July 09 2015

The poem "Anna Snegina", published by S. A. Yesenin in 1925, was the poet's direct response to the events of those years taking place in Russia, which he happened to witness. By genre, this is a lyrical-epic poem, which means that there is a clear separation of the attitude of the lyrical poem, the feelings and experiences of the author and the broad picture of contemporary reality, which was the reason for the philosophical generalization and bitter thoughts of the poet about the future of Russia. The lyrical hero of the poem returned to the places dear to his heart, where he and his youth passed. But in addition to nostalgia for his native places, in addition to memories of youthful love, he draws those changes that occurred in his homeland during his absence: the First World War, the collapse of his former life, civil strife and enmity among the villagers. “... We are now restless here.

Everything blossomed with sweat. Solid peasants - Fighting village to village .... And all this means anarchy. They chased the king...

The meeting with Anna Snegina, the former love of the lyrical hero, stirred his soul, “strangely” made him feel youthful memories: The distance thickened, fogged ... I don’t know why I touched Her gloves and shawl - The news of the death of Anna’s husband, her unfair words forced the hero into loneliness to endure the insult of an accidental quarrel, but the personal experiences of the hero are obscured by the magnitude of the epic events of October 1917. These events not only separated the hero from Anna, but also tragically affected the lives of the peasants. The most important question for them was resolved: “Will the peasants go without redemption of the arable land of the masters?

» But the author does not idealize the peasantry. The owner in essence, the peasant, perceives the revolution with purely material interests, just in case, saving banknotes of all authorities in bottles. Fefela!

Breadwinner! Iris! The owner of land and livestock, -8a couple of shabby "katek" He will let himself be torn out with a whip - This is how the author characterizes the peasantry sarcastically. But it is not uniform.

Several various types Yesenin shows the peasants: Pron Ogloblin, his brother Labutya, a miller and his wife. If Pron Ogloblin is the most politicized representative of the peasants, in some way a romantic of the revolution, who dreams of setting up a “commune” in the village and complaining about the backwardness of his fellow villagers, then Labutya is a “boastful and devilish coward” who lives “not on the calluses of the hands”. Before the revolution, he wore medals with Japanese war, begging for a drink "famous near Liaoyang", after the revolution he declared himself an exile who knew "Nerchinsk and Tu-rukhan". He was the first to go "to describe Snegin's house", to take away their property.

And it was the old miller who brought the housewives to him - helpless women, probably frightened by what was happening. It is the miller and his wife, condemning "anarchy", murders, theft, who are presented in the poem as carriers of the traditional moral values ​​of the peasantry. As for Pron and Labutya, Pron was shot “in the twentieth year”, when Denikin’s soldiers descended on the village, and Labutya hid in the straw and, after the departure of the Cossacks, demanded a “red order for courage”. This is probably typical of the revolution: the romantics devoted to it die first, and those like Labutya gain power in the Council, extolling their imaginary merits.

What awaits the miller in a few years is also not difficult to predict: as the owner of the mill, he will most likely be dispossessed. Such are the fate of the peasantry in Yesenin's poem. It should be noted that the love of the hero and Anna did not take place: the Onegins went into exile.

Melnik gives the hero a letter from Anna from London, where she recalls Russia with nostalgia. But in her soul there is no doubt about her choice, only the memory of her homeland and past feelings remained. For the hero, there was also no question with whom to stay in his native country. The finale of the poem is open, but it is clear that eternal humanistic values ​​are a priority for the poet, as it is revealed both in the love story and in the life story of the peasants of the village of Radova and the village of Kriushi.

Without creating a class enemy, Yesenin continues the humanistic traditions of Russian literature, both in creating the image of the heroine and in the attitude of the lyrical hero, autobiographical to the poet himself.

Need a cheat sheet? Then save - "Features of the genre and problems of the poem by S. A. Yesenin "Anna Snegina". Literary writings!

Analysis of the poem by S.A. Yesenin "The Black Man"

"The Black Man" is one of the most mysterious, ambiguously perceived and understood works of Yesenin. It expressed moods of despair and horror before an incomprehensible reality. Its solution is primarily related to the interpretation of the image of a black man. His image has several literary sources. Yesenin acknowledged the influence of Pushkin on his poem Mozart and Salieri, which featured a mysterious black man. The “black man” is the poet's double, he chose everything that the poet himself considers negative and vile in himself. This theme - the theme of a painful soul, a split personality - is traditional for Russian classical literature. She received her embodiment in Dostoevsky's "Double", Chekhov's "Black Monk". But none of the works where it occurs similar image, does not carry such a heavy burden of loneliness as Yesenin's "Black Man". The tragedy of the self-perception of the lyrical hero lies in the understanding of his own doom: all the best and brightest is in the past, the future is seen as frightening and gloomy hopeless. Reading the poem, you involuntarily ask the question: is a black man a deadly opponent of the poet or part of that force that always wants evil and always does good. The “duel” with a black man, whatever his nature, served as a kind of spiritual test for the lyrical hero, an occasion for merciless introspection. However, in literary work It is important not only what is written, but also how. The theme of duality is expressed at the compositional level. Before us are two images - a pure soul and a black man, and the flow of a monologue of a lyrical hero into a dialogue with a double is a poetic expression of the subconscious. The ratio of monologue and dialogic speech is revealed in the rhythmic-intonational structure of the poem. The hard rhythm of the dactyl reinforces the gloomy intonations of the black man's monologue, while the agitated trochee contributes to the expression of the dialogic form of thought and narration. The metaphor of a broken mirror is read as an allegory of a ruined life. It expresses both a piercing longing for the passing youth, and an awareness of one's uselessness, and a sense of the vulgarity of life. However, this "too early fatigue" is nevertheless overcome: in the finale of the poem, night is replaced by morning - a saving time of sobering up from the nightmares of darkness. A nightly conversation with a “bad guest” helps the poet to penetrate into the depths of the soul and painfully poke dark layers from it. Perhaps, the lyrical hero hopes, this will lead to purification.

Analysis of the poem "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 once parted. By this time, the lyrical heroine is already becoming a married woman.

The protagonist of the work is a poet. His name, like the author, is Sergey. After a long absence, he returns to his native place. The hero participated in the First World War, but soon realized that it was being waged "for someone else's interest", and deserted, having bought himself a forged document. The plot of the poem contains autobiographical features. It is inspired by memories of the feelings of S.A. 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 plan of the social reality contemporary to the poet, which includes both pictures of peaceful village life and echoes of wars and revolutionary events. The poem was written alive spoken language, full of dialogues, gentle humor and deep nostalgic experiences.

The poet's patriotic feeling is embodied in the subtleties of the Central Russian landscape he created, a detailed story about the traditional peasant way of life that exists in the prosperous village of Radov. The very name of this place is symbolic. The men in the village live prosperously. Everything here is done in a business-like manner, in detail.

Prosperous Radov is opposed in the poem by the village of Kriushi, where poverty and wretchedness reign. Peasants have rotten huts. It is symbolic that dogs are not kept in the village, apparently, there is nothing to steal in the houses. But the villagers themselves, exhausted by a painful fate, steal the forest in Radov. All this gives rise to conflicts and civil strife. It is noteworthy that the display of various types of peasant life in the poem 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 prosperity and socio-political views. Gradually and once calm and prosperous Radovo is involved in a series of troubles.

An important feature of the poem is its anti-war orientation. Looking at the bright spring landscape, at the flowering gardens native land, the hero feels even more acutely the horror and injustice that war brings with it. In theory, the heroes of the poem should have been happy, having spent it together among these beautiful gardens, forests and fields of their native land. But fate decreed otherwise.

Sergei is visiting an old miller. Here, thanks to the simple realities of rural life, the hero is immersed in the memories of his youthful love. Happy meeting with his native places, the hero dreams of starting a romance. Lilac becomes a symbol of love feeling in the poem.

Important in the work is the figure of the miller himself, the hospitable owner of the house, and his troublesome wife, who seeks to feed Sergei more deliciously. Sergey's conversation with the old woman conveys the popular perception of the contemporary era to the author: simple people Those who spend their lives in labor live for today and feel how their current worldly concerns have increased. In addition to the First World War, for which soldiers were taken to villages and villages, peasants are being harassed local conflicts aggravated in an era of anarchy. And even an ordinary village old woman is able to see the causes of these social unrest. S.A. Yesenin shows how the violation of the usual course of events, the very revolutionary transformations that were carried out in the name of the people, turned into a series of regular problems and concerns.

It is symbolic that it is the miller's wife who first characterizes Pron Ogloblin, the hero who embodies the image of a revolutionary-minded peasant in the poem. 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 readily went to share the property of the landlords.

Sergei falls ill, and Anna Snegina comes to visit him herself. Autobiographical motifs are again heard in their conversation. The hero reads poetry 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 Sergey finds out that Anna is a widow. In folk tradition, there is a belief that when a woman is waiting for her husband or fiance from the war, her love becomes a kind of amulet for him and keeps him in battle. Anna's arrival to Sergey and an attempt to continue romantic communication with him are perceived in this case like cheating. Thus, Anna becomes indirectly responsible for the death of her husband and is aware of this.

At the end of the poem, Sergei receives a letter from Anna, from which he learns how hard it is for her to be separated from her homeland and all that she once loved. From a romantic heroine, Anna turns into an earthly suffering woman who goes to meet the ships that sailed from distant Russia at the pier. Thus, the heroes are separated not only by the circumstances of their personal lives, but also by deep historical changes.

The artistic embodiment of the era in which writers and poets lived and worked influenced the formation of the views not only of their contemporaries, but also of their descendants. The poet Sergei Yesenin was and remains such a ruler of thoughts.

The image of time with its problems, heroes, searches, doubts was in the center of attention of writers of the 19th and 20th centuries. Today, the idea of ​​Yesenin as a major social thinker with a heightened perception of his time is becoming increasingly stronger. Yesenin's poetry is a source of deep reflection on many social and philosophical problems. This is history and revolution, the state and the people, the village and the city, the people and the individual.

Comprehending the tragedy of Russia in the 20s, Yesenin predetermined, foresaw everything that we only recently spoke out loud after seventy years of silence. With amazing power, Yesenin captured that “new” that was forcibly introduced into the life of the Russian village, “exploded” it from the inside and now led to a well-known state. Yesenin wrote in a letter his impressions of those years: "I was in the village. Everything is collapsing ... The end of everything."

Yesenin was shocked by the complete degeneration of the patriarchal village: the miserable life of the village ruined by years of "internecine strife", "calendar Lenin" instead of the icons thrown out by the Komsomol sisters, "Capital" instead of the Bible. The poet sums up the tragic result of all this in the poem "Soviet Russia":

That's the country!
What the hell am I
Shouted in verse that I am friendly with the people?
My poetry is no longer needed here
And, perhaps, I myself am not needed here either.

The poem "Anna Onegin", written shortly before the death of the poet - in 1924, was a kind of generalization of Yesenin's thoughts about this dramatic and controversial time and absorbed many of the motives and images of his lyrics.

In the center of the poem is the personality of the author. His attitude to the world permeates the entire content of the poem and unites the events taking place. The poem itself is distinguished by polyphony, which corresponds to the spirit of the depicted era, the struggle of human passions. The poem closely intertwines lyrical and epic beginnings.

The personal theme is the main one here. "Epic" events are revealed through the fate, consciousness, feelings of the poet and the main character. The name itself suggests that in the center is the fate of a man, a woman, against the backdrop of the historical collapse of old Russia. The name of the heroine sounds poetic and ambiguous. Snegina - a symbol of purity white snow- echoes the spring flowering of bird cherry, white as snow, and, according to Yesenin, means a symbol of youth lost forever. In addition, this poetry looks like an obvious dissonance against the background of time.

The theme of time and the theme of the motherland are closely connected in the poem. The action begins in Ryazan in 1917 and ends in 1923. Behind the fate of one of the corners of the Russian land, the fate of the country and the people is guessed. Changes in the life of the village, in the guise of a Russian peasant, begin to unfold from the first lines of the poem - in the story of the driver, who delivers the poet, who has not been in his native place for a long time.

The hidden conflict of the prosperous village of Radovo ("Everyone has a garden and a threshing floor") with the impoverished village of Kriushi, which "plowed with one plow", leads to a fratricidal war. Criushans, convicted of stealing the forest, are the first to start the massacre: "... they are in axes, we are the same." And then the reprisal against the despotic foreman, who represented power in the village:

The scandal smells of murder.
Both ours and theirs
Suddenly one of them gasps! —
And immediately killed the foreman.

The time of the revolution and permissiveness put forward from the ranks of the Kriushans the local leader Pron Ogloblin, who does not have any life aspirations, except to "drink moonshine in a tavern." This rural revolutionary is "a fighter, a rude man", he is "drunk from morning to week..." The old miller's woman says this about Pron, considering him a destroyer, besides a murderer. Yesenin emphasizes the Pugachev principle in Pron, who, like a tsar, stands above the people:

Ogloblin stands at the gate
And I'll be drunk in the liver and in the soul
The impoverished people are dying:
"Hey you! You cockroach brat!
All to Snegina! R-raz and kvass
Give, they say, your land
Without any ransom from us!"

"Cockroach brat!" - this is how the hero addresses the people, in whom many in the old days saw a Bolshevik-Leninist. Terrible, in essence, a type generated by a turning point. An addiction to alcohol also distinguishes another Ogloblin, Pronov's brother Labutya, a tavern beggar, a liar and a coward. He "with an important posture, like a certain gray-haired veteran," ended up "in the Council" and lives "without a callus on his hands." If the fate of Pron, with all his negative sides, acquires a tragic sound in connection with his death, then the life of Labuti is a pitiful, disgusting farce. It is remarkable that it was Labutya who "went first to describe Snegin's house" and arrested all its inhabitants, who were subsequently saved from a speedy trial by a kind miller.

The miller in the poem is the embodiment of kindness, closeness to nature, mercy and humanity. His image is permeated with lyricism and is dear to the author as one of the brightest and kindest folk principles. It is no coincidence that the miller constantly connects people. Melnik personifies Russian national character in its "ideal" version, and this, as it were, opposes the poet, whose soul is offended and embittered, and an anguish is felt in it.

When "the grimy rabble played the Tambov foxtrot on pianos in the yards for cows," when blood was shed and natural human ties were destroyed, we perceive the image of Anna Snegina in a special way. Her fate, written out by Yesenin in best traditions Russian classics. The heroine appears before us in the haze of the romantic past - "they were happy" - and the harsh present. A mirage of memories, "a girl in a white cape" disappeared in the "beautiful far away" of youth. Now the heroine, widowed, deprived of her fortune, forced to leave her homeland, strikes with her Christian forgiveness:

Tell,
You hurt, Anna,
For your farm ruin?
But somehow sad and strange
She lowered her gaze...

Anna does not feel any anger or hatred towards the peasants who ruined her. Emigration does not embitter her either: with light sadness she recalls her irretrievable past. Despite the drama of the fate of the landowner Anna Snegina, kindness and humanity emanates from her image. The humanistic beginning sounds especially poignant in the poem in connection with the condemnation of the war - imperialistic and fratricidal. The war is condemned by the entire course of the poem, its various characters and situations: the miller and his old woman, the driver, the events of the life of A. Snegina.

The war has eaten away my soul.
For someone else's interest
I shot at my close body
And he climbed on his brother with his chest.

The time of change appears in the poem in its tragic guise. The poetic assessment of events is striking in its humanity, "humanity that cherishes the soul," for only a patriot poet, a proven humanist, seeing "how much is buried in the pits," how many "freaks are now crippled," could write:

I think,
How beautiful
Earth
And there's a man on it!

The poem "Anna Snegina" rightly considers one of Yesenin's creations of the greatest significance and scale, the final work in which the personal fate of the poet is comprehended in connection with the fate of the people

The poem was written in Batumi in the autumn and winter of 1924-1925, and Yesenin, in letters to G. Benislavskaya and P. Chagin, spoke of it as the best of all that he wrote, and defined its genre as Lisichanskaya. But the question of the genre of the poem in Soviet literary criticism has become debatable. V. i. Khazan in the book "Problems of S. A. Yesenin's Poetics" (Moscow - Grozny, 1988) represents a number of researchers who observe thoughts that epic content prevails in the poem (A. Z. Zhavoronkov, A. T. Vasilkovsky - the point of view of the latter evolved over time towards attributing the poem to the lyrical-narrative genre), and their opponents, who recognize the lyrical beginning as dominant in the poem (e. B. Meksh, E. Naumov). Scientists V. and. Khazan are also opposed on another basis: to those who believe that the epic and lyrical themes in the poem develop side by side, colliding only at times (E. Naumov, F. N. Pitskel), and those who see "organic and fusion" of both lines of the poem (P. F. Yushin, A. Volkov). The author himself agrees with A. T. Vasilkovsky, who, using the example of a specific analysis of the text, shows how "interconnecting and interacting, the lyrical and epic images of the artistic reflection of life organically alternate in it. In epic fragments, lyrical "motives" and "images" are born, which, in turn, are internally prepared by the emotional and lyrical state of the author-hero, and this mutual transition of the epic into the lyrical and vice versa, deeply motivated by the general poetic content of the poem, represents the main ideological and compositional principle" (35; 162).

The poem was based on the events before and after the revolution in Russia, which added an epic scope to the work, and the story about the relationship of the lyrical hero with the "girl in a white cap" provides the poem with a penetrating lyricism. These two interpenetrating beginnings become decisive in the plot of the poem, according to affecting the style and intonation of the work:

“Having conveyed the feeling of tenderness that the author put to the test for a never loved person, telling about everything that he experienced “under the influx of sixteen years”, he gave an objective and natural resolution to the lyrical theme. “Anna Snegina” is both an “explanation with a woman” and "an explanation with the era", and the first is clearly subordinate to the second, because the basis of the poem, despite its local, nominal name, is a story about a revolutionary break in the village. With the unrelenting sound of the lyrical theme, a wide scale of image is achieved popular struggle and deep penetration into human characters" (41; 93).

But in today's polimics about "Anna Snegina" it is not theoretical problems, but the question of the modern interpretation of the characters. And here the pendulum of assessments swung to the other extreme: from a rural activist, Pron turns into a criminal and a murderer:

"... Pron is a criminal and a murderer in the eyes of not only a miller, but also, it seems to me, any morally healthy person. He is devoid of regret for the old Snegina, who lost her son-in-law in the war, disrespectfully treats fellow villagers, considering "cockroach offspring" "But to his insignificant, that the brother's elementary pride has been lost, surprisingly benevolent, admits him to the Rada. Is it or the principledness of the "leader of the masses", especially in the village, where every step is before our eyes?" (18; 32)

The starting point for such interpretations of the image of Pron Ogloblin is the unbiased response of the miller's wife about him as a bully, a fighter, a rude person, and then the subjective thought of the old woman is reduced to the rank of objective truth. The miller's wife is often considered "the embodiment of a healthy peasant sense, with which it is impossible to argue" (16; 8, 138). However, this is not quite true. After all, if you believe her words, then all the Criushans, without exception, are "thieves' souls" and "they should be sent to prison after prison." There is a clear exaggeration in her assessments, especially since most often she judges not after what she saw with her own eyes, but according to the words of "parishioners".

As for the murder of the foreman by Pron, apparently, there were good reasons for this. The author does not expand the episode into a detailed scene and does not explain Pron's motives for fixing it, but the witness that took place - the cab driver - notes: "The scandal smells of murder Both in ours and in their fault." And, speaking of Pron as being beaten, one should probably not forget that he himself was shot by Denikin’s “in the twentieth year”, which gives his image a dramatic shade. And the statement about "strange benevolence" towards brother Labuta must be recognized as a complete misunderstanding, because Pron tested completely different feelings about him, and this is unequivocally stated in the poem: "He pulled Pron's nerves, And Pron did not use judgment." And the poem does not mention any "admitted" Labuti to the Rada

It must be said that the new interpretation of the image of Pron is independent of stereotypes, it contains indisputable and irrefutable observations, but the extra polemical harshness makes it difficult to judge the character soberly and calmly, as he deserves it. This is especially evident in generalizations, which can also hardly be considered justified: "... The victory of the revolution attracts Pron with the prospect of new reprisals, but not over one foreman, but over "all" (18; 32).

A. Karpov’s assessment is more balanced and does not contradict the text: Pron’s appearance in the poem is “not that reduced, but, so to speak, a little inhabited. He is always embittered at everything, Drunk from the morning for weeks." But the poet also prefers the iconography of the unadorned truth: Pron "I am drunk in the liver and the impoverished people are boned in the soul," he says, not hiding his "quarrelsome dexterity," speeches occur words and expressions that can distort the ear - he is a master of "cursing not by judgment ..." (14; 79).

The Leninist lines of the poem also became debatable. Because of their inherent peremptoryness, the fathers and son Kunyaev accuse literary science of being inscrutable about deciphering the content of the peasants' question "who is Lenin?" and answer lyrical heroes"He is you." The authors of the biography of S. Yesenin shift the question to another plane: “The poet admits that Lenin is the leader of the masses, flesh of their flesh. collective murder of foremen, "dashing villains", "thieves' souls". "They should be sent to prison after prison." Then the sharply negative characterization of Pron and Labuti is repeated and the conclusion is made: "This is the picture that is drawn to us upon careful reading, and if we recall the quiet the phrase of the hero of the poem about Lenin: “He is you!”, it becomes clear that we, as they say, simply did not see point-blank all the depth and all the drama inherent in it "(16; 8, 137).

It cannot be said that such a solution to the problem (a literal reading of the metaphor) is thoughtful, on the contrary, it is too flat and primitive to be like the truth. Kunyaev, intentionally or unconsciously, in the hero’s answer, the “-” sign is replaced by the “=” sign, and everything turns out very simply: since there is an equal sign between Lenin and the peasants, it means that all negative epithets addressed to the peasants are mechanically transferred to the image of the leader. But this "simplicity" is "worse than theft." We remind you that the poem was written from November 1924 to January 1925. Yesenin, as you know, did not appear in the "state" poets and, naturally, no one could force him, having specially absented himself from the hospital, to spend several hours in Lenin's coffins, and then in the unfinished poem "Gulyai-Pol" write sincere lines:

And then he died...

From the barking hulks

The last salute is given, given.

The one who saved us is no more.

In the same passage from the poem "Gulyai-Pol", Yesenin characterizes Lenin as a "severe genius", which again does not fit into the interpretation of the image of the leader proposed by Kunyaevs. Moreover, on January 17, 1925, that is, at the moment of the completion of "Anna Snegina", Yesenin creates "Captain of the Earth", in which he describes, "How a modest boy from Simbirsk became the helmsman of his country." The poet, with all sincerity, which is not in doubt, confesses that he is happy that he “breathed and lived with him by the same feelings”.

And now, if we assume that Kunyaev is right in interpreting the image of Lenin in "Anna Snegina", it means that in "Gulyai-Pol" Yesenin sincerely lied to the reader, in "Anna Snegina" he said the camouflaged truth (simply speaking, he showed a shish in his pocket) , and in "Captain of the Earth" he again printed deceived. Whom to believe: Yesenin or Kunyaevim? We confess that Yesenin inspires much more confidence and, it seems, in none of the three works about Lenin he was cunning. And the answer of the hero to the peasants is "He is you!" means nothing more than Lenin - the personification of your hopes and expectations. In our opinion, the poetics also dictates such a reading: a detailed description of the circumstances of the conversation (“burdened with thought”, “under the ringing of the head”, “quietly answered”) indicate a sincere and benevolent answer. And in general, it is impossible to imagine that the hero of the poem could look him in the face of the peasants ("And each with a cloudy smile Looked into my face and eyes") to say that Lenin is as much a scoundrel as they are, as it goes to Kunyaevikh. A decade later, one can come to the conclusion that Yesenin's Lenin bears the stamp of that era, but one cannot distort the appearance of the author and his lyrical hero to please political topicality

Some modern interpretations of the image of Anna Snegina also cannot stand up to criticism: “The girl in a white overcoat” (...) is changing for the worse, expressively flirting with him”; “A woman, not accepting his feelings, seems to justify herself that she didn’t go like that as far as we would like..."; "As if finally realizing that they are speaking different languages, live in different times and different feelings, the heroine acts as it should be for a woman disappointed in her expectations ... "(16; 8, 139).

We join the position of those who believe that the image of Anna was written out by Yesenin in the best traditions of Russian classics; it is deep, devoid of schematism and unambiguity. "The heroine appears before us as an earthly woman, beautiful, contradictory in her own way, good-natured even at the moment of losing her lands (...)

Widowed, deprived of bail, forced to leave his homeland, Anna does not test the peasants who ruined her, neither anger nor hatred. Emigration also does not embitter her: she is able to rejoice at the successes of her distant homeland and, with a feeling of light sadness, mention the poet, all the irretrievable past. Anna's "unreasonable" letter is full of a lonely man's longing for his lost homeland. It is "above class", and behind the excited words it is a sin to try to consider only the "daughter of the landowner" (18; 33).

One cannot but agree with those literary critics who consider "Anna Snegina" one of Yesenin's most sincere creations. It is marked by monumentality, epic majesty and lyrical penetration. The leitmotif throughout the poem is lyrical lines about youth, spring dawn, which forever remains in the memory of a person; the novel with Anna is written in Esenin's subtly and tenderly, and the stories flow with the will that is inherent in the epic, which recreates nothing for a flow that is not compressed, life (14; 76-90).