Yesenin's poetry in the period from 1917 to 1923 was the most controversial for all the time of the poet's work. However, the leading direction, the main trend, is especially noticeable in it. Disappointed and doubting, Sergey Alexandrovich Yesenin closely monitors the reality of the post-revolutionary period and eventually, although this is difficult for him, realizes the need for Leninist reforms in the country.
Foreign impressions, feelings and thoughts, which were reflected by the poet in the essay "Iron Mirgorod" and the play "Country of villains," were far from the last in this consciousness.
The foreign impressions received in America and Europe were comprehended especially acutely in the atmosphere of active workdays, in which Esenin found himself after returning to Russia. Russian reality, pictures of the country's life were contrasted in creativity with what they saw abroad and reflected his analysis.
"Persian motifs" (Yesenin) refers to the last period of the poet. In the past two years, he was pursued by a desire to be a worthy resident of his country, as well as an orientation on the artistic heritage of A.S. Pushkin.
"Persian motifs" in the work of the poet
In every poem, an unceasing search for a refined classical form is heard to reflect the new content. Yesenin again and again returns to the eternal themes of friendship, love, thoughts about the purpose of art. In these years, motives about the transience of earthly life sound differently.
The most vividly the late lyrics of Sergei Alexandrovich expressed in the cycle "Persian motifs." It reflects not only the psychological and ideological evolution of the poet, but also some features of poetic evolution.
Estimates of contemporaries
Like the other creations of Yesenin 1924-1925, the cycle of poems "Persian motifs" was ambiguously evaluated by critics of that time. At that time, no serious critical literary analysis was made. "Persian motifs" (Yesenin) were evaluated mainly by impressions made by a cursory familiarization with the text or by reading it by the poet himself. Often these were largely subjective, vague statements and notes. Many of them can be found in memoirs and articles of Yesenin's contemporaries. However, they do not give an exhaustive idea of the true attitude to the "Persian verses" of the literary circles of our country. Already at that time other, more negative assessments arose.
So, V. Mayakovsky, in his article “Born of the Capitals”, contrasted the verses of this cycle with the current tasks of Soviet culture. However, the clearly erroneous and prejudiced attitude of these two poets to each other's lyrics was explained by the clash of different interests and the hot literary struggle of that time. Yesenin also spoke negatively about Mayakovsky ’s works, and he called “Persian motifs” just “oriental sweets,” exoticism.
Modern criticism
In modern criticism and Russian literary criticism of the last decade, the Persian cycle is highly appreciated. The works of V. Pertsov, K. Zelinsky, A. Dymshits, E. Naumov, I. Eventov, A. Zhavoronkov, A. Kulinich, S. Koshechkin, S. Gaysaryan, V. Belousov and others were devoted to him. However, there are still very few special works devoted specifically to these poems.
The idea of "Persian motifs"
The idea matured in the poet gradually. First, Yesenin got acquainted with the lyrics of various Eastern authors in translation, and also at different times often talked with people who knew Persia well. According to contemporaries, the poet always showed great interest in the East, which attracted him with his secret, mystery, order of spiritual life, the beauty of southern nature, which were penetrating and deeply expressed in the works of Khayyam, Firdousi, Saadi. Matvey Roizman, a poet's acquaintance, writes in his memoirs that Sergei Alexandrovich was fond of oriental lyrics as early as 1920.
Creation Background
Interest in the East was also associated with communication with Alexander Shiryaevts, especially after moving from Central Asia to Moscow, where he lived until 1922. In order to get to know the oriental life that interested him, he traveled to Tashkent, Baku, and Bukhara in 1920-1921. That is, not a trip to the Caucasus aroused interest in Eastern poetry in Sergei Alexandrovich, but on the contrary, acquaintance with it prompted him to go there.
In Persia itself, as has already been proved, the poet was not able to visit, although Yesenin was very eager to visit this country.
"Persian motifs" were written by the poet in the period from October 1924 to August 1925. Most of these works were created until May 1925 during his stay in the Caucasus.
Yesenin "Persian motives": the history of creation
Impressions from reading eastern poetry, trips to Central Asia, the life and nature of the Caucasus, as well as long conversations about Persia, allowed Yesenin to capture and convey in his work the most significant colors of eastern life.
Sergei Yesenin wrote "Persian Motifs" not just imitating oriental poets. He, feeling the inner beauty and deep lyricism of Persian poems, conveyed its unforgettable charm by the means of the Russian language. In the works of Sergei Alexandrovich, the world of lyrical feelings, as well as the colors and tones in which they are embodied, are primarily concerned.
By the beginning of his work on poems, the poet had acquired equilibrium, which he considered the main prerequisite for creative activity. This state was expressed in the very first lines by Yesenin (Persian Motives, collection): "My former wound has settled - drunken delirium does not bite my heart." Already in this poem, created in October 1924, which opens the cycle, one can feel the coloring coloring it as a whole. Sergei Alexandrovich feels good in the company of a girl who looks like a dawn. In one movement, he is ready to give her a shawl and a carpet.
Coarse naturalism, characteristic of earlier verses, leaves poetry in the coverage of a love theme. This feeling is now exalted, and in the nature of the east, worldly wisdom and the customs of his people, the poet finds romance, which permeates the entire cycle (Sergei Yesenin "Persian Motifs").
Poems were originally planned to be published as a separate book containing twenty poems. And although the plan was not fully implemented, the book was completed. It shows the evolution of new moods that Yesenin is experiencing.
"Persian motifs", poems lively and emotional, reflect the optimism, joy of life inherent in that period to Sergei Alexandrovich. The poet is intoxicated by another, "sobering moisture." Instead of alcohol, he uses red tea, and gets intoxicated by the fragrant aromas of southern nature contained in it.
Features of poems
Despite the fact that the poet failed to visit Persia, Yesenin knew the customs and customs of this country. “Persian motifs” from the first verse “My former wound has settled” to the last, “Blue and Merry Country”, reflect the unique oriental flavor. The poet achieves it with the help of a special construction of the cycle, a description of situations and pictures of nature, as well as the use of words and expressions characteristic of the East. Exoticism is represented by mysterious girls, the whisper of the gardens, the sound of the waves, the color of roses, the nightingale singing and the overall romantic mood. Literally everything is saturated with inspiration: the sounds of Hassan’s flute, the songs of Saadi, the quiet voice of peri, the girl’s look, comparable only to a month, the aromas of oleanders, roses and left-handed. Everywhere calm and silence, broken only by a mysterious rustle, whisper and rustle. Yesenin creates this mood in his works.
"Persian motifs," whose verses include fabulous elements, thus emphasize the exotic of the east.
Yesenin "Persian motives": a summary
"Cold Gold of the Moon" begins with the invasion of the world of Shahrazada. The olfactory and visual sensations here, as in other works of the cycle, merge. We smell different colors, see the gold of the moon. The poem is filled with a sense of peace and tranquility.
Shiraz at sunset is described in the verse "Evening Light of the Saffron Edge", where the "moth swarm" of stars circles the moonlit circle. Calmness causes Sergey Alexandrovich a sense of admiration for beauty, which expresses in Yesenin's ever new shades.
"Persian motifs" often focus on a love theme.
Love theme
Love is framed by the most delicate shades. The author creates a hymn to a romantic, pure feeling. To express it, he selects the most tender words and images. For example, a kiss is compared with red roses, and a girl who brings joy and purity is associated with a snow-white swan (“Cute hands are a pair of swans”). Girls in the cycle are not only externally beautiful, but also full of charm, grace, special charm, surrounded by a halo of mystery.
Physical, sensual in "Persian motives" has no place. Beauty takes over him. In this respect, the verse "You said that Saadi ..." is indicative. Even roses, a symbol of beauty and freshness, cannot be compared with the beautiful appearance of a girl.
The central image is the image of Shagane. She is dedicated to the work "You are my Shagane, Shagane!" The poet addresses the girl as a true friend, seeks to tell her a lot of interesting things about his native Ryazan land, its huge meadows, wide fields and expanse. In many other verses of the cycle, the name of this Persian is found, sometimes a diminutive - of Shaga. Her prototype is the teacher Shagane Talyan. The image of this girl attracts with spiritual purity and charm. The poet has the best memories associated with her name.
Death theme
Yesenin ("Persian motifs") reveals the theme of death from a completely different perspective, not like in earlier works. If earlier it was almost the only opportunity to escape from a boring life, then in the “Persian motifs” in the death is seen the wisdom of nature. So, in the work "Cold Gold of the Moon ..." Baghdad is mentioned, in which the late Shahrazad lived. Death is contrasted with the eternity of life. Grave plates are surrounded by a surprisingly beautiful and fresh landscape - the air is saturated with the scent of saffron, roses are blooming everywhere. Among the tombstones, optimistic words sound: "Look around you, how good you are around."
Contradictions
However, some of the contradictions inherent in the poet as a whole are reflected in Yesenin’s cycle of Persian motifs. He imagines betrayal of his beloved and, once again disappointed, he is ready to become a tramp. But the motives of disappointment and sadness are still not so hopeless.
Calmness and tranquility were short and fragile. Towards the end of Yesenin’s cycle, separation from his native country increasingly weighs on him; he less and less believes in the devotion and constancy of the beauties of Persia.
The poet looks at many things critically, with "Russian" eyes. The theft of girls is alien to him, he condemns the custom according to which they are obliged to cover their faces with veil, notes the slavish adherence to traditions and the falseness of the relations of the Persians.
In general, Yesenin’s cycle of Persian Motifs is more romantic than realistic. Realism, proclaimed in the poem "To be a poet ...", will be developed in other works, for example, in Anna Snegina. In "Persian motifs" aspects were outlined that were further developed in the poems and lyrics of these and subsequent years by Sergei Alexandrovich.