R. Kleiner reads
“The world is mysterious, my ancient world ...” - Reads S. Yesenin
Mysterious world, my ancient world,
You, like the wind, calmed down and sat down.
Here they squeezed the village by the neck
Stone arms of the highway.
So scared in the snow
There was a ringing horror…
Hello you, my black death,
I'm coming towards you!
City, city, you're in a fierce fight
He baptized us as carrion and scum.
The field freezes in melancholy,
Choking on telegraph poles.
Stringy muscle at the devil's neck,
And the cast-iron duct is easy for her.
Well, so what? It's not the first time for us
And crumble and disappear.
R. Kleiner reads
Rafael Aleksandrovich Kleiner (born June 1, 1939, village of Rubezhnoye, Lugansk region, Ukrainian SSR, USSR) - Russian theater director, People's Artist of Russia (1995).
From 1967 to 1970 he was an actor at the Moscow Drama and Comedy Theater on Taganka.
Yesenin Sergey Alexandrovich (1895-1925)
Yesenin was born into a peasant family. From 1904 to 1912 he studied at the Konstantinovsky Zemstvo School and at the Spas-Klepikovskaya School. During this time, he wrote more than 30 poems, compiled a handwritten collection "Sick Thoughts" (1912), which he tried to publish in Ryazan. The Russian village, the nature of central Russia, oral folk art, and most importantly, Russian classical literature had a strong influence on the formation of the young poet, directed his natural talent. Yesenin himself at different times named different sources that fed his work: songs, ditties, fairy tales, spiritual poems, “The Tale of Igor's Campaign”, the poetry of Lermontov, Koltsov, Nikitin and Nadson. Later he was influenced by Blok, Klyuev, Bely, Gogol, Pushkin.
From Yesenin's letters of 1911-1913, the complex life of the poet emerges. All this was reflected in the poetic world of his lyrics in 1910 - 1913, when he wrote more than 60 poems and poems. Yesenin's most significant works, which brought him fame as one of the best poets, were created in the 1920s.
Like any great poet, Yesenin is not a thoughtless singer of his feelings and experiences, but a poet - a philosopher. Like all poetry, his lyrics are philosophical. Philosophical lyrics are poems in which the poet speaks about the eternal problems of human existence, conducts a poetic dialogue with man, nature, earth, the universe. An example of the complete interpenetration of nature and man is the poem "Green Hairstyle" (1918). One develops in two plans: a birch is a girl. The reader will never know who this poem is about - about a birch tree or about a girl. Because a person here is likened to a tree - the beauty of the Russian forest, and she - to a person. Birch in Russian poetry is a symbol of beauty, harmony, youth; she is bright and chaste.
The poetry of nature, the mythology of the ancient Slavs, are imbued with such poems of 1918 as “Silver Road...”, “Songs, songs about what are you shouting about?”, “I left my dear home...”, “Golden foliage spun...” etc.
Yesenin's poetry of the last, most tragic years (1922 - 1925) is marked by a desire for a harmonious worldview. Most often, in the lyrics one feels a deep understanding of oneself and the Universe (“I don’t regret, I don’t call, I don’t cry ...”, “The golden grove dissuaded ...”, “Now we are leaving a little ...”, etc.)
The poem of values in Yesenin's poetry is one and indivisible; everything is interconnected in it, everything forms a single picture of the “beloved homeland” in all its diversity of shades. This is the highest ideal of the poet.
Having passed away at the age of 30, Yesenin left us a wonderful poetic legacy, and as long as the earth lives, Yesenin, the poet, is destined to live with us and “sing with his whole being in the poet the sixth part of the earth with the short name “Rus”.
"Mysterious world, my ancient world..." Sergei Yesenin
Mysterious world, my ancient world,
You, like the wind, calmed down and sat down.
Here they squeezed the village by the neck
Stone arms of the highway.So scared in the snow
There was a ringing horror…
Hello you, my black death,
I'm coming towards you!City, city, you're in a fierce fight
He baptized us as carrion and scum.
The field freezes in melancholy,
Choking on telegraph poles.Stringy muscle at the devil's neck,
And the cast-iron duct is easy for her.
Well, so what? It's not the first time for us
And crumble and disappear.Let the viscous prickly for the heart,
This is a song of animal rights! ..
... So the hunters poison the wolf,
Clutching in a vise roundups.The beast fell down ... and from the cloudy bowels
Someone pull the trigger now...
Suddenly a jump ... and a double enemy
Fangs are torn apart.Oh, hello, my beloved animal!
You don't give yourself to the knife for nothing!
Like you, I, persecuted from everywhere,
I pass among the iron enemies.Like you, I'm always ready
And though I hear the victorious horn,
But taste the enemy's blood
My last, deadly jump.And let me on a loose vybel
I'll fall and bury myself in the snow...
Yet the song of vengeance for death
They will sing to me on the other side.
Analysis of Yesenin's poem "Mysterious world, my ancient world ..."
The theme of confrontation between the patriarchal rural world and the "iron" civilization determines the ideological content of the poem of 1921. In an effort to convey the sharpness and seriousness of the moment, the poet resorts to detailed metaphorical images: he likens the conflict to a physical struggle, a "brutal fight" or a raid on a wolf pack. Each of the author's associations has its own ideological and motive complex, which makes it possible to divide the composition of the poetic text into two parts.
In the first fragment, the lyrical "I" represents both sides of the conflict: the village and the city, the mysterious "ancient" world and the aggressive new reality. The traditional way of life is characterized by silence, silence and passivity, while the modern way of life is characterized by energy, assertiveness, and cruelty. A confident attack on the old ideals is expressed with the help of bizarre grotesque images: the highway squeezes the neck of the village, and the field is choked by telegraph poles. An insidious enemy, the city is not limited to physical impact, supplementing it with psychological pressure. In an effort to morally humiliate the enemy, he uses offensive cliches, reduced vocabulary.
The position of the hero is unambiguous. The subject of speech belongs to the traditional environment, the peasant society and the natural principle. The peculiarities of the position suggest the active participation of the hero in the confrontation, and in the second quatrain he expresses his readiness not only to fight, but also to die, defending the patriarchal way of life.
In the central quatrains, a motive of desperate resistance arises, unexpected for the aggressor. The plans of the latter for a quick victory did not materialize, the conflict dragged on. The passive peasant world, previously dormant, reveals new qualities: it is internally strong, wiry and ready to stand up for itself.
The wolf hunting scene opens the second part of the text. Here, too, an element of surprise comes to the fore: a predator rushes at an armed man, striving to tear apart the “two-legged enemy”. The subject of speech ardently sympathizes with the beast, defining his behavior as a feat, a conscious self-sacrifice.
The lyrical "I" compares itself to a wolf. The two heroes are united by common qualities - rejection and constant readiness to repel danger. The comparison ends with an identification: in the final lines, the subject of speech is transformed into a predator. Anticipating death, he wishes to end his life with a desperate struggle, a "death jump". Confidence in the coming retribution smooths out the tragic ending.
Sergei Alexandrovich Yesenin
Mysterious world, my ancient world,
You, like the wind, calmed down and sat down.
Here they squeezed the village by the neck
Stone arms of the highway.
So scared in the snow
There was a ringing horror…
Hello you, my black death,
I'm coming towards you!
City, city, you're in a fierce fight
He baptized us as carrion and scum.
The field freezes in melancholy,
Choking on telegraph poles.
Stringy muscle at the devil's neck,
And the cast-iron duct is easy for her.
Well, so what? It's not the first time for us
And crumble and disappear.
Let the viscous prickly for the heart,
This is a song of animal rights! ..
... So the hunters poison the wolf,
Clutching in a vise roundups.
The beast fell down ... and from the cloudy bowels
Someone pull the trigger now...
Suddenly a jump ... and a double enemy
Fangs are torn apart.
Oh, hello, my beloved animal!
You don't give yourself to the knife for nothing!
Like you, I, persecuted from everywhere,
I pass among the iron enemies.
Like you, I'm always ready
And though I hear the victorious horn,
But taste the enemy's blood
My last, deadly jump.
And let me on a loose vybel
I'll fall and bury myself in the snow...
Yet the song of vengeance for death
They will sing to me on the other side.
The theme of confrontation between the patriarchal rural world and the "iron" civilization determines the ideological content of the poem of 1921. In an effort to convey the sharpness and seriousness of the moment, the poet resorts to detailed metaphorical images: he likens the conflict to a physical struggle, a "brutal fight" or a raid on a wolf pack. Each of the author's associations has its own ideological and motive complex, which makes it possible to divide the composition of the poetic text into two parts.
In the first fragment, the lyrical "I" represents both sides of the conflict: the village and the city, the mysterious "ancient" world and the aggressive new reality. The traditional way of life is characterized by silence, silence and passivity, while the modern way of life is characterized by energy, assertiveness, and cruelty. A confident attack on the old ideals is expressed with the help of bizarre grotesque images: the highway squeezes the neck of the village, and the field is choked by telegraph poles. An insidious enemy, the city is not limited to physical impact, supplementing it with psychological pressure. In an effort to morally humiliate the enemy, he uses offensive cliches, reduced vocabulary.
The position of the hero is unambiguous. The subject of speech belongs to the traditional environment, the peasant society and the natural principle. The peculiarities of the position suggest the active participation of the hero in the confrontation, and in the second quatrain he expresses his readiness not only to fight, but also to die, defending the patriarchal way of life.
In the central quatrains, a motive of desperate resistance arises, unexpected for the aggressor. The plans of the latter for a quick victory did not materialize, the conflict dragged on. The passive peasant world, previously dormant, reveals new qualities: it is internally strong, wiry and ready to stand up for itself.
The wolf hunting scene opens the second part of the text. Here, too, an element of surprise comes to the fore: a predator rushes at an armed man, striving to tear apart the “two-legged enemy”. The subject of speech ardently sympathizes with the beast, defining his behavior as a feat, a conscious self-sacrifice.
The lyrical "I" compares itself to a wolf. The two heroes are united by common qualities - rejection and constant readiness to repel danger. The comparison ends with an identification: in the final lines, the subject of speech is transformed into a predator. Anticipating death, he wishes to end his life with a desperate struggle, a "death jump". Confidence in the coming retribution smooths out the tragic ending.
Text: write-stihi.ru
