The theme of love in Yesenin's poem by Anna Snegina. Anna Snegina analysis of the work. The meaning of the title of Yesenin's poem

...I understood what poetry is. Do not speak,..
that I stopped finishing poetry.
Not at all. On the contrary, I'm now in shape
became even more demanding. Only I came to simplicity...
From a letter to Benislavskaya
(while working on the poem)

In my opinion, it's better than anything I've written.
S. Yesenin about the poem

Lyrical outline of the poem. Name.
The image of Anna Snegina. The image of the main character - the Poet

The poem is autobiographical, based on memories of youthful love. But in the poem the personal fate of the hero is understood in connection with the fate of the people.

In the image of the hero - the poet Sergei - we guess Sergei Yesenin himself. The prototype of Anna is L.I. Kashin (1886-1937), who, however, did not leave Russia. In 1917, she handed over her house in Konstantinov to the peasants, and she herself lived in an estate on White Yar on the Oka River. Yesenin was there. In 1918 she moved to Moscow and worked as a typist and stenographer. Yesenin met with her in Moscow. But a prototype and an artistic image are different things, and an artistic image is always richer; the richness of the poem, of course, is not limited to a specific biographical situation.

The poem "Anna Snegina" is lyric-epic. Its main theme is personal, but epic events are revealed through the fate of the poet and the main character. The name itself suggests that Anna is the central image of the poem. The name of the heroine sounds particularly poetic and polysemantic. This name has full sonority, beauty of alliteration, richness of associations. Snegina is a symbol of the purity of white snow, echoes the spring color of bird cherry, white as snow, this name is a symbol of lost youth. There are also many images familiar from Yesenin’s poetry: “a girl in white”, “thin birch tree”, “snowy” bird cherry...

The lyrical plot - the story of the failed love of the heroes - is barely outlined in the poem, and it develops as a series of fragments. The failed romance of the poem's heroes takes place against the backdrop of a bloody and uncompromising class war. The characters' relationships are romantic, unclear, and their feelings and moods are impressionistic and intuitive. The revolution led the heroes to parting, the heroine ended up in exile - in England, from where she writes a letter to the hero of the poem. But time and the revolution did not take away the memory of love from the heroes. The fact that Anna Snegina found herself far from Soviet Russia is a sad pattern, a tragedy for many Russian people of that time. And Yesenin’s merit is that he was the first to show this. But this is not the main thing in the poem.

The poet - the hero of the poem - constantly emphasizes that his soul is already in many ways closed to the best feelings and wonderful impulses:

And even at the end of the poem, after reading a letter from this woman forever lost to him, he seems to remain as cold and almost cynical: “A letter is like a letter. For no reason. I wouldn’t write something like that.”

And only in the finale a bright chord sounds - a memory of the most beautiful and forever, forever lost. Separation from Anna in the lyrical context of the poem is the poet’s separation from youth, separation from the purest and most holy thing that happens to a person at the dawn of life. But - and this is the main thing in the poem - everything humanly beautiful, bright and holy lives in the hero, remains with him forever as a memory, as a “living life”:

Epic plan. The hero's attitude to the world and fratricidal civil war; images of peasants (Prona Ogloblina, Labuti Ogloblina, miller)

The main part of the poem (four chapters out of five) reproduces the events of 1917 on Ryazan land. The fifth chapter contains a sketch of rural post-revolutionary Rus' - the action in the poem ends in 1923. The events are presented sketchily, and what is important to us is not the events themselves, but the author’s attitude towards them - after all, the poem is primarily lyrical. Yesenin's poem is both about time and about what remains unchanged at all times.

One of the main themes of the poem is the theme of the imperialist and fratricidal civil war. The village during the revolution and civil war is unquiet:

These peasant wars are symbolic; they are a prototype of a great fratricidal war, a national tragedy, from which, according to the miller’s wife, Race almost “disappeared.” Condemnation of war - imperialist and civil - is one of the main themes of the poem. The war is condemned by various characters in the poem and by the author himself, who is not afraid to call himself “the first deserter in the country.”

Refusal to participate in a bloodbath is not a pose, but a deep, hard-won conviction.

Yesenin, despite the fact that he sees the basis of national life in the working peasantry, does not idealize the Russian peasantry. The words that representatives of different intellectual strata used to refer to the peasant sound sarcastically:

Yesenin foresees the tragedy of the peasantry of 1929-1933, observing and experiencing the origins of this tragedy. Yesenin is worried that the Russian peasant is ceasing to be the owner and worker of his land, that he is looking for an easy life, striving for profit at any cost.

For Yesenin, the main thing is the moral qualities of people, and in his poem he depicts a number of colorful peasant types of the post-revolutionary era.

Revolutionary freedom poisoned the village peasants with permissiveness and awakened moral vices in them. The poem, for example, does not romanticize the revolutionary spirit of Pron Ogloblin: Pron for Yesenin is a new manifestation of national character. He is a Russian traditional rebel of a new formation. People like him either disappear into the depths of people's life, then break out again to the surface during the years of "crazy action."

Pron is the embodiment of the Pugachev principle. Let us remember that Pugachev, who declared himself a tsar, stood above the people, was a despot and a murderer (see, for example, “The History of Pugachev” by A.S. Pushkin with a huge list of Pugachev’s victims attached to it). Pron Ogloblin stands above the people:

Pron Ogloblin, in the words of the old millwoman, is “a brawler, a rude man” who “has been drunk since morning for weeks...”. For the old millwoman, Pron is a destroyer, a killer. And among the poet himself, Pron evokes sympathy only where his death is spoken of. In general, the author is far from Pron; there is some uncertainty between them. Later, a similar type of turning point will be encountered in M. Sholokhov’s “Virgin Soil Upturned” (Makar Nagulnov). Having seized power, such people think that they are doing everything for the good of the people, justifying any bloody crimes. The tragedy of de-peasantization is only foreshadowed in the poem, but the very type of leader standing above the people is correctly noted. Pron is opposed in Yesenin’s poem by a different type of national leader, about whom the people can say: “He is you” (about Lenin). Yesenin claims that the people and Lenin are united in spirit, they are twin brothers. The peasants ask the Poet:

“You” - that is, the people whose aspirations were embodied in the leader. The leader and the people are united in a common faith, a fanatical faith in the imminent reconstruction of life, in another Tower of Babel, the construction of which ended in yet another moral and psychological breakdown. It was not opportunistic considerations that forced Yesenin to turn to Lenin, but faith, perhaps more precisely, the desire for faith. Because the poet’s soul was divided, conflicting feelings in relation to the new world fought in it.

Another character, also correctly noted by Yesenin, the peasant type of the transitional era Labutya Ogloblin, does not need any special comments. Next to Pron, Labutya “...with an important posture, like some gray-haired veteran,” found himself “in the Council” and lives “without a callus on his hands.” He is a necessary companion of Pron Ogloblin. But if Pron’s fate, with all its negative sides, acquires a tragic sound in the finale, then Labuti’s life is a pathetic, disgusting farce (and a much more pathetic farce than, for example, the life of Sholokhov’s grandfather Shchukar, whom one can feel sorry for in some ways) . It is significant that it was Labutya who “went first to describe the Sneginsky house” and arrested all its inhabitants, who were later saved from a speedy trial by a kind miller. Labuti’s principle is to live “not a callus on your hands,” he is “a boaster and a devilish coward.” It is no coincidence that Pron and Labutya are brothers.

Another peasant type in the poem - the miller - is the embodiment of kindness, closeness to nature, humanity. All this makes the miller one of the main characters of the poem. His image is lyrical and dear to the author as one of the brightest and most popular principles. It is no coincidence that in the poem the miller constantly connects people. His saying is also significant: “For the sweet soul!” He, perhaps, most of all embodies this whole, kind-hearted Russian soul, personifies the Russian national character in its ideal version.

Language of the poem

A distinctive feature of the poem is its nationality. Yesenin abandoned the refined metaphor and turned to rich colloquial folk speech. In the poem, the speech of the characters is individualized: the miller, and Anna, and the old millwoman, and Pron, and Labuti, and the hero himself. The poem is distinguished by its polyphony, and this corresponds to the spirit of the era being reproduced, the struggle of polar forces.

The epic theme of the poem is consistent with the realistic Nekrasov traditions. Here there is a focus on national disasters, and a plot about a national leader, and images of peasants with individual characters and destinies, and a story about the villages of Radovo and Kriushi, and a fairy tale style, and lexical and stylistic features of the speech of peasants, and a free transition from one linguistic culture to another. It is no coincidence that in one of Yesenin’s contemporary articles the idea of ​​a poem-novel with its polyphony and versatility in depicting life was voiced.

Sergei Aleksandrovich Yesenin’s poem “Anna Snegina” is in many ways a final work, in which the poet’s personal fate is correlated with the fate of the people. The poem is closely related to Yesenin’s lyrics and has absorbed many of its motifs and images.

The central, organizing beginning of the poem is the speech of Yesenin himself, the voice of the author, the personality of the author, his attitude to the world permeates the entire work. It is noteworthy that the author does not impose his views, his attitude to the world on other heroes, he only unites them in the poem.

The poet defined his work as lyrical-epic. Its main theme is personal. Therefore, all epic events are revealed through fate, the feelings of the poet and the main character.

The very title of the poem suggests that everything fundamental is concentrated in Anna Snegina and in the relationships that connect the poet with her. It has already been noted more than once that the heroine’s name sounds particularly poetic and polysemantic. Snegina - a symbol of the purity of white snow - echoes the spring flowering of bird cherry, white as snow, and therefore a symbol of youth lost forever. There are also many images familiar from Yesenin’s lyrics: “a girl in white”, “thin birch”, “snowy” bird cherry. But everything familiar is combined in the image of the main character.

The fact that Anna Snegina found herself far from her homeland is a sad pattern for many Russian people of that time. And Yesenin’s merit is that he was the first to show this. Separation from Anna in the lyrical context of the poem is the poet’s separation from youth, separation from the purest and most holy thing that happens to a person at the dawn of life. But everything humanly beautiful, bright and holy lives in the hero, remains with him forever as a memory, as “living life.”

The theme of the homeland and the theme of time are closely connected in the poem. And in a chronological sense, the basis of the poem is as follows: the main part (four chapters) is the Ryazan land of 1917; in this chapter there is a sketch of the fate of one of the corners of large rural Rus' from the revolution to the first years of peace (the action in the poem ends in 1923). Naturally, behind the fate of one of the corners of the Russian land, the fate of the country and people is guessed. The author selected those facts that date back to the major historical events in the country: the First World War, the February Revolution, the October Revolution and the class struggle in the countryside. But for us, what is especially important is not the depiction of epic events itself, but the poet’s attitude towards them.

Yesenin does not idealize the Russian peasantry, he sees its heterogeneity, sees in it the miller and the old woman, and the driver from the beginning of the poem, and Pron, and Labute, and the peasant clasping his hands from profit... The poet sees a unique basis of life in the working peasantry, whose fate is the epic basis of the poem. This fate is sad, as is clear from the words of the old millwoman:

We're uneasy here now.

Everything bloomed with perspiration.

All men's wars-

D they fight from village to village.

These peasant wars are symbolic, being the prototype of a great fratricidal war, from which, according to the miller’s wife, Russia almost “disappeared...” Condemnation of the war - imperialist and fratricidal - is one of the main themes. The war is condemned by the entire course of the poem, by its various characters - the miller and his old woman, the driver, the two main tragedies of Anna Snegina's life (the death of her husband, emigration). Refusal of the bloodbath is the author’s hard-won conviction and historically accurate poetic assessment of the events:

The war has eaten away at my soul.

For someone else's interest

I shot at a body close to me

And he climbed onto his brother with his chest.

I realized that I- toy,

There are merchants in the rear, you know...

And only at the end of the poem a bright chord sounds - a memory of the most beautiful and forever, forever gone. We are convinced that all the best that is left behind the hero lives in his soul:

I'm walking through an overgrown garden,

The face is touched by lilac.

So sweet to my flashing glances

A proud fence.

Once upon a time at that gate over there

I was sixteen years old

And a girl in a white cape

She told me kindly:

"No!" They were distant and dear!

That image has not faded away in me.

We all loved these years,

But that means

They loved us too.

The epilogue was very important for Yesenin - a poet and a person: after all, all this helped him live. The epilogue also means that the past and present are interconnected for the hero; it seems to connect times, emphasizing their inseparability from the fate of their native land.

The breadth of the historical space of the poem, its openness to life’s impressions, the best movements of the human soul characterizes the last and main poem of the “poetic heart of Russia” by Sergei Yesenin.

“Anna Snegina” is an autobiographical poem by Sergei Yesenin, completed by him before his death - by the end of January 1925. It is not only the fruit of the author’s rethinking of the October Revolution and its consequences for the people, but also a demonstration of the poet’s attitude to revolutionary events. He not only evaluates, but also experiences them from the position of an artist and a little person who finds himself hostage to circumstances.

Russia in the first half of the twentieth century remained a country with a low literacy rate, which soon underwent significant changes. As a result of a series of revolutionary uprisings, the first political parties arose, thus the people became full participants in public life. In addition, the development of the fatherland was influenced by global upheavals: in 1914-1918. The Russian Empire was involved in the First World War, and from 1918-1921 it was torn apart by civil war. Therefore, the era during which the poem was written is already called the era of the “Soviet Republic”. Yesenin showed this turning point in history using the example of the fate of a little man - himself in a lyrical image. The drama of the era is reflected even in the size of the verse: the trimeter amphibrach, which Nekrasov loved so much and used as a universal form for his accusatory civil lyrics. This size is more consistent with the epic than with the light poems of Sergei Alexandrovich.

The action takes place on Ryazan soil during the spring period from 1917 to 1923. The author shows real space, describes the real Russian terrain: “The village, then, is our Radovo...”. The use of toponyms in the book is not accidental. They are important for creating metaphorical space. Radovo is a literary prototype of Konstantinovo, the place where Sergei Alexandrovich was born and raised. A specific artistic space not only “ties” the depicted world to certain topographical realities, but also actively influences the essence of what is depicted. And the village of Kriusha, too (Yesenin calls Kriushi in the poem) really exists in the Klepikovsky district of the Ryazan region, which is adjacent to the Rybnovsky district, where the village of Konstantinovo is located.

“Anna Snegina” was written by S. Yesenin during his 2nd trip to the Caucasus in 1924-1925. This was the poet’s most intense creative period, when he wrote more easily than ever before. And he wrote this voluminous work in one gulp; the work brought him genuine joy. The result is an autobiographical lyric epic poem. It contains the originality of the book, since it contains two types of literature at once: epic and lyric poetry. Historical events are the epic beginning; the hero's love is lyrical.

What is the poem about?

Yesenin's work consists of 5 chapters, each of which reveals a certain stage in the life of the country. Composition in the poem “Anna Snegina” it is cyclical: it begins and ends with Sergei’s arrival in his native village.

Yesenin, first of all, set priorities for himself: what is on his way? Analyzing the situation that has developed under the influence of social cataclysms, he chooses for himself the good old past, where there was no such rabid hostility between family and friends. Thus, the main idea of ​​the work “Anna Snegina” is that the poet does not find a place for man in the new aggressive and cruel reality. The struggle has poisoned minds and souls, brother goes against brother, and life is measured by the force of pressure or blow. Whatever ideals stand behind this transformation, they are not worth it - this is the author’s verdict on post-revolutionary Russia. The poem clearly indicated the discord between the official party ideology and the philosophy of the creator, and Sergei Alexandrovich was never forgiven for this discrepancy.

However, the author did not find himself in the emigrant lot. By showing disdain for Anna’s letter, he marks the gap between them, because he cannot accept her moral choice. Yesenin loves his homeland and cannot leave it, especially in this state. Snegina left forever, like the past, and for Russia the disappearance of the nobility is a historical fact. Even if the poet seems to new people to be a relic of the past with his snotty humanism, he will remain in his native land alone with his nostalgia for yesterday, to which he is so devoted. This self-sacrifice expresses the idea of ​​the poem “Anna Snegina”, and in the image of a girl in a white cape, a peaceful patriarchal Russia with which he is still in love appears before the narrator’s mind’s eye.

Criticism

For the first time, fragments from the work “Anna Snegina” were published in 1925 in the magazine “City and Village”, but full-scale publication was only at the end of spring of this year in the newspaper “Baku Worker”. Yesenin himself rated the book very highly and said about it like this: “In my opinion, this is better than anything I’ve written.” The poet V.F. Nasedkin confirms this in his memoirs: “He most readily read this poem to his literary friends then. It was clear that he liked it more than other poems.”

Critics were afraid to highlight such an eloquent reproach of the new government. Many avoided speaking in print about the new book or responded with indifference. But judging by the newspaper’s circulation, the poem aroused genuine interest among the average reader.

According to the Izvestia newspaper dated March 14, 1925, issue 60, we can establish that in the Herzen House, at a meeting of a group of writers called “Pass,” the first public reading of the poem “Anna Snegina” took place. The reaction of the listeners was negative or indifferent; during the poet’s emotional declaration they were silent and did not show any interest. Some even tried to call the author to discuss the work, but he sharply rejected such requests and left the hall in upset feelings. He asked only Alexander Konstantinovich Voronsky (literary critic, editor of the Krasnaya Nov magazine) for his opinion about the work. “Yes, I like her,” he responded, maybe that’s why the book is dedicated to him. Voronsky was a prominent member of the party, but fought for the freedom of art from state ideology. For this he was shot under Stalin.

Of course, Nekrasov’s straightforwardness, simplicity of style and ornate content, so unusual for Yesenin, caused Soviet critics to assume that the poet had “written himself out.” They preferred to evaluate only the form and style of the scandalous work “Anna Snegina”, without going into details in the form of details and images. A modern publicist, Alexander Tenenbaum, ironically notes that “Sergei was condemned by critics, whose names have now become completely forgotten.”

There is a certain theory that the Chikists understood the anti-government subtext of the poem and dealt with Yesenin, staging the suicide of a creative person driven to despair. A phrase that is interpreted by some people as praise for Lenin: “Tell me, Who is Lenin? I quietly answered: He is you,” which actually means that the leader of the peoples is the leader of bandits and drunkards, like Pron Ogloblin, and a coward-turncoat, like his brother. After all, the poet does not praise revolutionaries at all, but presents them as caricatures.

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 backdrop of unrequited love, we observe wars and revolutions.

Genre and composition

Following the hero's story, we find ourselves in the native village of the young poet Sergush. He is tired of the turbulent 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 a different place, unlike the one he left. The hero observes the unbearable burden that fell on the shoulders of ordinary people who now had to feed the soldiers. Because of this, devastation and disunity between residents reign everywhere.

In the poem we see other heroes, the miller and the miller's wife, who, together with Sergusha, 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, landowner Snegina, who married someone else. Her husband is now at the front, but Sergusha suddenly wanted to meet.

Studying the poem by Anna Snegina, and presenting a brief analysis of it, I would like to mention the relationships of the heroes and their mutual sympathy. Against the backdrop of all this, the author shows popular unrest. There is a riot in the village of Kriusha. The peasants demand the land of the landowners. 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 Sergusha of cowardice, who, unlike her husband, fled from the front.

Meanwhile, nationalization continues. Snegina has to move to the miller, where she and Sergush reconcile. But they are not destined to be together. The woman goes abroad, but the hero returns to St. Petersburg.

At the end of the poem we see the end of the civil war and the consequences that it left behind. Sergei returns again to the village of Radovo, which has become unrecognizable. There he receives news of the safe emigration of his beloved, but he himself 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 lyric epic poem, although many researchers claim that the work may well be a short story in verse, or a poetic story.

In Anna Snegina's poems, it is necessary to mention the topics that the writer touched upon. These are the themes of love, Motherland, the theme of revolution and war. Expanding the theme of Anna Snegina's poem, the author shows problems such as social inequality, the problem of betrayal, cruelty, fidelity 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, so Anna Snegina was written in one go. This happened in 1924. This work can be considered autobiographical, and it represents the poet’s reflections on a critical and dramatic time.

The meaning of the title of Yesenin's poem

As we have already said, in Anna Snegina’s work Yesenin turned to the time of troubles, where from 1917 to 1923. The usual life in the country is collapsing. The people are in the very center of upheaval. The writer tries to reflect on his fate, expressing his attitude to what is happening, and believing that spiritual and moral values ​​cannot be replaced by social ones. The main goal of the poem is to show the theme of human destiny, and the image of Anna Snegina has become a symbol of lost youth. Her name embodies something bright and pure, like snow, where the heroine herself became a hostage of that fateful era.

A major poem by Sergei Yesenin, the last of his major works. It reflected both the poet’s memories of his love and a critical understanding of revolutionary events. The poem was written in 1925, shortly before Yesenin’s death.

Plot. A young poet named Sergusha (in whom it is easy to recognize the image of Yesenin himself) returns to his native village from St. Petersburg, tired of the turbulent events of the revolution. The village changed noticeably after the abolition of the tsarist regime. The hero meets with local residents, as well as peasants from the neighboring village of Kriushi. Among them is Pron Ogloblin, a revolutionary, popular agitator and propagandist; its prototype was Pyotr Mochalin, a native of the same village as Yesenin, a peasant who worked at the Kolomna plant.

The peasants ask the hero about the latest events in the country and the capital, as well as who Lenin is. Anna Snegina, a young landowner with whom the hero was in love in his youth, also arrives. They communicate, remember the past. After some time, Sergusha arrives in Kriusha and becomes involved in a riot: local peasants force Anna Snegina to give them the land. In addition, information comes that Snegina’s husband was killed in the war. The girl is offended by the poet, but she can’t do anything. The peasants take the land, and Anna leaves the village forever, asking the poet for forgiveness. Sergusha returns to St. Petersburg and subsequently learns that Ogloblin was shot by the whites. A letter also arrives from Anna Snegina from London.

History of creation. Yesenin wrote the poem in the Caucasus, where he went “in search of creative inspiration.” Inspiration, I must say, came, the poet had ideas and strength to work; Before that, he wrote almost nothing for two years, although he traveled around Europe and America. In the last years of his life, Yesenin experienced a certain creative impulse. A number of works written at this time deal with “eastern” motifs, as well as the revolution and the new Soviet reality. One of these works was the poem “Anna Snegina”, in which, however, the assessment of the revolution and its consequences is not so clear.

The prototype of Anna Snegina was Lydia Kashina (Kulakova), a friend and one of Yesenin’s first listeners. She was the daughter of a rich merchant who bought an estate in the Yesenin village of Konstantinovo; the estate was inherited by her. After the revolution, the estate was transferred to the state, and Kashina got a job, first as a clerk in the Red Army, and then at the Trud newspaper; the poet continued to communicate with her.

Heroes. Narrator, Anna Snegina, Pron Ogloblin, Labutya, Snegina’s mother, miller.

Subject. The work touches on the theme of the Motherland, love, war (revolution, war).

Issues. In his poem, Yesenin showed how revolutionary events affected the destinies of individual people and how the new order influenced such realities as love, friendship between a man and a woman, and all “high” human attitudes. The revolution divided Sergusha, who stood on the side of the people, and Snegina, his friend and lover, but belonging to the upper class. Anna was angry and offended by the poet; then they made peace, but the girl still could not stay with him in Russia.

Soviet critics responded favorably to the poem, not noticing its subtle criticism of the revolution and the new regime. The “Soviet people” are shown in it as a rude, dark and cruel bunch, while the noblewoman Snegina is a character who seems to be very positive. The main thing is that the rebellious peasants - and the revolution as a whole - destroyed love, and with it the dreams and all the bright aspirations of people. Sergusha (and with him Yesenin himself) does not understand and does not accept the war.

The revolution, which began as a struggle for a brighter and fairer world, turned into an incomprehensible and bloody civil war, in which everyone was against everyone. The poet does not accept violence and cruelty, even if they are carried out “in the name of justice.” Therefore, the Kriush peasants are not depicted in positive colors. Pron Ogloblin himself is a rude man, a fighter and a drunkard, always angry with everyone; his brother is the ultimate coward and opportunist: at first he was loyal to the tsarist regime, and then joined the revolutionaries, but when the village is captured by the whites, he hides, not wanting to defend his homeland.

One way or another, with the establishment of a new reality, everything changes. Even Anna Snegina. When she learns about the death of Bori, her husband, in the war, she begins to reproach Sergusha, with whom she had peacefully and sincerely communicated; Now he is a “pathetic and low coward” for her, because he lives quietly and peacefully, while Boris “heroically” died in the war. It turns out that she values ​​the noble well-being and happiness in the family nest, but at the same time she does not notice the injustice happening around her, including with her own hands: poor peasants are forced to cultivate her land. That’s why Sergush is sad, and the whole poem is written in sad tones. The hero seems to be at a crossroads. He categorically does not recognize the division of people into “masters” and “slaves,” but he is not at all delighted with the behavior of the rebellious people.

Composition. The poem has five chapters. The first part tells about the events of the First World War. The second part contains comments on current events. In the third chapter, events take place during the revolution (the relationships of the main characters). The fourth is the culmination of events. In the fifth - the end of the Civil War and the result of everything that happened.

Genre of the work. Yesenin himself called “Anna Snegina” a lyric-epic poem. However, researchers give different definitions; It would be more correct, apparently, to call it a story in verse. The similarity of the poem with “Eugene Onegin” has been repeatedly noted, expressed even in the rhyming of its title with the title of Pushkin’s novel in verse.