highly appreciated. He was dedicated to the works of V. Pertsov, K. Zelinsky, A. Dymshits, E. Naumov, I. Eventov, A. Zhavoronkov, A. Kulinich, S. Koshechkin, S. Gaisaryan, V. Belousov and others. However, there are still very few special works devoted specifically to these poems.

The design of the "Persian motifs"

The idea matures gradually with the poet. First Esenin got acquainted with the lyrics of various Eastern authors in translation, and also at various times often spoke with people who knew Persia well. According to the testimony of contemporaries, the poet always showed great interest in the East, which attracted him with his secret, mysteriousness, the order of spiritual life, the beauty of southern nature, which were deeply and deeply expressed in the works of Khayyam, Firdousi, Saadi. Matvei Roizman, a poet's acquaintance, writes in his memoirs that Sergei Aleksandrovich was fond of eastern lyrics in 1920.

Prerequisites for creation

Interest in the East was also associated with communication with Alexander Shiryaevets, especially after his move from Central Asia to Moscow, where he lived until 1922. To get to know the eastern life of the poet more interested in poetry, he traveled to Tashkent, Baku, Bukhara in 1920-1921. In other words, it was not a trip to the Caucasus that aroused interest in oriental poetry in Sergei Aleksandrovich, but on the contrary, acquaintance with her prompted him to go there.

In Persia itself, as it was already proved, the poet did not visit, although this country was very eager to visit Yesenin.

"Persian motifs" were written by the poet during the period from October 1924 to August 1925. Most of these works were created before May 1925 during his stay in the Caucasus.

Yesenin "Persian Motives": the history of creation

Impressions from reading eastern poetry, trips to Central Asia, life and nature of the Caucasus, as well as long conversations about Persia allowed Yesenin to catch and convey in his work the most significant colors of eastern life.

Sergei Yesenin "Persian motifs" wrote not just imitating the eastern poets. He, feeling the inner beauty and deep lyricism of the Persian poems, transferred the unforgettable charm by the means of the Russian language. In the works of Sergei Alexandrovich, the world of lyrical feelings, as well as the colors and tones in which they are embodied, is of primary concern.

Toward the beginning of his work on poems, the poet acquired mental equilibrium, which he considered the main prerequisite for creative activity. This condition was expressed in the very first lines of Yesenin ("Persian motifs", collection): "My old wound has subsided - drunken delirium does not bother my heart." Already in this poem that was created in October 1924, which opens the cycle, you can feel the color that paints it as a whole. Sergey Alexandrovich feels well in the company of a girl who looks like a "dawn". For one movement, he is ready to give her a shawl and a carpet.

From poetry, the crude naturalism characteristic of earlier verses in the coverage of a love topic departs. This feeling is depicted now exalted, and in the nature of the East, worldly wisdom and customs of his people, the poet finds a romance that permeates the entire cycle (Sergei Esenin "Persian motifs").

The poems were originally planned to be published in a separate book containing twenty poems. Although the plan was not fully implemented, the book was completed. It shows the evolution of the new sentiments experienced by Yesenin.

"Persian motifs", poems alive and emotional, reflect the optimism, joy of life, inherent in that period, Sergei Aleksandrovich. The poet is intoxicated by another, "sobering with moisture." Instead of alcohol, he uses red tea, and gets drunk from the fragrant aromas of southern nature contained in him.

Features of the poems

Despite the fact that the poet did not manage to visit Persia, Yesenin knew the customs and customs of this country. "Persian motifs" from the first verse "My old wound wore away" to the last "Blue and cheerful country" reflect a unique oriental flavor. The poet attains it by means of a special construction of the cycle, the description of situations and pictures of nature, as well as the use of words and expressions characteristic of the East. Exotics is represented by mysterious girls, the whisper of gardens, the sound of waves, the color of roses, the singing of nightingales and a generally romantic mood. Spirituality is impregnated literally everything: the sounds of Hassan's flute, Saadi's songs, the quiet voice of the peri, the look of the girl, comparable only to the month, the aromas of oleanders, roses and gillyflowers. Everywhere calm and silence, disturbed only by a mysterious rustle, whisper and rustle. Such a mood creates in his works Yesenin.

"Persian motifs," whose poems include fabulous elements, set off the exoticism of the east in this way.

Yesenin "Persian Motives": a summary

"Gold of the cold moon" begins with the invasion of the world of Shahrazade. Olfactory and visual sensations here, as in other works of the cycle, merge. We smell different colors, see the gold of the moon. The poem is filled with a sense of peace and tranquility.

Shiraz at sunset is described in the verse "The light of the evening saffron edge," where the "moon's moth" swirls with the moon. Serenity gives Sergei Alexandrovich a sense of admiration for beauty, which expresses in all the new shades of Yesenin.

"Persian motifs" often focus on a love topic.

Love theme

Love is framed by the most delicate shades. The author creates a hymn to a romantic, pure feeling. To express it, he selects the most tender words and images. For example, a kiss is compared to red roses, and the girl, carrying joy and purity, is associated with a snow-white swan ("Cute Hands - a pair of swans"). Girls in the cycle are not only externally beautiful, but also full of charm, grace, special charm, surrounded by a halo of mystery.

The physical, sensual in the "Persian motifs" have no place. The beautiful takes over him. In this respect, the verse "You said that Saadi ..." is revealing. Even roses, a symbol of beauty and freshness, can not compare with the beautiful appearance of a girl.

The central image is the image of Shagane. She is dedicated to the work "Shagane, you are mine, Shagane!" The poet addresses the girl as a true friend, tries to tell her a lot of interesting things about her native Ryazan land, her vast meadows, wide fields and expanse. In many other verses of the cycle there is the name of this Persian, sometimes the diminutive one of Step. Its prototype is the teacher Shagane Talyan. The image of this girl attracts with spiritual purity and charm. With her name, the poet has the best memories.

Theme of death

The theme of death is revealed by Yesenin ("Persian motifs") on the other hand, not as in earlier works. If before it was almost the only way to get away from a boring life, then in the "Persian motifs" in death is the wisdom of nature. Thus, in the work "The Gold of the Cool Moon ..." Bagdad is mentioned, in which the deceased Shahrazada lived. Death is contrasted with the eternity of life. Gravestones surround a surprisingly beautiful and fresh landscape - the air is saturated with the scent of saffron, roses are everywhere blooming. Among the tombstones, optimistic words are heard: "Look around, how nice it is around."

Contradictions

However, some of the contradictions inherent in the whole poet, reflects the cycle "Persian motifs" Yesenin. He imagines treason of his beloved and, once again disappointed, he is ready to become a tramp. But the motives of disappointment and sadness are not so desperate.

Calm and tranquility were short and fragile. Closer to the end of Yesenin's cycle, separation from his native country is increasingly weighing on, he believes less and less in the devotion and constancy of the beauties of Persia.

The poet looks at many things critically, with "Russian" eyes. It is alien to the theft of girls, he condemns the custom by which they are obliged to cover the face with a veil, notes the slavish adherence to traditions and the falsity of the relations of the Persians.

In general, the cycle "Persian motifs" Yesenin rather romantic, rather than realistic. Realism, proclaimed in the poem "To be a poet ...", will develop in other works, for example in "Anna Snegina." In "Persian motifs" were outlined aspects that were further developed in the poems and lyrics of these and subsequent years of Sergei Alexandrovich.