Oh, laugh, laughers!
Oh, laugh, laughers!
That they laugh with laughter, that they laugh with laughter,
Oh, laugh wickedly!
Oh, mocking laughter - the laughter of clever laughers!
Oh, laugh merrily, laughter of mocking laughers!
Smeyevo, smeyevo!
Smile, laugh, laugh, laugh!
Laughs, laughs.
Oh, laugh, laughers!
Oh, laugh, laughers!

Analysis of the poem "The Spell of Laughter" by Khlebnikov

The work "The Spell of Laughter" by Velimir Khlebnikov was first published in the collection "Studio of the Impressionists". During this period, the poet was looking for his poetic voice, moving away from symbolism towards the absolute avant-garde.

The poem was written at the turn of 1908 and 1909. Its author is 23 years old, he is a student, he has already made his debut in print with his poems, he is passionate about mythology and linguistics. By genre - avant-garde lyrics, by size - trochee. In the epiphora of most lines, you can see a paired rhyme, or you can not see it. The lyrical hero is the author himself, observing a certain action. The title suggests that the poet would like to put the reader into a trance, to take him out of the ordinary. He considers himself a shaman, a Pied Piper of Hamelin. The hero casts a spell. Most lines begin with an interjection "O". That is, the hero from the very beginning is in an ecstatic state. He majestically addresses the laughers: Laugh! What effect does he expect from their laughter? Definitely revolutions in all areas of life. On the 7th, 8th and 9th lines, the hero seems to run out of breath, takes a breath. In the finale, he begs the laughers to continue to “make fun” again and again. Like a real alchemist, the poet mixes the roots of words with new suffixes, prefixes, endings, rearranges parts of words, organizes words into an order in which you will not immediately see the meaning. According to his idea, these peculiar "golems" should breathe new life into words, poetic speech. The renewal of the form, according to V. Khlebnikov, endows the word with richer content.

In essence, the meaning is not born new, but consists of meanings related by the consonance of words. For example, if you wish, you can see the construction "circus performers drink brilliantly." You can also take part in a play on words and see tricksters in the "smileyushki", as V. Mayakovsky did in his time. It is quite fair to assert that the neologisms of V. Khlebnikov did not enter the Russian language, well, except perhaps the notorious "laugher". His search for a secret, more precisely, occult, meaning of not even words, but letters, sounds - common to all mankind - did not end with any discovery, a breakthrough. V. Khlebnikov considered music much more eloquent than poetry. In this he agrees with the early work of O. Mandelstam.

The beginning of experiments with form, rhythm, and style led V. Khlebnikov to create his most famous poem, The Spell of Laughter.

The Spell of Laughter Velimir Khlebnikov

Oh, laugh, laughers!
Oh, laugh, laughers!
That they laugh with laughter, that they laugh with laughter,
Oh, laugh wickedly!
Oh, mocking laughter - the laughter of clever laughers!
Oh, laugh merrily, laughter of mocking laughers!
Smeyevo, smeyevo!
Smile, laugh, laugh, laugh!
Laughs, laughs.
Oh, laugh, laughers!
Oh, laugh, laughers!

Analysis of Khlebnikov's poem "The Spell of Laughter"

Velimir Khlebnikov is rightfully considered a reformist of Russian poetry. In his work, he experimented not only with rhyme and syllables, but also with word forms, arguing that it is not at all necessary to use all the richness and diversity of the Russian language to express his thoughts and feelings.

Being the founder of Russian futurism and a supporter of symbolism, Velimir Khlebnikov created a huge number of new words, many of which successfully took root in literature and colloquial language. At the same time, the poet treated his experiments with some disdain, believing that it was not at all necessary to have a literary gift to write poetry - it was enough just to have a rich imagination.

Notable in this respect is the history of the creation of the poem "The Spell of Laughter", which was written in 1909 and only by a lucky chance became public. A sheet of poetry was accidentally discovered in the poet's room by his friend, David Burliuk. Most likely, this work was destined to go to the trash, because that day Velimir Khlebnikov was packing his things, preparing for the move, and throwing drafts he did not need on the floor. Picking up one of them, David Burliuk was struck not only by the form, but also by the content of the poem "The Spell of Laughter." A year later, at his insistence, this work was included in the poetry collection "Studio of the Impressionists".

In this unusual poem, only one word is beaten - laughter, which, thanks to the author, unexpectedly takes on not only different forms, but also radically changes its meaning. It would seem that in Russian this word has a very definite and unambiguous meaning, characterizing the state of joy and fun. However, Velimir Khlebnikov made sure that the word forms he created evoked clear associations in readers and made it easy to understand the meaning of the poem. So, the heroes of the work are laughers (a word created by analogy with trumpeters, circus performers, etc.) - people who are called upon to amuse the audience. Their author calls to fully show their talent, to “laugh” and “laugh”. Moreover, the professional affiliation of the laughers to the artists is indicated by the fact that they “laugh with laughter”. That is, making people laugh is a constant and rather tedious job for them.

The very concept of laughter in the poem is elevated to the absolute. At the same time, it can be cheerful and harmless, or it can become an instrument of “ridiculous ridicule”, and, simply put, insults to those who do not like the laughers. At the same time, the poet very clearly draws a parallel between the “smiley laughers” and the “over-smiley laughers”. The former amuse the crowd and, at the same time, make fun of it. The latter, without knowing it, are the object of ridicule.

After the publication of The Spell of Laughter in 1910, a flurry of criticism fell upon Velimir Khlebnikov. The poet was accused of bad taste and the creation of useless neologisms that clog the Russian language. In support of Velimir Khlebnikov, only one Vladimir Mayakovsky spoke, who enthusiastically accepted this unusual work, stating that "The Spell with Laughter" is, literally and figuratively, a new word in Russian literature. In his opinion, the author managed to develop the lyrical theme in the work with just one word, which cannot but arouse admiration and admiration for the poet's talent.

Subsequently, many Russian and Soviet poets made attempts to experiment with word forms, but none of them managed to achieve such an accurate and masterful creation of a complete picture of the work, based on associations that generate neologisms.

Yesenin creativity nature image

S. Yesenin is an outstanding Russian poet, whose unique talent is recognized by all. The poet knew Russia from the side from which the people saw it, created a colorful and many-sided image of nature, sang a high feeling of love. The deep inner strength of his poetry, the coincidence of the path with the life of the people, with the life of the country, allowed Yesenin to become a truly national poet. “Art for me is not the intricacy of patterns, but the most necessary word of the language with which I want to express myself,” Yesenin wrote.

Yesenin is a true poet of Russia; a poet who rose to the heights of his skill from the depths of folk life. His homeland - the Ryazan land - fed and watered him, taught him to love and understand what surrounds us all. Here, on the Ryazan land, for the first time Sergei Yesenin saw all the beauty of Russian nature, which he sang in his poems. The poet from the first days was surrounded by the world of folk songs and legends:

I was born with songs in a grass blanket.

Spring dawns twisted me into a rainbow.

From childhood, Sergei Yesenin perceived nature as a living being. Therefore, in his poetry, an ancient, pagan attitude to nature is felt.

The poet animates her:

Schemnik wind with a cautious step

Creasing leaves on road ledges

And kisses on the rowan bush

Red ulcers to the invisible Christ.

Yesenin wrote the poem "Bird cherry snows" at the age of fifteen. But how subtly the poet feels the inner life of nature, with what interesting epithets and comparisons he endows the spring landscape! The author sees how bird cherry pours not with petals, but with snow, how “silk herbs wilt”, feels how it smells of “resinous pine”; He hears the bird singing.

In a later poem, “Beloved land, my heart dreams…”, we feel that the poet merges with nature: “I would like to get lost in the greenery of your callous”. Everything is fine with the poet: the mignonette, and the riza of porridge, and the defiant willows, and the swamp, and even "the cinder in the heavenly yoke." These beauties dream, and the heart. The poet meets everything and accepts everything in Russian nature, he is glad to merge in harmony with the outside world.

The earliest poems of Sergei Alexandrovich (1913-1914) are landscape sketches of amazing beauty, in which the Motherland is, first of all, that corner of the world where the poet was born and grew up. Yesenin makes nature animated in order to display the beauty of the surrounding world, its living essence as brightly as possible. Everything around lives its own life: “sunrise pours red water on cabbage beds”, “birch trees stand like big candles”. Even "nettles dressed up with bright mother-of-pearl" in the poem "Good morning."

Few poets see and feel the beauty of their native nature like Sergei Yesenin. She is sweet and dear to the heart of the poet, who managed to convey in his poems the breadth and boundlessness of rural Russia:

See no end and edge -

Only blue sucks eyes.

In Yesenin's poems, nature lives a unique poetic life. It is all in perpetual motion, in endless development and change. Like a man, she sings and whispers, sad and happy. In the depiction of nature, the poet uses images of folk poetry, often resorting to the method of personification. The bird cherry “sleeps in a white cloak”, the willows cry, the poplars whisper, “the spruce girls are saddened”, “the dawn calls another”, “the birch trees in white are crying through the forests”.

The nature of Russia is shown by Sergei Yesenin as something spiritualized, alive.

I see a garden covered in blue

Quietly August lay down on the wattle fence.

They hold lindens in green paws

Bird chirping and chirping.

The nature of the poet is multicolored, multicolored. His favorite colors are blue and blue. These color tones enhance the feeling of the immensity of the steppe expanses of Russia (“only blue sucks eyes”, “blue that fell into the river”, “blue on a summer evening”), express a feeling of love and tenderness (“blue-eyed guy”, “blue jacket, blue eyes ").

Another favorite color of Yesenin is gold, with which the poet emphasizes the strength or height of the statement (“the golden grove dissuaded with a sweet tongue”). Yesenin's nature turns out to be, as it were, an expression of human feelings, which allows the poet to convey a particularly deep feeling of love for life. He compares the phenomena of nature with the events of human life:

Like a tree sheds its leaves,

So I drop sad words.

For Yesenin, nature is the eternal beauty and eternal harmony of the world. Gently and caringly, nature heals human souls, gives harmony and relieves fatigue.

Already in early Yesenin, the lyrical image of nature, in its voices, colors, an endless variety of forms, has an amazing ability to convey its own moods.

That is why, in the poems of Sergei Yesenin, the life of nature is inseparable from human life:

Whom to pity? After all, every wanderer in the world -

Pass, enter and leave the house again.

Hemp dreams about all the departed

With a wide moon over the blue pond.

Through the image of native nature, the poet perceives the events of a person's life. He brilliantly conveys his state of mind, drawing for this purpose simple, to the point of genius, comparisons with the life of nature:

I do not regret, do not call, do not cry,

Everything will pass like smoke from white apple trees.

Withering gold embraced,

I won't be young anymore.

Throughout his very short life as a poet, Yesenin sang the tender beauty of Central Russian nature. These were pictures of a truly existing beauty, seen in a special way by the keen eye of a great artist. The situation is different with the landscape in the Persian cycle. Some modern critics, shortly after its appearance, declared "exotic" landscapes to be artificial. But Yesenin himself did not even think of presenting what was written as a genuine picture of Persian nature. Moreover, for the aesthetic perfection of the cycle, he sought to create exactly fabulous landscapes suitable for the poet's philosophical generalizations, to which he wanted to give a touch of oriental wisdom. Yes, and “Persia” itself in Yesenin’s cycle is a kind of magically decorative panel.

In one of the poems of the cycle “I have never been to the Bosphorus”, the poet not only admits his beautiful fiction, but also uses it as an artistic device. The first two stanzas of the poem and the last, together with the first framing it, expressly state:

I have never been to the Bosphorus

You don't ask me about him.

The landscape in "Persian Motifs" is needed by Yesenin as Eden, where a weary traveler tastes the sweetness of rest, beauty and fragrant air. The colors in such a landscape, created by feelings, are sustained in the transparency of blue, lilac and pale yellow tones. Why is Yesenin's poetic palette rich in precisely these colors? This question is answered by this stanza:

The air is clear and blue

I'll go out to the flower beds.

Traveler, leaving in the azure,

You won't reach the desert.

The air is clear and blue.

You will pass through the meadow like a garden,

Garden - in wild bloom,

You can't keep your eyes on

So as not to fall for the carnations.

You will walk through the meadow like a garden.

The picture created in these two stanzas, framed by repetitions, is ephemeral and idyllic. This is the descending twilight, painted in blue and azure tones.

In Persian Motifs, these favorite colors of the poet are not superimposed in separate strokes, as in other lyrical works of the same period. In a number of poems of this cycle, colors give a special sound to the refrain. In the poem “I have never been to the Bosphorus,” the poet saw in the eyes of the “Persian” a sea “blazing with blue fire,” and in the final line he says that her eyes, like the sea, “sway with blue fire.” From this poem, as it were, a “bridge” was thrown over to poems about the homeland. And paints are also used as a binding thread. Remembering Russia, the poet asks: “Don’t you want, Persian, to see a distant blue land?”

In the verses of the Persian cycle there is another gamut of colors, beloved by Yesenin, given to the poet by nature. These are golden-yellow tones, starting with the moon and ending with copper, which are most often used by him in the landscapes of Russian autumn, when the leaves take on the color of copper. This range of colors differs from Yesenin's blue-blue in its significantly wider and more diverse application. Here are some examples from the Persian cycle: “saffron edge”, “bodily copper”, “yellow charm of the month”, “cold gold of the moon”, “in lunar gold”, “copper leaves”, “there is gold and copper in the hair”, “ month yellow charms.

Yesenin's nature is not a frozen landscape background: it lives, acts, reacts passionately to the fate of people and the events of history. She is the poet's favorite character. She always attracts Yesenin to her. The poet is not captivated by the beauty of oriental nature, the gentle wind; and in the Caucasus do not leave thoughts about the motherland:

No matter how beautiful Shiraz is,

It is no better than Ryazan expanses.

Yesenin feels himself a part of nature, her student and interlocutor:

Forgetting human grief

I sleep on clearings of branches.

I pray for scarlet dawns,

I take communion by the stream.

Therefore, Sergei Yesenin does not have purely landscape poems. For him, nature exists on a par with man, perhaps even higher than him.

The poems describing the beauties of the native land are given expressiveness by Yesenin's tender love for nature. Original, new-sounding metaphors, comparisons, lexical turns are found especially often in these verses. A river flowing through a green meadow tells him a charming image:

Unbelted lightning

There is a belt in foam jets.

The girl refused love, and the poet again finds solace in nature:

I will not go to the round dance,

They laugh at me

I'll get married in bad weather

With a ringing wave.

A river, a meadow, a forest are somehow directly and vividly fused with the emotional experiences of the poet. They are close friends for him, bringing peace to his sometimes troubled soul. Therefore, Yesenin's anthropomorphism is devoid of deliberateness. The poet, as it were, is a particle of nature, which is given the opportunity to tell the world about the intense and secret life, about the wonderful transformations that are forever taking place in it. Through all the troubles of life, all spiritual anxieties and falls, Yesenin carried a feeling of bright love for nature.

“My lyrics are alive with one great love - love for the motherland,” said Sergei Yesenin about his work. And the image of the motherland for him is inextricably linked with his native nature. Russian nature for Yesenin is the eternal beauty and eternal harmony of the world, healing human souls. This is how we perceive the poet's poems about our native land, this is how, sublimely and enlightened, they act on us: They knit lace over the forest In the yellow foam of the cloud. In a quiet slumber under a canopy I hear the whisper of a pine forest. The poet, as it were, tells us: stop at least for a moment, look at the world of beauty around you, listen to the rustle of meadow grasses, the song of the wind, the voice of the river wave, look at the morning dawn, foreshadowing the birth of a new day, at the starry night sky. Living pictures of nature in the poems of Sergei Yesenin not only teach us to love the beauty of our native nature, they lay the moral foundations of our character, make us kinder, wiser. After all, a person who knows how to appreciate earthly beauty will no longer be able to oppose himself to it. The poet admires his native nature, filling his lines with tender awe, looking for bright, unexpected and at the same time very accurate comparisons:

Behind the dark strand of copses,

In unshakable blue

Curly lamb - a month

Walking in the blue grass.

Often using the personification of nature, characteristic of his lyrics, Yesenin creates his own unique world, forcing us to see how “the moon, the sad rider, dropped the reins”, how “the blown up road is dozing”, and “thin birch ... looked into into the pond." Nature in his poems feels, laughs and mourns, is surprised and upset.

The poet himself feels himself one with the trees, flowers, fields. Yesenin's childhood friend K. Tsybin recalled that Sergei perceived flowers as living beings, talked to them, trusting them with his joys and sorrows:

Aren't people flowers? Oh dear, feel you, These are not empty words. Like a stem shaking its body, Isn't this head a golden rose for You? The emotional experiences of the poet, important events in his life are always inextricably linked with changes in nature:

Leaves are falling, leaves are falling

The wind is moaning, Long and deaf.

Who will please the heart?

Who will comfort him, my friend?

In poems of the early period, Yesenin often uses Church Slavonic vocabulary. He represents the merging of earth and sky, showing nature as the crown of their union. The poet embodies the state of his soul in pictures of nature, full of bright colors:

Weaved out on the lake the scarlet light of dawn.

Capercaillie are crying in the forest with bells.

An oriole is crying somewhere, hiding in a hollow.

Only I don’t cry - my heart is light.

But carefree youth is over. A colorful, light landscape is replaced by pictures of early withering. In Yesenin's poems, the maturity of a person often echoes the autumn season. The colors have not faded, they even acquired new shades - crimson, gold, copper, but these are the last flashes before the long winter:

The golden grove dissuaded

Birch, cheerful language,

And the cranes, sadly flying,

No more regrets.

And at the same time:

The bitter smell of black burning,

Autumn groves set on fire.

In the lyrics of an even later period, in Yesenin's description of pictures of nature, there is a premonition of untimely death. The poems of this period are full of longing for lost youth, tragedy.

Snowy plain, white moon,

Our side is covered with a shroud.

And birches in white cry through the forests:

Who died here? Died?

Am I myself?

Perceiving nature as a whole with himself, the poet sees in it a source of inspiration. The native land endowed the poet with an amazing gift - folk wisdom, which was absorbed with all the originality of his native village, with those songs, beliefs, tales that he heard from childhood and which became the main source of his work. And even the exotic beauty of distant lands could not overshadow the modest charm of their native expanses. Wherever the poet was, wherever his fate brought him, he belonged to Russia in heart and soul.

S. Yesenin is one of the best poets who get their inspiration from nature. He not only writes poetry, he creates them under the impression of the unprecedented beauty of the Russian landscape. For Yesenin, the whole world around is something more than nature. He treats everything as if it were a living being, elevating it to the very heavens. He has a special gift, he knows how to see what is not available to the gaze of others.

In the colors of love, spring-princess
She unraveled her braids through the grove,
And with the choir of a bird prayer
The bells sing the hymn to her.

Drunk under the spell of fun
She, like smoke, glides through the woods,
And a golden necklace
Shines in shaggy hair.

And after her a drunken mermaid
Dew splashes on the moon.
And I, like a passionate violet,
I want to love, love spring.

Love for nature is connected, most likely, with the fact that Yesenin constantly recalled his native village. He reminisced with trepidation in his soul about his carefree times, about his native land. In the poem "Enchantment" he shows his unusual ability - the inspiration of objects. The first thought that comes to mind is comparing spring with a beautiful and sweet girl. But at the core lies something more, spring is a lovely creature that ordinary people are not destined to reach. “I want to love, love spring,” he exclaims. Love the poet, love spring, love strongly and godlessly, so that she constantly feels strong and reliable love.

His poems are collected from small particles that merge into one picture - unusual and exotic. Spring is a princess with long and shiny hair, a little mermaid is a sorceress, this is how the poet imagines our impeccable world.

No matter what topic Yesenin writes poems on, almost all of them are connected with nature. Each verse contains at least one line dedicated to the beauty of nature. He is simply in love with nature itself. S. Yesenin is a great poet, a subtle and sensual person. His poems make you think about miracles, about something beautiful, inspiring. Even the shortest poems take you into the world of mystery, helping to see the world with new eyes.