It's stupid happiness with white windows.

"Here it is" stupid happiness..." Sergei Yesenin

This is stupid happiness
With white windows to the garden!
Along the pond as a red swan
The sunset floats quietly.

Hello, golden calm,
With the shadow of a birch tree in the water!
A flock of jackdaws on the roof
Serves the evening star.

Somewhere beyond the garden timidly,
Where viburnum blooms
Tender girl in white
Sings a tender song.

Spreads with a blue cassock
The night chill from the field...
Silly, sweet happiness,
Fresh rosy cheeks!

Analysis of Yesenin’s poem “Here it is, stupid happiness...”

Sergei Yesenin dreamed that he could become famous poet. However, he did not imagine that he would have to pay too much for it high price. Life in Moscow, which by that time had become the capital of Russian poetry, turned out to be too difficult and dull for Yesenin. Therefore, he often dreamed of returning to his native village, although he understood that this would never happen. Nevertheless, rural life seemed to Yesenin something infinitely happy and beautiful. Of course, he was happy in his own way in Moscow when he received invitations to read his poems in front of eminent citizens. However, combining the luxury of one hundred personal life and the poet never succeeded in the simplicity of rural life.

In 1918, Yesenin published a poem entitled “Here it is, stupid happiness...”, in which he nostalgically recalls how free and carefree he was in his youth. The poet calls this state of quiet euphoria stupid happiness, realizing that for a person who strives in life for something more than just contemplation of how “a sunset quietly swims across a pond like a red swan,” this is clearly not enough. But even without ordinary rural joys, Yesenin can no longer imagine his existence.

“Hello, golden calm, with the shadow of a birch tree in the water!” the poet greets an ordinary rural pond, like an old friend. He remembers the outline of every tree and every stone on a village street and takes great pleasure in mentally transporting himself back in time. Images emerge in the subconscious by themselves, and now “where the viburnum blooms, a gentle girl in white sings a gentle song.”

These memories are very dear to the poet. And not only because they keep fragments of real happiness, which seemed so accessible and natural. For Yesenin, meeting the past is a kind of excursion into youth, to which there will never be a return. “Silly, sweet happiness, fresh rosy cheeks,” is how the author characterizes this bright and very romantic period of his life. He does not regret that his fate has developed in such a way that now meetings with his native village are becoming increasingly rare. However, somewhere deep in his soul the poet understands that he would gladly exchange the prosperity of the capital for an unsettled rural life just in order to find that amazing purity of thoughts and feeling peace of mind. But these dreams are not destined to come true, since Yesenin’s village, which he depicts with such tenderness in many works, has already become different, and the poet simply has no place in it.

On November 16, 1880, in St. Petersburg, Alexandra Andreevna, having separated from her husband forever, gave birth to a son, Alexander Blok. From birth he was surrounded by his grandmother, great-grandmother, mother, aunts, and nanny. Boundless, excessive adoration, almost a cult!

In the summer of 1912, Meyerhold and his troupe gave several performances in Terijoki, a small Finnish water resort two hours away railway from St. Petersburg. The artists rented a spacious room for the whole summer country house, surrounded by a huge park. It is here that Blok comes to his wife almost every week. They play Strindberg, Goldoni, Moliere, Bernard Shaw. Lyubov Dmitrievna has been assigned responsible roles, she is delighted. She loves company, fun, traveling, opera, Wagner, Isadora Duncan dances, all life and movement. Her happiness pleases Blok. He is honored in Teriok, but he feels increasingly tired.

In his memoirs, Korney Ivanovich Chukovsky cites a conversation about “The Twelve” between Blok and Gorky. Gorky said that “The Twelve” is an evil satire. "Satire? - Blok asked and thought about it. - Is it really satire? Hardly. I think not. I don't know". He really didn't know, his lyrics were wiser than him. Simple-minded people often turned to him for explanations of what he wanted to say in his “Twelve”, and he, no matter how much he wanted, could not answer them.

Sergei Yesenin dreamed that he could become a famous poet. However, he did not imagine that he would have to pay such a high price for this. Life in Moscow, which by that time had become the capital of Russian poetry, turned out to be too difficult and dull for Yesenin. Therefore, he often dreamed of returning to his native village, although he understood that this would never happen. Nevertheless, rural life seemed to Yesenin as something infinitely happy and beautiful. Of course, he was happy in his own way in Moscow when he received invitations to read his poems in front of eminent citizens. However, the poet failed to combine the luxury of metropolitan life and the simplicity of rural life.

In 1918, Yesenin published a poem entitled “Here it is, stupid happiness...”, in which he recalls with nostalgia how free and carefree he was in his youth. The poet calls this state of quiet euphoria stupid happiness, realizing that for a person who strives in life for something more than just contemplation of “a sunset quietly swimming across a pond like a red swan,” this is clearly not enough. But even without ordinary rural joys, Yesenin can no longer imagine his existence.

These memories are very dear to the poet. And not only because they keep fragments of real happiness, which seemed so accessible and natural. For Yesenin, meeting the past is a kind of excursion into youth, to which there will never be a return. “Silly, sweet happiness, fresh rosy cheeks,” is how the author characterizes this bright and very romantic period of his life. He does not regret that his fate has developed in such a way that now meetings with his native village are becoming increasingly rare. However, somewhere deep in his soul the poet understands that he would gladly exchange the prosperity of the capital for an unsettled rural life just in order to find that amazing purity of thoughts and a sense of mental balance. But these dreams are not destined to come true, since Yesenin’s village, which he depicts with such tenderness in many works, has already become different, and the poet simply has no place in it.

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Analysis of Yesenin’s poem “Here it is, stupid happiness

IV. Analysis of S. Yesenin’s poem “Here it is, stupid happiness...”

Reading a poem by S. Yesenin, from the very first lines you feel the extraordinary richness and depth of the poetic world that opens up in this small lyrical work. And immediately a whole series of associations arise that enhance the expressiveness of the images created in it.

This is stupid happiness

With white windows to the garden!

Along the pond as a red swan

A quiet sunset floats.

...And Blok’s lines ring in my memory:

The tower is high, and the dawn has frozen.

The red secret lay at the entrance.

Roll call on thematic level – evening dawn, sunset, the image of a beloved - is reinforced by the coincidence of color epithets: “red swan”, “blue cassock” in Yesenin, and in Blok – “red flame”, “blue windows”, “azure heights”. Of course, the style of the poems is different, and the emotional range does not coincide at all, but at the same time, their vivid imagery and high energy verse... And I also remember Yesenin’s lines about a girl in a white cape “at that gate over there” and a sad confession: I stopped loving the girl in white - “... And now I love in blue”... But this is ahead, for now the experiences of youth - pure, naive , touching.

The poem was written in 1918.

Here we find features characteristic of Yesenin’s poetics, which were noted back in early lyrics: metaphorical nature, inherited from folk poetic traditions (“a quiet sunset floats like a red swan”); biblical images, “turned” into an oral system poetic speech(“A flock of jackdaws on the roof / Serves the evening star”, “A blue robe spreads / From the field the night chill”). Finally, let us note the special Yesenin color painting with its inherent major clarity. The colors are catchy, “sounding” with the almost elegiac tone of the poem. And at the same time, we hear the voice of a creatively mature poet, a person recreating the image of the tender joy that is born in him when he sees the beauty of nature around him, experiencing a feeling that has received such an unexpected definition - “stupid happiness.”

Human happiness can be different: difficult, hard-won, long-awaited, quiet, bitter... What is filled with the epithet “stupid”? Perhaps simple, unpretentious, not based on self-interest and calculation, such as is characteristic of naive youth? And the color epithet “white” in the next line is not accidental:

This is stupid happiness

With white windows to the garden!

It does not mean, of course, the color of the windows at all, but the purity of sensations. White among the Slavs, and even in Christian mythology, it is the color of purity, sinlessness. “Stupid happiness” is the happiness of naivety, innocence, ignorance, the happiness of carelessness, not yet burdened by those thoughts that a mature person cannot avoid.

The first stanza ends with a metaphor that conveys the beauty of the quiet summer evening. Mood lyrical hero, conquered by this beauty, is developed in the second stanza.

Hello, golden calm,

With the shadow of a birch tree in the water!

A flock of jackdaws on the roof

Serves the evening star.

The picture of a flock of jackdaws on the roof is also metaphorical. She, supporting the already drawn image of the evening in the first stanza - “quiet sunset” - brings new colors to it and enriches the semantic and figurative series. Thus, the word “vespers” combines evening and church service, which in solemn silence is addressed to the first star that lit up over the “golden calm, / With the shadow of a birch tree in the water”... And jackdaws in the context of these lines evoke unusual associations not - not loud , a noisy flock, and black nuns gathered for prayer. Here, in this stanza, the melody of the poem arises, which will sound more and more clearly in the next quatrain:

Somewhere beyond the garden timidly,

Where the viburnum blooms,

Tender girl in white

Sings a tender song.

The twice repeated epithet “tender” fully reveals the origins of the “stupid happiness” that filled the soul of the lyrical hero. The epithet “in white,” echoing “white windows” and viburnum flowers, emphasizes the integrity of the poem, the completeness of the image of the world as God’s grace.

The ring composition of the poem also works to create such an image:

Spreads with a blue cassock

The night chill from the field...

Silly, sweet happiness,

Fresh rosy cheeks!

In the final stanza special role punctuation marks play. The first two lines complete the landscape sketch itself, and they still sound full force the main tonality of the poem: the melody of the joy of life, the intoxication of beauty natural world, the solemn sound of church chants. The ellipsis at the end of the second line dramatically changes the mood of the last couplet. A new melody appears - a wonderful love experience, the unbridled happiness of youth, chaste and naive, with notes of sadness and regret of the onset of maturity already discernible in it, emphasized exclamation point at the end. And this melody of Yesenin’s beautiful “watercolor” world resonates with the reader for a long time even after reading the poem!