Analysis of Yesenin's poem behind a dark strand of woodland.

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Notes

The poem stood out in criticism. One of the first to draw attention to it was D.N. Semenovsky, who noted the author’s “subtle observation” and cited the second stanza of the poem as proof (newspaper “Rabochy Krai”, Ivanovo-Voznesensk, 1918, July 20, No. 110). K.V. Mochulsky saw in the poem an example of Yesenin’s use of metaphors: “The favorite - and perhaps the only - technique that Yesenin uses is metaphor. He specialized in it. He has a huge verbal imagination and loves effects, unexpected juxtapositions and tricks. Here he is inexhaustible, often witty, always daring. The mythology of a primitive people should reflect their life; this “apperception” is discussed both in psychology textbooks and in aesthetics textbooks. The herder perceives the universe through his herd. Yesenin did this systematically.” Giving numerous examples from this (“lamb curly moon”) and other poems (“Dove”, “The winds did not blow in vain...”, “Clouds from the foal...”, “Hooligan”, “Autumn”, etc.) , the critic concluded: “The sharpness of this, I would say, zoological transformation of the world, is dulled very quickly. You are surprised at the ingenuity, but when you find out that the wind is also “red,” only not a foal, but a donkey, it ceases to please” (Zveno newspaper, Paris, 1923, September 3, No. 31).

A striking example of color painting was seen in the poem by R.B. Gul:

“The second gift of the peasant poet is painting with words.

There are poets and prose writers who perceive the sound side of the word to the detriment of its second essence - “color”. The most definite one here is Andrei Bely. Yesenin has almost the opposite. “Color” has been brought to an extraordinary, eye-catching brightness. He spells flowers. His images of colors are amazing. But there is no disharmony in this. Painting in friendship with organic songfulness.

Yesenin's poetic standard is blue and gold. This is Yesenin’s favorite color. The color of the Russian sky, of village melancholy from the surrounding vastness. Without this color he has almost no poem. And in these colors I would publish all his books.

“Blue Rus'”, “blue aspen”, “blue evening”, “blue doors of the day”, “blueness of invisible bushes”, “blue valleys”, “blue clang”, “blue sucks the eyes”, “blue plateau of heaven”, “ blue road”, “unshakable blue”, “blue thicket”, “blue evening”, “plain blue”, “blue in the eyes”, “blue haze”, “blue bay”, “blue swan”.

Everything is filled with blue. And it is always decorated with the gold of stars, dawns, sunsets, golden aspens,” the critic wrote and further quoted this poem (Nak., 1923, October 21, No. 466).

Critics of the vulgar sociological and proletarian sense interpreted the poem as “the view of the owner,” “the housewife,” etc. Clearly having similar judgments in mind, A.P. Selivanovsky, in the article “Moscow tavern and Soviet Rus',” wrote about the poet’s pre-revolutionary poems: “True, he saw not only blue bells in the world. Even then, other motives cut through the silence of the village fields. Through the “black strand of woods,” through the steppe, waving “cherry smoke” over the canopy of green, he felt the centuries-old oppression that shackled the village, the weight of the shackles of tsarism, entangling it hand and foot.” Having quoted the last two stanzas of the poem, he concluded: “The peasant boys fled from these shackles into the forest, onto the high road, and became ‘robbers’. It is not without reason that many of the old Russian revolutionary writers considered the robber to be a national-Russian type” (Zaboi magazine, Artemovsk, 1925, No. 7, April, p. 15).

Indicate various tropes (metaphors, metonymies, synecdoche, antonomasia, epithets, comparisons, personifications, hyperboles, litotes, periphrases). What is their function in speech? 1. The stormy day has gone out (personification); on a stormy (epithet) night, darkness spreads across the sky like lead clothing (metaphor - like an enemy army). 2. The forest showered (personified) its peaks, the garden exposed (personified) its brow, September breathed (personified), and the dahlias burned with the breath (metaphor - like the fetid breath of the SERPENT GORYNYCH) of the night. 3. Curly lamb (epithet) - month (lamb - month - comparison, since both are young, recently born) walks (personified) in the blue (epithet) grass. 4. Evening clouds carried the red carpet like semi-precious silks. 5. And the clouds came running down the Ural cliff like ermine (epithet) fur (comparison, since the noun is used in the TV case). 6. All day long, silhouettes of crimson (epithet) hearts are falling from the maple trees (silhouettes of crimson hearts -? I DON’T KNOW). 7. They buried him in the globe, but he was only a soldier. In total, friends, a simple soldier without ranks or awards. 8. Isn’t life where youth is – in italics. And old age is an indiscriminate petite. 9. Ax, in winter, six rowan tassels in the snow are frozen like porcelain (comparison, because the noun is in the TV case), like inverted cups, dark fiery (epithet) below. 10. On the asphalt of a melted suburb, having thrown off her coat and ABC books, the girl in the crystal ball of jumping ropes quietly separated from the ground. 11. The last pieces of winter are sobbing slightly (personification) under the foot, and so embarrassedly (epithet) the hummocks breathe (personification) with naked insecurity (epithet). here rationality chews dubious (epithet) thoughts with a plastic jaw (metaphor - like a toothless old woman 13. But even lifted up by a rocket, rushing faster than the speed of sound (comparison), I will see, as if a terrible dream (comparison), the silent ones (autonomy). - ?) the quiet (epithet) host and diversity of Skalozub’s face 14. Only do the ends of the hair remember (personified) how you once stroked them 15. A monument to women’s (epithet - ?) pain should be erected during life 16. . The globe is screwed to me. I, like a tired Japanese woman (comparison), carry the whole world like a crying child (epithet) on my back 17. A road ran through the cities, the oldest, the oldest postal road in Siberia. He, like bread (comparison), cut the cities in half with a knife of the main street (metaphor - LIKE a knife through butter), and flew by the villages without turning around, scattering them so far behind with trellises (comparison, because noun TV case) lined huts or arching them with an arc or hook of a sudden (epithet) turn. 18. Autumn has already sharply (epithet) marked the border of the coniferous and deciduous worlds in the forest (hyperbole). The first bristled with a gloomy (epithet), almost a black wall in the depths, the second glowed with wine-fired (epithet) spots in the gaps, like an ancient town with a fort and golden-domed towers (comparison), cut down in the thicket of a forest from its logs. 19. There was a lot of unyellowed greenery in the forest. In the very depths, almost all of it was still fresh and green. The low (paraphrase -?) afternoon (epithet) sun pierced him from behind with its rays. The leaves let in sunlight and burned from the inside with green fire (comparison, because noun. Tv. case) of transparent bottle (epithet) glass.

“Behind the dark strand of woods…” Sergei Yesenin

Behind the dark strand of copses,
In the unshakable blue,
Curly lamb - month
Walking in the blue grass.
In a quiet lake with sedge
His horns butt, -
And it seems from the path far away -
The water shakes the banks.
And the steppe under the green canopy
Blows bird cherry smoke
And beyond the valleys along the slopes
Creates a flame over him.
O side of the feather grass forest,
You are close to my heart with evenness,
But there’s something deeper hidden in yours too
Salt marsh melancholy.
And you, like me, are in sad need,
Forgetting who is your friend and enemy,
You yearn for the pink sky
And dove clouds.
But also for you from the blue expanse
The darkness seems timid
And the shackles of your Siberia,
And the hump of the Ural ridge.

Analysis of Yesenin’s poem “Behind the dark strand of woodlands...”

From the first years of his life in Moscow, Sergei Yesenin gained fame as a rural poet. Capital connoisseurs of literature treated him with prejudice, believing that Yesenin’s work was completely devoid of relevance. Nevertheless, very soon the poet had his own admirers, who were able to discern, among simple and unpretentious phrases, the image of the Russia that was dear to them, close and understandable.

The capital made a contradictory impression on Yesenin. On the one hand, they admired high-rise buildings and very quickly got used to Moscow restaurants. But the constant bustle and alienation of people frightened the poet. Therefore, mentally, he preferred to return to his native village every time and dedicated all his poems to the ancient Ryazan region, which he loved so much since childhood. During this period (1914), the poem “Behind the dark strand of copse trees...” was written, which became another bright touch to the portrait of Russian nature - original, bright and amazingly beautiful.

Yesenin's work is characterized by imagery and the desire to endow inanimate objects with the traits of living people. That is why the poet associates the month with a curly lamb that “walks in the blue grass,” and “water shakes the banks” due to the fact that this heavenly body seems to butt its horns with the river sedge. Thus, Yesenin fills the simple landscape with special magic and charm, giving every little detail meaning. His landscapes are light, like “cherry smoke” that falls over the Russian steppe, green and fragrant in spring.

Forests and meadows are the poet’s best friends; Yesenin confides all his innermost thoughts and desires to them. However, the author also knows how to listen, discerning in the rustling of leaves the exquisite melody of the approaching summer. The amazing metaphorical nature of many of Yesenin’s poems gives rise to very memorable images. Thus, the poet equally successfully calls a grove not only a cluster of birch trees at the edge of a field, but also thickets of feather grass - steppe grass, which dries out by mid-summer, turning into a prickly and impenetrable wall. But now, while the feather grass is still gathering juice, the poet sincerely admires the “forest”, admitting: “You are close to my heart with evenness.” However, even in this green carpet, the author sees flaws in the form of islands of salt marsh, which bring dreary thoughts to him.

The author resorts to a fairly common technique, getting used to the image of the heroes of his story. However, the situation is unusual in that Yesenin talks about the Russian steppe and tries on its external surroundings. If the green feather grass were an animate object and could speak, it would probably be able to tell about what it experiences while being under the hot spring sun all day. His thoughts are voiced by the author himself, claiming that the feather grass yearns for the pink sky and “pigeon clouds.” At the same time, Yesenin draws a parallel between himself and the hero of the poem, claiming that at the moment he is experiencing similar feelings, being “in sad need.” He strives for transcendental heights, but realizes that what he dreams of is unattainable for him.

Instead of heavenly heights, the feather grass gets “the shackles of your Siberia and the hump of the Ural ridge.” The poet receives the same thing, for whom the homeland is associated not only with the beauty of the surrounding nature, but also with slave peasant labor. Attempts to escape from childhood memories in this case do not work, since Yesenin still remains a dream of his people. Since childhood, he has cherished a dream of the sublime, but is forced to be content with the earthly, like a steppe feather grass, whose life is devoid of ups and downs.

Analysis of Yesenin’s poem “Behind the dark strand of woods”

Yesenin’s poem “Behind a dark strand of woods...” (1915 – 1916) can be classified as an elegy - it conveys the hero’s lyrical and philosophical thoughts about the essence of man and nature, about his connection with his homeland - its history and destiny.

Such is the human soul, endlessly striving for heaven, but unable to overcome its “earthly” - base - essence. And the feeling of this fatal inaccessibility of harmony and happiness creates in the hero’s soul a feeling of mortal - oppressive, barren, poisonous - melancholy, which he expresses with the help of the metaphor “salt melancholy”.

“And the steppe under the green canopy

Blows bird cherry smoke

And beyond the valleys along the slopes

Creates a flame over him."

O side of the feather grass forest,

You are close to my heart with evenness,

But there’s something deeper hidden in yours too

"In a quiet lake with sedge

His horns butt,

And it seems from the path far away -

The water shakes the banks.”

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Analysis of Yesenin’s poem “Behind the dark strand of woodlands...”

From the first years of life in Moscow Sergey Yesenin gained fame as a rural poet. Capital connoisseurs of literature treated him with prejudice, believing that Yesenin’s work was completely devoid of relevance. Nevertheless, very soon the poet had his own admirers, who were able to discern, among simple and unpretentious phrases, the image of the Russia that was dear to them, close and understandable.

The capital made a contradictory impression on Yesenin. On the one hand, they admired high-rise buildings and very quickly got used to Moscow restaurants. But the constant bustle and alienation of people frightened the poet. Therefore, mentally, he preferred to return to his native village every time and dedicated all his poems to the ancient Ryazan region, which he loved so much since childhood. During this period (1914), the poem “Behind a dark strand of woods…” was also written. which became another bright touch to the portrait of Russian nature - original, bright and amazingly beautiful.

For creativity Yesenina characterized by imagery and the desire to endow inanimate objects with the characteristics of living people. That is why the poet associates the month with a curly lamb that “walks in the blue grass,” and “water shakes the banks” due to the fact that this heavenly body seems to butt its horns with the river sedge. Thus, Yesenin fills the simple landscape with special magic and charm, giving every little detail meaning. His landscapes are light, like “cherry smoke” that falls over the Russian steppe, green and fragrant in spring.

Forests and meadows are the poet’s best friends; Yesenin confides all his innermost thoughts and desires to them. However, the author also knows how to listen, discerning in the rustling of leaves the exquisite melody of the approaching summer. Amazing metaphor, characteristic of many of Yesenin’s poems. creates very memorable images. Thus, the poet equally successfully calls a grove not only a cluster of birch trees at the edge of a field, but also thickets of feather grass - steppe grass, which dries out by mid-summer, turning into a prickly and impenetrable wall. But now, while the feather grass is still gathering juice, the poet sincerely admires the “forest”, admitting: “You are close to my heart with evenness.” However, even in this green carpet, the author sees flaws in the form of islands of salt marsh, which bring dreary thoughts to him.

The author resorts to a fairly common technique, getting used to the image of the heroes of his story. However, the situation is unusual in that Yesenin talks about the Russian steppe and tries on its external surroundings. If the green feather grass were an animate object and could speak, it would probably be able to tell about what it experiences while being under the hot spring sun all day. His thoughts are voiced by the author himself, claiming that the feather grass yearns for the pink sky and “pigeon clouds.” At the same time Yesenin draws a parallel between himself and the hero of the poem, claiming that he is currently experiencing similar feelings, being “in sad need.” He strives for transcendental heights, but realizes that what he dreams of is unattainable for him.

Analysis of the poem by S. Yesenin “Behind the dark strand of woods. »

Yesenin’s poem “Behind a dark strand of copse trees...” (1915 – 1916) can be classified as an elegy - it conveys the hero’s lyrical and philosophical thoughts about the essence of man and nature, about his connection with his homeland - its history and destiny.
The poem harmoniously combines landscape sketches, philosophical reflections and lyrical digressions of the hero. So, in the first part of the work (the first three stanzas) a description is given of the hero’s native side - “the side of the feather grass forest.”
The poet chooses night time for his description. This fact emphasizes the restless psychological state of the lyrical hero, who cannot sleep, who at night, alone with nature, reflects on issues important to himself, conducts a mental dialogue with the “side of the feather grass forest.”
What kind of side does his native side appear before the hero and us? From the first word we understand that it is inhabited by living beings, breathes and exists according to its own laws. Metaphors of personification help the author create such an effect - the poet personifies the month (“The curly lamb - the month walks in the blue grass”) and its “components” (“In a quiet lake with sedge, its horns butt…”). Here the lake water (“Water shakes the shores”) and the steppe (“…the steppe… The bird cherry smoke smokes and behind the valleys along the slopes the flame curls over it”). In addition, in this part of the poem there are many “active” verbs that create a picture of the natural world connected together, moving, living its own life.
The picture created in the first part of the poem figuratively and accurately conveys the night landscape, even the color scheme of the epithets contributes to this - the poem is dominated by shades of blue and green, diluted with a haze of white (“in the unshakable blue”, “in the blue grass”, “under the canopy”) green", "cherry smoke").
The second part of the poem (the last three stanzas) immerses us in the world of experiences and thoughts of the lyrical hero. We understand that he sees himself as part of his native land, the world of his native nature. For him, they are an important component of his own inner world, largely determining his life and destiny. That is why we find here comparisons of speech - “and you, like me...”, “but also for you...”
According to Yesenin, the model of the structure of the human soul repeats the model of the structure of the natural world, which is divided into two clearly demarcated parts - top and bottom, heaven and earth, spiritual and carnal, sublime and base. It is not without reason that behind the apparent “evenness” the hero feels the desire of the “feather grass forest” for the “pink sky” and “dove clouds”. However, this desire is as hopeless as it is eternal.
Such is the human soul, endlessly striving for heaven, but unable to overcome its “earthly” - base - essence. And the feeling of this fatal inaccessibility of harmony and happiness creates in the hero’s soul a feeling of mortal - oppressive, barren, poisonous - melancholy, which he expresses with the help of the metaphor “salt melancholy”.
In this poem, the image of Yesenin’s Rus' clearly appears before us. The world of Central Russian nature is sanctified by the poet with divine faith and is most closely connected with Orthodoxy and the history of Russia. The world of the hero’s homeland, the smallest part of it, is organized according to the laws of Christianity, it is the main creator and the main measure of all things. In support of this idea, the poem contains ecclesiastical, archaic, dialect vocabulary - “cense”, “in a sad service”, “pigeon clouds”, “fearfully seems”, “shackles of Siberia”.
In addition, Yesenin’s Rus' is also consecrated by its history, by the terrible and grandiose events that it had to endure. It is no coincidence that such images as “the shackles of your Siberia”, “the hump of the Ural ridge” appear here. They could not help but “leave their imprint” on the fate of the country, on the fate and worldview of its people, on the future of Russia.
The rhythmic structure of the work “supports” and helps to express the author’s main thoughts. The poem is written in iambic tetrameter with pyrrhichs, which makes its rhythm smoother, more melodious, while maintaining, at the same time, the ease of its perception.
The scale and size of the “feather grass forest” helps to convey the assonance with the vowel “O”: “In a quiet lake with sedge, its horns butt…”;
“And the steppe under the green canopy
Blows bird cherry smoke
And beyond the valleys along the slopes
Creates a flame over him."
In addition, such assonance helps to convey both the flavor of the Russian steppe and the “medieval melancholy” characteristic only of Russian people:
O side of the feather grass forest,
You are close to my heart with evenness,
But there’s something deeper hidden in yours too
Salt marsh melancholy.
Intonation pauses also play an important role in the rhythmic organization of the poem. They allow the author to more visibly convey the picture he depicts, to focus attention on certain images: “The curly lamb - the moon walks in the blue grass,”
"In a quiet lake with sedge
His horns butt, -
And it seems from the path far away -
The water shakes the banks.”
Thus, the poem “Behind a dark strand of woods...” can be called typical of Yesenin’s poetics. It shows us the merging of the hero with the natural world and with his homeland, his idea of the human world as part of the universal life of the Universe. In addition, the idea clearly sounds here about the fatal inseparability of the fate of the country and the fate of the hero, about their tragic but unattainable desire for harmony.
In addition, the poem is filled with “typical Yesenin” epithets and metaphors - an abundance of shades of blue, church and peasant realities, the presence of archaic and dialect vocabulary. All this allows us to fully agree with the words of Solzhenitsyn, who called Yesenin a nugget of genius: “What an ingot of talent the Creator threw here, into this hut, into this heart of a pugnacious village guy, so that he, shocked, would find so much beauty - at the stove, in in the barn, on the threshing floor, outside the outskirts - beauty that has been trampled on for a thousand years and not noticed.”

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“Analysis of S. Yesenin’s poem “Behind the dark strand of woodlands...””

Yesenin’s poem “Behind a dark strand of woods...” (1915 - 1916) can be classified as an elegy - it conveys the hero’s lyrical and philosophical thoughts about the essence of man and nature, about his connection with his homeland - its history and destiny.

The poem harmoniously combines landscape sketches, philosophical reflections and lyrical digressions of the hero. Thus, in the first part of the work (the first three stanzas) a description is given of the hero’s native side - “the side of the feather grass forest.”

The poet chooses night time for his description. This fact emphasizes the restless psychological state of the lyrical hero, who cannot sleep, who at night, alone with nature, reflects on issues important to himself, conducts a mental dialogue with the “side of the feather grass forest.”

What kind of side does his native side appear before the hero and us? From the first word we understand that it is inhabited by living beings, breathes and exists according to its own laws. Metaphors of personification help the author create such an effect - the poet personifies the month (“The curly lamb - the month walks in the blue grass”) and its “components” (“In a quiet lake with sedge its horns butt…”). Here the lake water (“Water shakes the shores”) and the steppe (“…the steppe… The bird cherry smoke smokes and behind the valleys along the slopes the flame curls over it”). In addition, in this part of the poem there are many “active” verbs that create a picture of the natural world connected together, moving, living its own life.

The picture created in the first part of the poem figuratively and accurately conveys the night landscape, even the color scheme of the epithets contributes to this - the poem is dominated by shades of blue and green, diluted with a haze of white (“in the unshakable blue”, “in the blue grass”, “under the canopy”) green", "cherry smoke").

The second part of the poem (the last three stanzas) immerses us in the world of experiences and thoughts of the lyrical hero. We understand that he sees himself as part of his native land, the world of his native nature. For him, they are an important component of his own inner world, largely determining his life and destiny. That is why we find here comparisons of speech - “and you, like me...”, “but also for you...”

According to Yesenin, the model of the structure of the human soul repeats the model of the structure of the natural world, which is divided into two clearly demarcated parts - top and bottom, heaven and earth, spiritual and carnal, sublime and base. It is not without reason that behind the apparent “evenness” the hero feels the desire of the “feather grass forest” for the “pink sky” and “dove clouds”. However, this desire is as hopeless as it is eternal.

In this poem, the image of Yesenin’s Rus' clearly appears before us. The world of Central Russian nature is sanctified by the poet with divine faith and is most closely connected with Orthodoxy and the history of Russia. The world of the hero’s homeland, the smallest part of it, is organized according to the laws of Christianity, it is the main creator and the main measure of all things. In support of this idea, the poem contains ecclesiastical, archaic, dialect vocabulary - “cense”, “in a sad service”, “pigeon clouds”, “fearfully seems”, “shackles of Siberia”.

In addition, Yesenin’s Rus' is also consecrated by its history, by the terrible and grandiose events that it had to endure. It is no coincidence that such images as “the shackles of your Siberia”, “the hump of the Ural ridge” appear here. They could not help but “leave their imprint” on the fate of the country, on the fate and worldview of its people, on the future of Russia.

The rhythmic structure of the work “supports” and helps to express the author’s main thoughts. The poem is written in iambic tetrameter with pyrrhichs, which makes its rhythm smoother, more melodious, while maintaining, at the same time, the ease of its perception.

The scale and size of the “feather grass forest” helps to convey the assonance with the vowel “O”: “In a quiet lake with sedge, its horns butt…”;

“And the steppe under the green canopy

Blows bird cherry smoke

And beyond the valleys along the slopes

Creates a flame over him."

In addition, such assonance helps to convey both the flavor of the Russian steppe and the “medieval melancholy” characteristic only of Russian people:

O side of the feather grass forest,

You are close to my heart with evenness,

But there’s something deeper hidden in yours too

Intonation pauses also play an important role in the rhythmic organization of the poem. They allow the author to more visibly convey the picture he depicts, to focus attention on certain images: “The curly lamb - the moon walks in the blue grass,”

"In a quiet lake with sedge

His horns butt,

And it seems from the path far away -

The water shakes the banks.”

Thus, the poem “Behind a dark strand of woods...” can be called typical of Yesenin’s poetics. It shows us the merging of the hero with the natural world and with his homeland, his idea of the human world as part of the universal life of the Universe. In addition, the idea clearly sounds here about the fatal inseparability of the fate of the country and the fate of the hero, about their tragic but unattainable desire for harmony.

In addition, the poem is filled with “typical Yesenin” epithets and metaphors - an abundance of shades of blue, church and peasant realities, the presence of archaic and dialect vocabulary. All this allows us to fully agree with the words of Solzhenitsyn, who called Yesenin a nugget of genius: “What an ingot of talent the Creator threw here, into this hut, into this heart of a pugnacious village guy, so that he, shocked, would find so much beauty - at the stove, in in the barn, on the threshing floor, outside the outskirts - beauty that has been trampled on for a thousand years and not noticed.”

Other works on this work

Sergey
Yesenin

Analysis of the poem by Sergei Yesenin “Behind the dark strand of woods”

Forests and meadows are the poet’s best friends; Yesenin confides all his innermost thoughts and desires to them. However, the author also knows how to listen, discerning in the rustling of leaves the exquisite melody of the approaching summer. The amazing metaphorical nature of many of Yesenin’s poems gives rise to very memorable images. Thus, the poet equally successfully calls a grove not only a cluster of birch trees at the edge of a field, but also thickets of feather grass - steppe grass, which dries out by mid-summer, turning into a prickly and impenetrable wall. But now, while the feather grass is still gathering juice, the poet sincerely admires the “forest”, admitting: “You are close to my heart with evenness.” However, even in this green carpet, the author sees flaws in the form of islands of salt marsh, which bring dreary thoughts to him.

Analyzes of other poems

Analysis of the poem Sergei Yesenin “I’ll look into the field, I’ll look into the sky”
Analysis of the poem Sergei Yesenin “Go away, my dear Rus'”
Analysis of the poem Sergei Yesenin “Joy is given to the rude”
Analysis of the poem Sergei Yesenin “Yes! Now it's decided"
Analysis of the poem Sergei Yesenin “Life is a deception with enchanting melancholy”

Behind the dark strand of copses,

In the unshakable blue,

Curly lamb - month

Walking in the blue grass.

In a quiet lake with sedge

His horns butt,—

Listen to Yesenin's poem Behind a dark strand of woodland

Wild Field

Blue spaces, fogs,
Feather grass, wormwood, and weeds...
The vastness of the earth and the heavenly sculpt!
Spilled, unfolded in the wild
Pontic Wild Field,
Dark Cimmerian steppe.

All covered with burial grounds -
Without names, without end, without number...
All torn up by hoofs and spears,
Sown with bone, watered with blood,
Yes, it is overgrown with tight folk.

Only the wind of the Trans-Caspian eels
Muddies the waters of the steppe lukomoriyas,
Splashes, prowls - a wreck and abyss
Along ravines, ridges, bends,
Along endless Scythian roads
Between mounds and stone women.
The tufts of weeds swirl in whirlwinds,
And it hums, and it rings, and it sings...
These fields are the bottom of the ocean,
Dry from the great waters.

The midday fire set them on fire,
Indevela trans-river blue...
Yes, the yellow-faced trash crawled
Asian bottomless deserts.
The Pechenegs followed the Khazars,
The horses neighed, the tents were colorful,
Before dawn the carts creaked,
At night the fires lit up,
The trails were swollen with convoys
Overloaded steppes,
On the battlements of Europe
Floods came suddenly
Laggy-legged, slanted people,
And the eagles on the Ravenna Gate
Disappeared in the whirlpools
Riders and horses.

There were many of them - lyuts, horobs,
But they disappeared, “they disappeared like images”
In the dark strife of uluses and khanates,
And the tornadoes that grew and collided,
Separated, spread out, confused
Among the steppe hopeless spaces.

For a long time Rus' was torn to shreds
And strife, and the Tatar invasion.
But in the forests along the river patterns
Moscow has tied itself in a knot.
The Kremlin, covered with fabulous glory,
He stood up in brocade vestments and vestments,
White-stone and golden-domed
Above the meager smoky huts.
Reflected in the azure ribbon,
Developed through ant-meadows,
Aristotle Fioraventi
A temple was built on the Moscow River.
And Moscow Johns
To Tatar villages and countries
They imposed a heavy span
And the fifth stepped on the steppe...
From the Kremlin's tight splendor
It became difficult to breathe in Moscow.
Naked from cramped conditions and from captivity
Drawn to the Wild Field
Under the high steppe sky:
With an ax, and with a scythe, and with a plowshare
They went north - to the Urals,
They fled to the Volga, beyond the Don.
Their scattering was wide and incoherent:
They burned, chopped, and took tribute.
Razin set sail for Persia,
And Siberia was conquered by Ermak.
From the White Sea to the Azov region
They rose to the cry of the daredevils
Thieves' circles of the lower reaches
Yes, the end of the veche cities.
Only Nikola the Pleasant, Yegory -
Wolf shepherd - builder of the earth -
They knew the deserts and Pomorie,
Where did the Cossack bones lie?

Rus! meet the fatal times:
The abysses open again
Passions you haven't overcome,
And the ancient flame of strife
Licking the robes of your Mother of God
On the fences of the Pechersk churches.

Everything that happened will repeat itself now...
And the expanse will become foggy again,
And two will remain in the desert -
In heaven there is God, on earth there is a hero.
Eh, don’t drink to the bottom of our will,
Don't tie us into a single chain.
Wide is our Wild Field,
Our Scythian steppe is deep.