That's just evening. The dew where the cabbage beds sing Winter - Auukets under the wreath of the forest chamomile dark nights, it was not sleeping good was Tanya, there was no more painted in the village, beyond the mountains, playing the yellow dollars. The priest of the song was laid on the lake scarlet light dawn. Mother in a swimsuit in the forest walked, looked over Zatona Reeds. Troitsyno morning, morning canon, cloud lace in a grove knitted, smoke flood the cherry fleece snow, a beam hangs on the plowing, the calibium smoked, sleeping the cat on a bar, the edge of the beloved! The heart is shot to go to Sucucia with a humble ink walked the Lord torture people in love, autumn is not winds shower the forest, in the hut on the village of the path of the goy you, Russia, my native, I am a shepherd, my chambers - the side of my, sideways, dries I know the Radunitsa God - the mantists are going on the way, the edge of you are abandoned, drunk drought casting, black, then the masculous toothpone! Topi and the swamp, for the dark strand of the ferrelers, in the very edge where the yellow nettle I am here again, in the family of my native, not to wander, not to mine in the bushes of the crimson about the red evening, the road, butt and field, and a crope of cocks ... about the edge rain and bad weather, dove bell soberly, drank trees drools, did not vain winds, cow under a red veyous porch and courtyard, herd lost a month about comrades of funny, spring on joy does not look like, scarlet darkness in heavenly Farewell, native forest flushed , Your voice is invisible as smoke in the hut. In the lunar lace, the furthest where there is always a mystery, clouds with a fox of a fox about Russia, waving wings, I will look in the field, I will look into the sky - then do not clouds roam the Ovin wake me too early, where are you, where you, father's house, oh Mother of God, about arable land, Pashnya, Pashnyh, Niva compressed, groves goals, green hairstyle I am on the first snow delirium, silver road, take me, the guard is the surround, I believe, I believe, happiness is! Songs, songs, what are you shouting about? Here it is, stupid happiness saved, looked raining the spring, oh muse, my friend is flexible, I'm the last poet of the village of the soul sadness about heaven, I'm tired of living in my native land about God, God, this depth - I left the birthday house, good under the autumn freshness Songs about the dog spinning foliage Golden Now Love My not that in the autumn skiing Owl Songs about the hooligan bread all the lively special Mysterious world, the world is my ancient, the side is mine, the side! Do not swear. What a matter! I do not regret, I don't call, I do not cry, I will not deceive myself, yes! Now it is decided. Without return, they drink again, they fight and cry rashes, harmonics. Boredom ... boredom ... Singy, sing. On the damned guitar, this street is familiar to me, the years are young with Zabbit Glory, I was not tired to the letter to my mother. This sadness is now not to scatter me alone Fun: a fire was noticed, you're a simple, like everyone, let you drink to others, dear, sit down next to you, I'm sad to watch you, you're cool, you don't have a black eyebrows. We are now moving away by Pushkin Low house with blue shutters, Sukin Son dissigned grove Golden Blue May. Garling heat. Dog Kachalova Unpastened, blue, gentle ... The song is dawn in the other, well, kiss me, kiss, goodbye, Baku! I will not see you. I see a dream. Black road. Slepping the nick. Plain dear, I will not return to the father's house, over the window month. Under the wind window. Every work bless, luck! It can be seen, so the leaves fall forever - the leaves fall, the leaves fall. Gori, my star, do not fall. Life - deception with charming fortifications, rash, taguelanka, bello, rash, taluska, boldly I have a beautiful one have not seen ah, how much in the light of cats you drink me that song that before in this world I'm only passersby Persian motives eh you, sled ! And horses, horses! Snow jaws crushed and ourselves, you hear - Sanya rushing, you hear - Sanya rushing. Blue sweater. Blue eyes. Snowy lean twists Boyko, in the evening blue, in the evening lunar are not curved smile, the hands of the tricky, the wrister is poor, it is you blue fog. Snow-rated, fistulate wind, silver wind, melanchie. Steppe and gave. Flowers tell me - goodbye, supplement1
Philological analysis of the poem of Sergei Yesenin "Cherrych's Symelch Snow ..."
Cherry Slaughter Snow
Greens in color and dew.
In the field, leaning towards shoots,
Graci walk in the strip.
Nicknut silk herbs,
Smells a resinous pine.
Oh you, meadows and dublava, -
I am twisen in spring.
Rainbow secret news
Glow my soul.
I think I'm about the bride,
Only about it only sing.
Rash you, cherry, snow,
Put you, Ptakhi, in the forest.
On the field with a refrigerated run
Foam I will split color.
This poem is the text, as it has the following signs of textuality:
- informativeness, because Contains new information - a special vision of lyrical herothe moment of revitalizing nature, its heyday. The reader is clear that the image of spring The author associates with the image of the bride;
- wholeness, because Text has a plan.
- Loving the lyrical hero coming in spring.
- Duma about the bride.
- Appeal to nature.
All stanzas are closely connected with each other, one of them cannot be "snatched", since the meaning of spiritual experiences is understandable only in the context. At the psychological level, the reader perceives the text as a whole;
- connectedness, because Offers are interconnected. For example, 3 and 4 sentences - meadow herbs, their dopeful smell; 5 and 6 sentences - peaceful thrill from thoughts about the bride.
- cohesion (intrangeer relationship): personal pronouns (I am -Leaic hero, she is a bride, you are Ptakhi);
- Completion. The text "financially" is independent (his understanding is possible outside the cycle of the poems of Yesenin "Girlish"). It has a contextually-and-free completion (loving in the spring, blooming cherry - Duma about the bride - appeal to the ceremonic);
- sociologicalness, because associated with his epoch, a poem is symbolic, spring as the bride appears in front of us in the poem. The text and itself performs a sociological function: defines a person who can experience love and tenderness to nature;
- dialogue, because It is associated with other prosaic, poetic and scientific texts, where the eternal problem of human and nature relationships is addressed. From here - "Dialogue" with other writers.
- Unity of the external and inner form:
The outer form is a lyric poem, the composition is simple, the location of strings and storage is sequentially; There is a set of language funds:assonance of sound [IE] gives solemnity; The poem is saturated with color ("greens in bloom", "foam I will smash"), bright epithets ("silk herbs"); Animation ("Cherry's Syft", "Nicknut Grass") contribute to life, action; Inversion ("Silky herbs", "CheroMuha Snow Pillar"); Rhetorical appeals ("Oh you, meadows and dubravy", "Put you, Ptakhi", "Rash you, Cherumukha") give a poem imagery; AnaFora emphasizes the main thought of the text ("Cherohemukha Slam Slam" and "Rash", Cherryumukha Snow "); on rhyme poem singing; The presence of separate members requiring special intonation, with pauses, makes a speech, slow down; on rhyme poem singing; It is written by a three-stroke dactyl, a crossliner, which gives the melodicity to the poem - this is a set of language funds, which includes a substantive side, implementing the author's intention - to present a picture of spring;
- absolute anthropocentricity, because The text was created by a person (s. Jenin) and for a person;
- exploration, because At the substantial level of speech, this text finds an expression in the three direct relations of the main subject with other objects built in the subtopics (see P.№ 2);
- the sequence that is on the surface level. Words, suggestions are built consistently, so it is clear what we are talking about;
12,13) \u200b\u200bstatic and dynamism. Staticness in the text manifests itself in the fact that it is already a result of a response. This is a poem of S. Jenin "Cherrych's Symery Snow ...". The dynamism of the text lies in the fact that the process of its rebirth is invariably under consideration: perception and understanding;
14) aesthetics, because It causes a sense of aesthetic satisfaction, because the text of the artistic style puts such a task; shows the beauty of nature in the spring, the singular state of the hero;
15) imagery, because Causes the reader a system of representations:
a) cherry, snow, dew, field, gri
b) silk herbs, resinous pine, meadows, oaks;
c) rainbow, secret lead, soul, bride, I sing;
d) Ptahi, forest, driving jogging, I will smash color.
These representations are folded into images that fold into images capable of drawing a visual picture;
16) intentionality, because each writer and poet sets the goal to "reach" to the reader. Yesenin causes the reader a storm of feelings, emotions to images that creates and uses in his poem;
17) situability, because Considered the situation in which it is discussed. This text may sound in the lesson of literature or studied in solitude, but it is clearly not suitable for voicing on mass political rallies;
18) acceptability, because The audience or reader considers the proposals and their sequence as text;
19) Interpretability, on the one hand, by S. Jenin, talking about the arrival of spring, interprets her for the power of his talent in the spiritual experiences of the lyrical hero, on the other hand, any reader seeks to comprehend the design of the poem, actively knows it, thus interpreting it.
Basic units of text
Complex syntactic integer. The poem of Sergey Yesenin can be divided into three SSCs:
1st part - 1, 2 stanches;
2nd part - 3 stanza;
3rd part - 4 stanza
The relationship between proposals within each SCC is parallel.
Zsotin - Cherrych Symelch Snow
Greens in color and dew.
The middle part - I think about the bride,
Only about it only sing.
Ending - rash you, cherry, snow,
Put you, Ptakhi, in the forest.
In the first SCC begins the story of the arrival of spring, its signs are given.
The second SCC is built on the description of the spiritual experiences of the lyrical hero.
In the third SCC, the lyrical hero asks the spring to stay in a longer to keep the image of her beloved in thoughts.
Thus, based on the signs listed above, the poem of Sergey Yesenin can be called text, because It saved all signs of textuality.
"Refrigera Smerech Snow ..." Sergey Yesenin
Cherry Slaughter Snow
Greens in color and dew.
In the field, leaning towards shoots,
Graci walk in the strip.Nicknut silk herbs,
Smells a resinous pine.
Oh you, meadows and dublava, -
I am twisen in spring.Rainbow secret news
Glow my soul.
I think I'm about the bride,
Only about it only sing.Rash you, cherry, snow,
Put you, Ptakhi, in the forest.
On the field with a refrigerated run
Foam I will split color.
Analysis of the poem of Yesenin "Cherry's Symelch Snow ..."
"The cherryph of the cherryph of snow ..." - a poem dated 1910 and related to the early landscape lyrics of Yesenin. It reflected a fresh look of a young poet for the beauty of nature. The work is imbued with the joy caused by the coming spring - sometimes updates, rebirth, love. The lyrical hero is twisen to her. Thoughts of a young man are busy only by the bride, it is about her he is ready to sing infinitely. White color cherry, which the poet compares with snow, emphasizes the "greens in color and dew", contrasting with it. Yesenin manages to fill the landscape smells (resinous pine) and sounds (bird singing), which allows readers in all details to draw in the imagination presented by Sergey Alexandrovich the picture.
Mother's chanting was the main creative task of Yesenin. In the poem "Cherrych's Symeth Snow ..." This is not about some abstract nature, but about the nature of the middle strip of Russia, which the poet knew perfectly and loved. He was born in the village of Konstantinovo Ryazan province, surrounded by endless fields and beautiful forests. Having left home, Yesenin always missed her native places, so it was often visited. In the lyrics of Sergey Alexandrovich, folk traits often meet - the love of folklore instilled his grandmother. It is visible and on the work of the "starfish of the cherry of snow ...". It reflects the syncretic unity of nature and a person characteristic of folk art. The lyrical hero appeals to birds, ceremonic, meadows and dumbers. With them, he shares his thoughts, joy.
Nature is shown in eternal motion, change and development in the poems of Yesenin. Like a person she is happiness and sadness, born and dies. Therefore, in the works of Sergey Alexandrovich, immaculates are often found: "Cheroch Syll", "Herbs is nicon." Speech figures are used not for the sake of the red sense, but for the sake of a more complete and deep expression. Hence the desire for the unity of all existing on Earth. In the creative world, Yesenina people, plants, animals, subjects and elements are children of mother nature.
Sergey Alexandrovich's poems became the basis for a huge number of songs, and not only in Russian. It should be on the music and the work of "Cherry's Symery Snow Snow ...". The composition called "Cheroch" entered the album "Maple You are my who fallen" the Russian singer Alexander Podabotov.