Plinth motifs In my recollections, this work seems to be illuminated by the sun. In addition, I got a solar motive for carving. Our task appeared before us in the form of raw wood. Only the plinths of Saturn were finished by a trained hand, with great skill

The cycle of poems, called "Persian Motifs", was inspired by the poet's exoticism of the East, the desire to look for new ways of expressing the images that are born in his soul. In the poems of this cycle, Yesenin refers to the theme of the East and its poetry, however, a significant place is occupied by his traditional love for a woman, nature and his native country. The works relating to the "Persian motifs" were written in the mid-twenties.

Turning to the Persian theme, Yesenin introduced oriental refinement into the poems written in this vein. In the poems of this cycle, he describes relationships with women more subtly than in other periods of creativity. The girls are depicted as mysterious and graceful, full of charm.

Persian images are related not so much to real Iran, which the poet never visited, although he wanted to, but rather to the fairy tales of Shaherizade.

In the poems of the Persian cycle, three colors beloved by the poet are constantly found. It's blue, cyan and gold. They serve to express a bright beginning and tenderness.

Russia appears blue, the lyrical hero, who found himself in distant Persia, longs for her. Persia is represented by blue. The poet emphasizes the transparent air of this land, which he sees as blue, tender and transparent. Yellow is associated with love. It is in such tones that Yesenin paints charms, charm and a heart in love. The black color, which in the poet always serves as an image of the negative and ugly, also occurs, but there is little colored by it. Light colors prevail.

Admiring Persia, painted by his poetic imagination, Yesenin never forgot about his love for Russia. By moving the scene to the mysterious East, he shows his love for the native fields of Ryazan. Even turning to the Persian Shagane, he still remembers not only the fields among which he grew up, but also Russian girls. Yesenin contrasts with the norms of morality in Persia and in his homeland, giving preference to his country.

The poet remains completely Russian. Experimenting with oriental themes, Yesenin does not get rid of Russian common words, such as “for good reason”, for example, since he did not create verbal constructions, but expressed what was in his soul.

Option 2

Persian motifs - a cycle of Yesenin's late poems, which was created under the influence of travel to the Caucasus and the territory of Central Asia. As the author himself wrote, this cycle was easy and pleasant for him, he could not often write so much and productively. In addition, Sergei Alexandrovich noted the general theme of these poems, which spoke of happiness and its transience.

Yesenin did not travel to Persia, so his image of the “blue country” is mostly collective, it is a kind of cultural cast, which is formed on the basis of information from the Koran and oriental tales, stories of travelers and common images, composed metaphors and even dreams. The poet does not claim to be factual, moreover, he often mixes up the content describing a distant country with his everyday details. For example, in "Blue and Merry Country" he intersperses the details of the dialogue with a small child, the daughter of his publisher friend Chagin, in "Shagan .." he talks about his northern roots.

Thus, in a sense, this cycle is a kind of dialogue of cultures. Here, a poem about the Bosphorus looks rather symbolic, while Yesenin himself appears as a kind of Bosphorus, which connects Eastern and Western cultures. It is in the mind of the poet himself that this border lies between his understanding of another country and the original northern roots, which determine his own imprint.

Confirmation of the fact about the dialogue of cultures is also observed in the presence of historical figures in these poems, which are actually representative images of the East, the most famous for Yesenin's time. Sergei Alexandrovich mentions Mohammed, Khayam, Saadi, Firduosi, and, in addition, there are folklore images, for example, Scheherazade. Thus, the poet, who throughout almost his entire career represented some kind of primordial Russianness, begins a dialogue with representatives of traditional Orientalism, so to speak.

The poet also seeks to assimilate and convey the wisdom of the East, he even structurally builds some of his poems following the example of typical oriental works, such as, for example, rubaiyat. The motive of the understood wisdom of life, the experience gained, which is of value for all time, is the main one in this cycle.

Analysis of the poem Persian motifs according to plan

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Yesenin has never been to Persia, although he has repeatedly met. The cycle "Persian motives" reflects impressions from the Caucasus and memories of Central Asia. "I feel enlightened..." he wrote in 1924 from Batumi. "So much and so easily written in life is very rare."

“What is your cycle about, Sergey Alexandrovich?” asked the young writer I. Rahillo. “About happiness in love,” answered Yesenin, smiling. And about the transience of this happiness. It is fleeting, my friend, fleeting ... "

S. Yesenin showed close attention to the poetic heritage of the East. Persia beckoned, emerging in his creative mind. The passion for the peculiar art of the classics of the East was also reflected in the very poetic structure of Persian poems. Yesenin's Persia, scientists note, in his Oriental cycle is the East, "created" not only "with a living eye"; this is the East and the Koran (“Mohammed outwitted in the Koran ...”), and Arabic tales (“Where Shahrazad lived and sang ...”), and attractive names and names (Shagane, Lala, Bosphorus, Tehran, Baghdad), and traditional folk-poetic representations, metaphors, images ("Kiss me with a red rose...").

This fact is also interesting - in "Persian Motifs", apart from Mohammed, there are three more real historical names - the poets Saadi, Khayyam, Ferdowsi. They live in "Persian motifs" among their historical realities and symbolically fill the world of Persia and the world of the Russian poet, who compares "his" Persia with their "blue country".

The dialogue that Yesenin conducts with Saadi, Khayyam, Firdowsi is built "two-tiered". At first, S. Yesenin emphasizes his respect for the worldview of Eastern poets, and then he reveals the similarity or difference between himself and the poet of the East. A kind of key to the "dialogue" - the name of an oriental poet, is included in a repeating line and runs through the entire stanza or poem. Elements of the figurative structure of Eastern poetry permeate Yesenin's poems, convey the realities, life, customs, landscape of the East. The instructive-philosophical stream of "Persian Motifs" brings the lyrical hero closer to Eastern poets who shared their experience, wisdom in instructive conclusions and crafty allegories in rubais and gazelles.

The cycle depicts an ideal world of beauty, harmony of happiness in another, exotic country. "Persian motives" are opposed to "Moscow tavern". However, being carried away by the East, the poet remembered his “country of birch calico”, and the image of Russia is present in his poems. In the poem "Shagane you are mine, Shagane! .." constantly there is a comparison of Persia and Russia. The poet "from the north" was next to the girl from the south. The poem is dedicated to Shagane Nersesovna Talyan, a teacher of literature in one of the Batum schools.

Used book materials: Literature: uch. for stud. avg. prof. textbook institutions / ed. G.A. Obernikhina. M.: "Academy", 2010

To "his" East, Yesenin went gradually and consciously over a number of years. He was deeply convinced that he needed ancient Eastern classical literature to improve his poetic skills ("I'm going to study," he wrote to G. A. Benislavskaya in April 1924). "Persian motifs", including 15 poems, arose as a result of Yesenin's trips to Tashkent in 1921, when he saw the "real" East, and in Transcaucasia in 1924-1925. The main theme in the cycle is love: for a woman, for the motherland, for nature, for the East and its ancient poetry.

Compared with the previous Yesenin works, love in "Persian Motifs" appears in a romantic halo. The poet generously uses the traditional artistic symbols of Persian lyrics (nightingale, moon, cypress, rose, flute, Koran, veil, shalvars; such names and titles as Saadi, Khayyam, Ferdowsi, Shiraz, Tehran, Baghdad, Bosphorus, Khorossan, etc.) . In "Persian Motifs" there are many superficial parallels with classical examples of Oriental poetry: many times varied images of a nightingale and a rose (Saadi, Hafiz), a comparison of a lover with a beggar (Saadi), a conversation with flowers (Rumi), etc. But the East in Yesenin's cycle is only a romantic background for that lyrical narrative, the main character of which is a Russian poet, a native of the Ryazan land. Hence the use of specifically Russian colloquial words and combinations in "oriental" poems ("not for nothing", "today", "terribly similar", etc.). Love for Russia is clearly felt in each of them. For example, in the poem that opens the cycle, "My former brine has subsided ...", the memory of the motherland is visible in the opposition of Russian customs to moral norms alien to the poet:

We in Russia do not keep spring girls On chains like dogs, We learn kisses without money, Without dagger tricks and fights.

However, already in the third poem of the cycle - "Shagane you are mine, Shagane! .." deep longing for the native fields and the distant northern woman sounds:

Shagane you are mine, Shagane! There, in the north, there is a girl too, She looks terribly like you. Maybe he's thinking about me...

The cycle consistently develops the techniques of metaphorical style. Metaphors of "Persian motives" are mobile, dynamic. Sometimes the poet forms new metaphors according to his own models:

Russian motif talianki also becomes a kind of metaphorical accessory of the cycle, a symbol of the distant homeland. In the initial poems, this motif does not exist at all, but then, having appeared, it intensifies (“A talyanka is ringing in my soul ...”) and becomes more and more insistent (“Suppress the melancholy of a talyanka in my soul ...”).

A characteristic feature of "Persian Motifs" is lyrical repetitions as a means of enhancing emotional expressiveness. Repeated words placed at the beginning of the metric unit form anaphora. In the cycle there are syntactic (anaphoric parallelism), lexical, strophic-syntactic anaphoras with a predominance of the former. Especially often the anaphora is used by the poet in the most dramatic of the poems of the cycle - "Why does the moon shine so dimly ...", in which repeated words and sounds detain the reader's attention on phrases that carry a special semantic load.

The expressive sound writing of Yesenin's verse is as natural as it is natural in folk songs. A special sound expressiveness is given to the "Persian motifs" by the repetitions of the same vowels in neighboring words, the prolongation of vowels of one sound series, characteristic of this cycle. Such scales do not belong only to "Persian motives". The role of vowels in Yesenin's poetic language in the 1910-1925s. clearly perceptible. Basically, this is the harmony of sounds [o], [y], [and], less often - [e], even more rarely - [a]. Yesenin's verse from the very beginning of the author's poetic path developed as a melodious, emotional type, and the tendency to extend the vowels of one sound range can be traced in many of the poet's poems. But it is for Yesenin's "eastern" poems with their optimistic sound that the harmony of the sound [a] is characteristic - open, joyful, major, which can be illustrated by the example of any of the 15 poems of the cycle. So, in the poem "Evening light of the saffron edge ..." (lines are numbered), the sound [a] is most common:

• 1. Evening light of the saffron edge (ah-ah) 3. Sing me a song, my dear (ah-ah) 6. Shiraz is illumined by moonlight (ah-ah) 10. Shiraz is illumined by moonlight (ah-ah)
• 17. Memorize this commandment briefly (ah)
• 18. After all, our life is so short (ah-ah-ah)
• 19. Little happiness is given to admire (ah)
• 20. Memorize this commandment briefly (ah-ah) 22. Overshadows its grace (ah-ah)
• 27. The heart dreams of another country (ah-ah)
• 28. I'll sing to you myself, dear (ah)

The harmony of consonant sounds is clearly perceptible in the "Persian Motifs". These are abundant alliterations pa [l], creating the impression of affectionate curiosity with which the lyrical hero perceives the environment:

Or are they frozen from the heat, Closing the bodily copper? Or, to be loved more, They don't want to tan their face, Closing their bodily copper?

("Evening light of the saffron edge")

The combination of hissing and whistling with a soft [l] gives rise to a premonition of the sad news about the betrayal of a loved one - sad, but not tragic:

"Why does the moon shine so sadly?" - I asked the flowers in a quiet thicket, And the flowers said: "You feel But the sadness of a rustling rose."

(Why does the moon shine so dimly...)

Yesenin is a master not only of sound writing, but also of verbal painting. "Persian motifs" seem to be painted with transparent watercolors. Blue, cyan and gold, the colors beloved by the poet, constantly found in his lyrics, associated with bright beginnings, always meant boundless tenderness for Yesenin. Color symbolism is continued by the poet in "Persian motifs". As in other Yesenin's poems, the colors-symbols in the cycle characterize the eternal confrontation between the light and dark sides of life. The bright sides of life in the cycle are indicated blue, blue, gold, yellow, lilac, red. The homeland, for which the poet's heart yearns even in the fabulous southern country, is "a distant blue land." Persia is "the blue homeland of Firdusi", "the blue affectionate country". The air there is transparent and blue, the nights are lilac, the moon has “yellow charms”, “yellow charm”, the moon casts “cold gold”, kisses are red roses, a heart in love is a “gold block”. The black color, concentrating in itself everything gloomy, ugly, destructive, evil ("black handful" of the iron guest in the poem "I am the last poet of the village ...", "black toad" in the poem "I have only one fun left ...") is found in the poems of the cycle "My former wound has subsided ..." and "Today I asked the money changer ...". This is a "black veil", however, in both works, this phrase is enclosed in a context that is optimistic in its mood: "It was not for nothing that my eyes blinked, / leaning back black veil" and ""You are mine" only hands can say, / What plucked black veil". As we can see, the color symbolism of the cycle shows the struggle between the light and dark sides of life with a clear predominance of the former.

Rich verbal painting, skillful instrumentation of sounds, lyrical repetitions of words and their combinations enhance the emotional richness of the poems of the cycle and characterize them as bright, cheerful, glorifying the joy of being. A variety of compositional-stylistic and rhythmic-intonation techniques give the "Persian Motifs" the characteristic features of song lyrics. It is no coincidence that all 15 poems of the cycle were set to music and became songs. Yesenin's "Persian motives" are not only and not so much living impressions of what he saw and experienced. The poet was so deeply imbued with the charm of this unique world that he himself partly believed in his stay in Persia: "Ah, I know these countries. / I myself have traveled a long way there" ("This street is familiar to me ...").