About Sergei Yesenin's poem "Anna Snegina"
The artistic embodiment of the era in which writers and poets lived and worked, influenced the formation of the views of not only their contemporaries, but also their descendants. The poet Sergei Yesenin was and remains such a ruler of thoughts.
The image of the time with its problems, heroes, quests, doubts was in the center of attention of the writers of the 19th and 20th centuries. Today, the idea of \u200b\u200bYesenin as a major social thinker with a heightened perception of his time is becoming increasingly stronger. Yesenin's poetry is a source of deep meditation on many socio-philosophical problems. It is history and revolution, state and people, village and city, people and individual.
Comprehending the tragedy of Russia in the 1920s, Yesenin predetermined, foresaw everything that we only recently spoke out loud about after seventy years of silence. With tremendous power, Yesenin captured the "new" that was forcibly introduced into the life of the Russian countryside, "blew up" it from the inside and now led to the well-known state. Yesenin wrote in a letter his impressions of those years: "I was in the village. Everything is crumbling ... The end of everything."
Yesenin was shocked by the complete degeneration of the patriarchal village: the poor life of a 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 friends 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 poet's death - in 1924, was a kind of generalization of Yesenin's thoughts about this dramatic and contradictory 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 era depicted, the struggle of human passions. In the poem, lyric and epic principles are closely intertwined.
The personal topic 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 person, a woman, against the background of the historical collapse of old Russia. The name of the heroine sounds poetic and ambiguous. Snegina - a symbol of the purity of white snow - echoes the spring flowering of a white, like snow, bird cherry and denotes, according to Yesenin, 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 homeland are closely related in the poem. The action begins on the Ryazan land 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 a poet who has not been in his native places for a long time.
The latent conflict between the prosperous village of Radovo ("Everybody has a garden and a threshing floor") with the poverty-stricken village of Kriushi, which "plowed with one plow", leads to a fratricidal war. The Kriushans, convicted of stealing the forest, are the first to start the carnage: "... they use axes, we are the same." And then the reprisal against the despotic foreman, who represented the power in the village:
The scandal smells like murder.
Both ours and theirs
Suddenly one of them will gasp! -
And immediately killed the foreman.
The time of revolution and permissiveness pushed the local leader Pron Ogloblin out of the ranks of the Kriushans, who did not have any life aspirations other than "to drink in a moonshine tire." This rural revolutionary is "a fighter, a rude", he is "drunk for weeks in the morning ..." The old miller woman says this about Pron, considering him a destroyer, moreover, a murderer. Yesenin emphasizes the Pugachev principle in Pron, who, like a tsar, stands above the people:
Ogloblin stands at the gate
And I will get drunk into the liver and into the soul
The impoverished people are knocking:
"Hey you! Cockroach brat!
All to Snegina! R-times and kvass
Give, they say, your lands
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. Another Ogloblin, Prona's brother Labutyu, a tavern beggar, a liar and a coward, also has an addiction to alcohol. He "with an important posture, like some gray-haired veteran", found himself "in the Council" and lives, "not a callus." If the fate of Prona, with all its negative sides, acquires a tragic sound in connection with his death, then Labuti's life is a pitiful, disgusting farce. It is remarkable that it was Labuta who "went first to describe the Snegin house" and arrested all its inhabitants, who were subsequently rescued 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. The miller personifies the Russian national character in its "ideal" version, and with this, as it were, he opposes the poet, whose soul is offended and embittered and an anguish is felt in it.
When "the grimy rabble played the grand pianos around the courtyards of the Tambov foxtrot cows", when blood was pouring and natural human connections were destroyed, we perceive the image of Anna Snegina in a special way. Her fate, written by Yesenin in the best traditions of Russian classics, looks bright and sad. The heroine appears before us in the haze of the romantic past - "were happy" - and the harsh present. The mirage of memories, the "girl in the white cape" disappeared in the "beautiful distant" youth. Now the heroine, widowed, deprived of her fortune, forced to leave her homeland, amazes with her Christian forgiveness:
It hurts you Anna
For your ruin on the farm?
But somehow sad and strange
She lowered her gaze ...
Anna has no anger or hatred towards the peasants who ruined her. Emigration does not embitter her either: with bright sadness she recalls her irreversible past. Despite the dramatic fate of the landowner Anna Snegina, her image breathes with kindness and humanity. The humanistic principle sounds especially shrill in the poem in connection with the condemnation of the war - imperialist and fratricidal. The war is condemned by the whole course of the poem, its different characters and situations: the miller and his old woman, the driver, the events of A. Snegina's life.
The war has consumed my whole 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 with humanity, "cherishing the soul of humanity", because only a poet-patriot, a tested humanist, seeing "how many are buried in pits," how many "freaks and cripples are now," could write:
I think,
How beautiful
In it, the writer reflected his memories of the past, his love, comprehended the revolutionary events and shared his vision with the reader.
Anna Snegina brief analysis
Analyzing Sergei Yesenin's poem Anna Snegina, we see that it consists of five chapters. Each part refers to a certain stage in the life of the country, where, against the background of unrequited love, we observe wars and revolutions.
Genre and composition
Following the story of the hero, we find ourselves in the native village of the young poet Sergush. He was tired of the stormy events in St. Petersburg associated with the revolution, so he decides to take a break from all this. Arriving in the village, the poet finds himself in another place, not similar to the one he was leaving. The hero watches the overwhelming burden that fell on the shoulders of ordinary people, who now had to feed the soldiers. Because of this, devastation and disunity between the inhabitants reign everywhere.
In the poem, we see other heroes, the miller and the miller's wife, who, together with Sergush, complain about disasters, sharing their gloomy forecasts. The lyrical hero saw how much the political situation influences people, changing them. The hero also remembered his past love, the landowner Snegina, that she had married another. Her husband is now at the front, but Sergusha suddenly wanted a meeting.
Studying the poem Anna Snegina, and presenting it brief analysis, I would like to mention the relationship of the characters and their mutual sympathy. Against the background of all this, the author shows popular unrest. There is a riot in the village of Kriusha. The peasants are demanding the land of the landlords. They also came to Anna, forcing her to give up her possessions. Just at this time, the woman learns about the death of her husband. This news broke Anna Snegina, she begins to accuse Sergush of cowardice, who, unlike her husband, fled from the front.
Meanwhile, nationalization continues. Snegina has to move to the miller, where reconciliation comes between him and Sergusha. But together they are not destined to be. The woman goes abroad, the hero returns to Petersburg.
At the end of the poem we see the end civil war and the consequences that she left behind. Sergei again returns to the village of Radovo, which has become unrecognizable. There he receives news of the successful emigration of his beloved, but he is not ready to go after her. His heart belongs to his native land, and is not ready to leave.
As we can see, the composition of the poem is cyclical. At the same time, Yesenin creates a plot in the genre of a lyroepic poem, although many researchers claim that the work may well be a short story in verse, or a poetic story.
In the poem by Anna Snegina, it is necessary to mention the topics that the writer touched upon. These are themes of love, Motherland, the theme of revolution and war. Revealing the themes of the poem Anna Snegina, the author shows such problems as social inequality, the problem of betrayal, cruelty, loyalty and a sense of duty.
History of creation
The poem was published during the period when Yesenin was in the Caucasus. At that moment, the poet easily managed to write his works, therefore Anna Snegina was written in one breath. It happened in 1924. This work can be considered autobiographical, and it represents the poet's reflections on the time, critical and dramatic.
The meaning of the title of Yesenin's poem
As we have already said, in the work of Anna Snegina, Yesenin turned to the Time of Troubles, where from 1917 to 1923. the usual life in the country is crumbling. The people are at the very center of the upheaval. The writer tries to reflect on his fate, expressing his attitude to what is happening, and believing that spiritual and moral values \u200b\u200bcannot be replaced by social ones. The main goal of the poem is to show the theme of a person's fate, and the image of Anna Snegina has become a symbol of lost youth. Her name embodies something light and pure, like snow, where the heroine herself became a hostage of that fateful era.
Briefly:
In 1925, the poem "Anna Snegina" was written. It reflects the impressions of trips to the native village of Konstantinovo in 1917-1918.
In Anna Snegina, elements of epic, lyrical and dramatic are combined into a single whole. The epic theme is given in the poem in a realistic tradition. The action of the poem takes place against a broad socio-historical background: revolution, civil war, stratification of the countryside, dispossession of kulaks, lynching, death of noble nests, emigration of the Russian intelligentsia abroad. In the author's field of vision are national disasters - pre-revolutionary and post-revolutionary ("peasant wars", class hatred, Denikin's raids, exorbitant taxes), national destinies (the Radovites, to whom "happiness is given", and the Kriushans, who have one plow and a pair of worn "), folk characters (Pron Ogloblin, Ogloblin Labutya, miller, miller's wife and others).
The lyrical beginning - the failed love of the heroes - is determined by these epic events. Anna Snegina is a noblewoman, an aristocrat. Sergei is a peasant son. Both in different ways, but equally well know the life of Russia and selflessly love it. They are both class enemies and people who are connected by spiritual kinship, they are both Russians. Their romance takes place against the background of revolutionary cataclysms and social upheavals, which ultimately determines the separation of the heroes. Anna leaves for London, having survived all the blows of fate (the ruin of the estate, peasant retribution, the death of her husband, a break with Sergei), but retains tenderness for the hero and love for Russia in a foreign land. Sergei, spinning in a revolutionary whirlpool, lives with the problems of today, and the "girl in a white cape" becomes just a dear memory for him.
However, the dramatic nature of the situation is not limited to the fact that the revolution destroyed the personal happiness of the heroes, it radically undermined the traditional way of life of all Russian life that had been taking shape for centuries. Morally crippled, the village is dying, strong economic Radovtsy and poor Kriushans are fighting among themselves, the long-awaited freedom turns into permissiveness: murder, lynching, the dominance of "villains ... dashing". A new type of leader appears in the countryside:
Bully, fighter, rude.
He is always angry at everyone,
Drunk for weeks in the morning.
The shrewd Yesenin bitterly stated in Anna Snegina what his blue dream of another land and another country in the Bolshevik state had become.
Source: Student Handbook: Grades 5-11. - M .: AST-PRESS, 2000
More details:
The problematic of the poem "Anna Snegina" is inextricably linked with the semantic volume that Yesenin's lyrics carry. One of the central aspects of the problems of his poetry as a whole is determined by the solution of the question of the relationship between the private time of an individual and the historical time of national life. Does a person have a certain sovereignty in relation to history, can he oppose a destructive and pernicious influence historical process (if this is how he perceives it) his right to remain a private person, rejecting the encroachments of historical time on his personal life and destiny?
Such a problematic is predetermined by two objects of the image, each of which corresponds to two plot lines that develop in parallel in the poem. On the one hand, this is a private plot that tells the story of the relationship of the lyric hero with Anna Snegina, telling about the failed love. On the other hand, it is closely intertwined with a concrete historical plot, addressed to the events of the revolution and civil war, which capture both the lives of peasants, residents of the village and the farm, where Yesenin's hero is hiding from the whirlwinds of historical time, and himself. Historical discord captures the life of every person without exception and destroys the relationship of love that was outlined in a private plot.
The opening story of the driver about the sudden enmity between two villages: Radovo and Kriushi becomes the exposition of the national-historical plot. In a terrible fight for the forest between the men of two villages, one sees the prologue of the civil war, when the seeds of anger grow among people belonging to one culture, one nation, speaking the same language: “They are in axes, we are the same. / From the ringing and grinding of steel / A tremor rolled through my body. " Why, after this fight, life in the once-rich village of Radovo falls into decay for no apparent reason? As the driver explains the following situation: “Since then, we have had troubles. / The reins rolled off the happiness. / Almost three years in a row / We have a death, then a fire "?
The driver's story, which serves as a prologue to the national-historical plot of the poem, is replaced by an exposition of a private plot connected with the fate of the lyrical hero, with the choice he makes when deserting from the front of the imperialist war. What is the reason for such an act? Is he motivated by the cowardice of the lyric hero, the desire to save his life, or does he display a firm position in life, unwillingness to participate in the insane and destructive historical circumstances of the imperialist war, the goals of which are unknown and alien to the lyric hero?
Desertion is a deliberate choice of a hero who does not want to be a participant in a senseless and alien to the interests of the peoples of the massacre: “The war has consumed my whole soul. / For someone else's interest / I was shooting at my close body / And I climbed with my chest on my brother. The February revolution of 1917, when "Kerensky on a white horse was Caliph over the country," did not change either the historical situation itself or the attitude of the lyrical hero to the war and his participation in it:
But still I did not take the sword ...
Under the rumble and roar of mortars
I showed another courage -
He was the first deserter in the country.
Show that such a choice is not easy for the lyrical hero, that he keeps returning to his deed, finding more and more emotional excuses: “No, no! / I will not go forever. / For being some kind of scum / Throwing a crippled soldier / Pyatak or a dime in the mud. " Find other examples of similar self-justification.
Thus, the two plot lines of the analyzed poem "Anna Snegina" by Yesenin also correspond to two expositions, the correlation of which forms the problematics of the poem: is it possible, in the conditions of the historical reality of the 20th century, to hide from the fierce and destructive hurricanes of wars and revolutions, national discord, the prologue of which sounds in the story charioteers, in their private world, in a shelter, on a miller's farm, where is the lyrical hero headed? Could it be that the historical wind will pass by and not touch? Actually, the attempt to find such a shelter turns out to be the plot of the poem.
However, such attempts reveal their complete illusion. The internal discord of the peasant world with itself, the image of which was given in the enmity of the villages of Radovo and Kriushi, is becoming more and more obvious, it involves more and more people. Refer to the conversation between the hero and the old woman, the miller's wife. Show how she perceives state of the art peasant world, what new facets to the history of hostility between the Radovtsy and the Kriushan her story adds. Where does she see the reason for the discord between people?
The old woman puts the story of the enmity between the two villages (“Now the Radovtsy are beaten by the Kriushans, / That the Radovtsy are beaten by the Kriushans”) in a broader national-historical context.
The first meeting with Anna Snegina forces the author to turn to the traditional for love lyrics plot of the meeting many years later, two people who once loved each other, then divorced by fate and time. Remember what poems by Pushkin, Tyutchev, Fet, Blok are addressed to a similar plot. This meeting gives Anna Snegina and the lyrical hero an opportunity to return to their former emotional state, to overcome the time of separation and the twists and turns of fate that divorced them: "And even though the former is not in my heart, / Strangely, I was full / An influx of sixteen years."
The private plot of the relationship between Anna Snegina and the lyrical hero develops in parallel with another plot line, the basis of which is the story of the friendship of the lyric hero with Pron Ogloblin. It is these relations that reveal the nature of the historical process taking place in the Russian countryside, developing in front of the poet's eyes and requiring his direct participation. Pron Ogloblin is exactly the hero who makes him leave the shelter at the mill, does not allow him to sit out in the hayloft at the miller, in every possible way shows the lyrical hero his need for the peasant world.
The culmination of the poem, connecting the two plot lines, is the moment the lyrical hero appears together with Pron in the Snegins' estate, when Ogloblin, the spokesman for the interests of the peasantry, demands land from the landowner: "Give, they say, your land / Without any ransom from us." The lyrical hero finds himself with the peasant leader. When a direct class conflict arises, he, no longer able to ignore the challenge of history, makes a choice and takes the side of the peasantry. The development of the plot reveals the impossibility of hiding from historical time, from class contradictions in the countryside, finding itself on the side, having sat on the farm with a miller. If he was able to defect from the front of the German war, choosing the life of a private person, then the hero cannot get away from the peasant environment with which he is genetically connected: staying on the sidelines would mean betraying the village. So the choice was made: standing next to Pron, the lyrical hero loses his newly acquired love for Anna Snegina.
The development of a love conflict also ends because Snegina, shocked by the death of her husband, an officer at the front, throws a terrible accusation in the poet's face: “They killed ... They killed Borya ... / Leave me! / Go away! / You are a pathetic and low coward. / He died ... / And you are here ... "
The action takes place on the Ryazan land in the period from the spring of 1917 to 1923. The story is narrated on behalf of the author-poet Sergei Yesenin; the image of "epic" events is conveyed through the attitude of the lyric hero to them.
The first chapter deals with the poet's trip to his native places after the hardships of the world war, in which he was a participant. The driver tells about the life of his fellow villagers - wealthy Rada men. The Radovtsy have a constant war with the poor village of Kriushi. Neighbors steal the forest, arrange dangerous scandals, in one of which it comes to the murder of the foreman. After the trial, even among the Radovtsy, "troubles began, the reins rolled off the happiness."
The hero reflects on the disastrous fate, recalling how he shot "for someone else's interest" and "climbed with his chest on his brother." The poet refused to participate in the bloody massacre - he straightened his "linden" and "became the first deserter in the country." The guest is welcomed at the miller's house, where he has not been for four years. After the samovar, the hero goes to the hayloft through the garden overgrown with lilacs - and “the distant dear ones” appear in his memory - a girl in a white cape, who said affectionately: “No!”
The second chapter tells about the events of the next day. The hero, awakened by the miller, enjoys the beauty of the morning, the white haze of the apple orchard. And again, as if in opposition to this, - thoughts about the innocently disfigured by the war cripples. From the old woman miller, he again hears about the clashes between the Radovites and the Kriushans, about the fact that now, when the tsar has been driven out, there is “freedom to gnaw” everywhere: for some reason, jails were opened and many “thieves' souls” returned to the village, including the murderer of the elder Pron Ogloblin. The miller, returning from the landowner Snegina, an old acquaintance of the hero, reports how much interest aroused his message about the guest who had come to him. But the sly hints of the miller do not bother the hero's soul yet. He goes to Kriusha - to see the familiar men.
At Pron Ogloblin's hut, a peasant gathering has gathered. The peasants are glad to have a guest from the capital and demand that all burning questions be explained to them - about the land, about the war, about "who is Lenin?" The poet answers: "He is you."
In the third chapter - the events that followed a few days later. The miller brings Anna Snegina to the hero who has caught a cold while hunting. A half-joking conversation about young meetings at the gate, about her marriage annoys the hero, he wants to find a different, sincere tone, but he has to obediently play the role of a fashionable poet. Anna reproaches him for his dissolute life, drunken brawls. But the hearts of the interlocutors speak of something else - they are full of an influx of "sixteen years": "We parted with her at dawn / With the riddle of movements and eyes ..."
Summer continues. At the request of Pron Ogloblin, the hero goes with the peasants to the Snegins - to demand land. Sobbing is heard from the landlord's room - this is the news of the death of Anna's husband, a military officer, at the front. Anna does not want to see the poet: "You are a pitiful and low coward, he died ... And you are here ..." Stung, the hero goes with Pron to the tavern.
The main event of the fourth chapter is the news brought to the miller Pron's hut. Now, according to him, “we are all r-times - and kvass! in Russia now the Soviets and Lenin is the senior commissar. " Next to Pron in the Council is his brother Labuta, a drunkard and a chatterbox, who lives "not with calluses." It was he who was the first to go to describe the Snegin house - "there is always speed in the capture." The miller brings the hostesses of the estate to his place. The hero's last explanation with Anna takes place. The pain of loss, the irrevocability of past relationships continue to separate them. And again, only the poetry of memories of youth remains. Towards evening the Snegins leave, and the poet rushes to St. Petersburg "to dispel melancholy and sleep."
The fifth chapter contains a sketch of the events that took place in the country over the six post-revolutionary years. The “grimy rabble”, having seized upon the property of the master, strumbles on the pianos and listens to the gramophone - but “the lot of the grain grower goes out,” “fefela! Breadwinner! Iris!" for a couple of worn-out "rollers" he lets himself be ripped out with a whip. "
From the miller's letter, the hero of the poem learns that Pron Ogloblin was shot by Denikin's Cossacks; Labuta, after sitting out the plaque in the straw, demands a red order for his courage.
The hero visits his native places again. Old people meet him with the same joy. A gift-letter with a London seal has been prepared for him - a message from Anna. And although outwardly the addressee remains cold, even a little cynical, still a trace in his soul remains. The final lines again return to the light image of youthful love.
Retold
"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 the Pushkin novel, the heroes of the love story meet her through the years and remember their youth, regretting that they had once parted. By this time, the lyrical heroine is already becoming a married woman.
The protagonist of the work is a poet. Like the author, his name is Sergei. In addition, he has a clear portrait resemblance to S.L. Yesenin. After a long absence, he returns to his native place. The hero took part in the First World War, but soon realized that it was being fought "for someone else's interest," and deserted, buying himself a forged document - "linden." The plot of the poem contains autobiographical features. It is inspired by memories of S.A.'s feelings. 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 modern poet of social reality, which includes both pictures of peaceful village life and echoes of wars and revolutionary events. The poem is written in a lively spoken language, full of dialogues, gentle humor and deep nostalgic feelings.
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, which exists in the prosperous village of Radov. The very name of this place is symbolic. Such a village really exists in Meschera. The author's sympathies are clearly directed to him. The men in the village live well. Everything here is done in a businesslike manner, thoroughly.
The prosperous Radov is contrasted in the poem with the village of Kriushi, where poverty and wretchedness reign: "Their life was bad - Almost the whole village was galloping. Plowed with one plow On a pair of worn-out nags." The peasants have rotten huts. It is symbolic that no dogs are kept in the village, apparently, there is nothing to steal from the houses. But the villagers themselves, exhausted by the painful fate, steal the forest in Radov. All this gives rise to conflicts and feuds. So, with a description of a local conflict, the theme of social contradictions begins to develop in the poem. It is noteworthy that the display in the poem of various types of peasant life 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 wealth and socio-political views. Gradually, the once calm and prosperous Radovo gets involved in a series of troubles: "The reins rolled off the happiness."
An important feature of the poem is its anti-war orientation. Looking at the bright spring landscape, at the blossoming of the gardens of his native land, the hero feels even more sharply the horror and injustice that the war brings with it: “I think: How beautiful is the Earth And there is a man on it. And how many unfortunate Freaks are now crippled by the war! And how many are buried in the pits! And how many more will they bury! " Human life is unique and inimitable. How happy the heroes of the poem should have been, having spent it together among these beautiful gardens, forests and fields of their native land. But fate decreed otherwise.
Serguha is visiting an old miller who contributes to the story of Meshchera's riches: “This summer we have mushrooms and berries in abundance in Moscow. And the game here, brother, to the devil, Itself is so under gunpowder and rushing. " Visiting the miller, thanks to the simple realities of rural life, the hero plunges into memories of his youthful love. Joyfully meeting with his native places, the hero dreams of having a romance. Lilac becomes the symbol of love feelings in the poem.
The figure of the miller himself, the hospitable host of the house, and his troublesome wife, who seeks to feed Sergei more deliciously, is also important in the work: she serves a cake for tea in the evening, and bakes pancakes for the dear guest at dawn. Sergey's conversation with an old woman conveys popular perception contemporary author era: simple peoplewho spend their lives in work, in close proximity to the natural world, do not understand the lofty revolutionary ideas and bright romantic impulses directed to the future. They live in the present day and feel how their current everyday worries have increased. In addition to the First World War, for which soldiers were taken to the villages and villages, the peasants are harassed by local conflicts that escalated in the era of anarchy. And even an ordinary village old woman is able to see the reasons for these social unrest: “All misfortunes poured down on our unreasonable people. For some reason they opened the jails, they let the dashing villains go. Now on the high road do not know Peace from them. " S.A. Yesenin shows how the violation of the usual course of development of events, the very revolutionary transformations that were carried out in the name of the people, turned in fact into a series of next problems and worries.
It is symbolic that it is the miller's wife (a troublesome hostess and a reasonable woman, rich in popular practical wisdom) who first characterizes Pron Ogloblin, a hero who embodies the image of a revolutionary-minded peasant in the poem: “Buldyzhnik, brawler, rude. He is always angry at everyone, Drunk for weeks in the morning. " S.A. 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 willingly went to share the property of the landowners.
Sergei falls ill, and Anna Onegina comes to visit him herself. In their conversation, autobiographical motives are again heard. The hero reads to Anna poems about tavern Russia. And Yesenin himself, as you know, has a collection of poetry "Moscow tavern". Romantic feelings flare up in the hearts of the heroes, and soon Sergei learns that Anna is widowed. In the folk tradition, there is a belief that when a woman is waiting for her husband or groom from the war, her love becomes a kind of amulet for him and keeps him in battle. Anna's arrival to Sergei and an attempt to continue romantic communication with him are perceived in this case as treason. Thus, Anna becomes indirectly guilty of the death of her husband and realizes this.
In the finale of the poem, Sergei receives a letter from Anna, from which he learns how hard she is going through separation from her homeland and all that she once loved. From a romantic heroine with all her external attributes (gloves, shawl, white cape, white dress) Anna turns into an earthly suffering woman who goes to meet ships that have sailed from distant Russia to the pier. Thus, the heroes are torn apart not only by the circumstances of their personal lives, but also by deep historical changes.