New books about the great poet
Today, October 3, is the birthday of Sergei Yesenin. This time the date is not round, but Yesenin is not one of those poets that are remembered only for anniversaries. Like Pushkin, he is constantly, always with everyone who truly loves Russia. Here are two new books about him that have converged on my table today, I think, will be of interest to many.
THE FIRST BOOK was published by the well-known Moscow publishing house "Algorithm" and is called "Yesenin in Konstantinov". Its compiler T.I. Marshkova lovingly picked up Yesenin's lines, as well as pages of memoirs and other materials dedicated to the poet, which are somehow connected with the Ryazan land, where he was born and grew up, where he was drawn with extraordinary force until the end of his life.
Probably, any poetic talent will certainly take something from the impressions of childhood. However, in hardly anyone else these first impressions of a meeting with the outside world determined so much and so fundamental, the most essential, as in Yesenin. "A piercing-burning feeling of the motherland" - this is how Tatyana Marshkova calls it in her preface, citing the confession of Sergei Alexandrovich himself that escaped from the depths of his soul:
But most of all
Love to native land
tormented me,
Tormented and burned.
Indeed, in order to better understand the poet, one must visit his homeland. And, of course, the compiler of the book is right: "Here he saw" a fire of red mountain ash "," fields of crimson expanse "," a garden in blue specks "," blue that fell into the river "... The Prioksky expanse of the village of Konstantinovo is his land" with a short name "Rus", "country of birch chintz", where he was born "with songs in a grassy blanket". Here are the origins of his poetry.
The book "Yesenin in Konstantinov" gives us an excellent opportunity to touch these sources, and then trace how they tremblingly lived in the poet's heart until his very last days. Yesenin's sisters - Katya and Shura, his classmate and teacher, friends of childhood and youth, fellow villagers, employees of the Museum of the Reserve S.A. Yesenin in the village of Konstantinovo, which has existed for more than forty years and where the folk trail does not overgrow.
I am glad to note that among the most interesting pages of the book is an article written by our colleague in Pravda - alas, already deceased - Sergei Petrovich Koshechkin, one of the most profound researchers of Yesenin's work. But the outstanding worker of the forestry - and the poet!) Dmitry Minaevich Giryaev, who headed the Kriushinsky forestry in Yesenin places in the 50s, was lucky to meet and talk with the mother of Sergei Alexandrovich.
Priceless is this documentary evidence, very warmly written, about the great countryman and people close to him.
Being also a Ryazan by birth, I have long known how special Esenin is dear to his countrymen. And the second book I want to talk about was written by one of them. "Yesenin's echo" - this is how the talented poet and publicist Alexander Potapov titled this collection, published by the Ryazan publishing house "Attorney".
It consists of two sections. In the first - essays, articles, interviews about Yesenin, and in the next - poems and songs about him.
Anticipating this section with an introductory word, S.P. Koshechkin called the poems of Alexander Potapov "a worthy addition to the poetic Yeseniniana, the beginning of which was laid during the life of the great lyricist of Russia." I join this assessment: the verses included in the book, a number of which have become songs, are truly written with reverent love, they are sincere and cordial.
But, in my opinion, even more interesting is the section that presents the reflections of the poet - our contemporary on the classic poet. The time coverage of these works, according to the dates under them, is from 1982, when the author, a student of the Literary Institute named after A.M. Gorky, writes his work on the style of the poetic word of Sergei Yesenin) to the present day. That is, the Yesenin theme has completely occupied the author of the book for more than a quarter of a century.
During this time, responding to various events related to the memory of Yesenin, and, of course, to the call of his own soul, Alexander Potapov created an extensive panorama where the "worldwide Ryazan", his work and life are viewed from a variety of angles and genres. From a conversation with the largest Yesenin scholar Yuri Prokushev to heartfelt confessional notes, from stories about little-known facts of Yesenin's biography to upholding the honor of the poet, a passionate article against the distortion of his image and blatant vulgarity in a recent television series.
The author does not pass by such controversial issues as Yesenin's attitude to religion, the question of the poet's suicide or murder. For all the ambiguity of the answers, which is sometimes felt in A. Potapov's thoughts, he involves readers in this analytical process of his, makes them think along with themselves, and this is good.
"The book is solid," the famous Russian poet Valentin Sorokin wrote in his farewell speech to "Yesenin's Echo." "The book is very energetic. Modern." I will add: it would be worth thinking about re-issuing it in Moscow, and in a much larger circulation.
- Boris Karpov was the first, then we appeared, his followers, - said Nikolai Burlyaev. - And it was he, the first of the Russian documentary filmmakers, who was awarded the Gold Medal named after S.F. Bondarchuk. He was the first to make a film about the Russian Orthodox Church, even before "Andrei Rublev" Tarkovsky, when it was not customary to talk about Orthodoxy, he was the first to talk about the secret forces that destroy the life of the planet, and the first, together with his wife Tatyana, held an Orthodox festival in Radonezh in 1990. I remember the awesome prize Klykova- a gilded sculpture of Sergius of Radonezh, which was awarded at this festival Boris Leonidovich for the film "Under the blessed cover."
Tatyana Mikhailovna said that the epigraph to the life and work of her husband was Yesenin's line, which sounds in the film "Sergey Yesenin": "But most of all, love for my native land tormented me, tormented and burned." And this really explains the whole life of the patriot artist, whose heart was full of pain for the Russian people; like Mussorgsky, he understood the people "as great personality, animated by a single idea, ”and constantly fought against the haters of the people and Russia itself. Tatyana Karpova spoke about the film “A Tale of a Russian Mother”, dedicated to Epistimia Fyodorovna Stepanova, a 90-year-old Kuban Cossack woman who lost nine sons in different wars.
Mentioned other films - about the academician Kurchatov, aircraft designer Ilyushin, artist Shilove, director Sergei Bondarchuk, about the keeper of Pushkin's places Semyon Stepanovich Geichenko… Karpov was a frequenter of used bookshops, looking for books on the history of Russia and the Russian Orthodox Church. “Craving for the church,” says T. Karpova- has always been in his mind. In the film about a Russian mother, there was a shot when Epistimia Feodorovna leaves the church and is baptized on it. They demanded from Boris - “throw it away”, he refused. Everything remained the same, and the film received the Golden Nymph in Monte Carlo. In 1968, by order of His Holiness Patriarch Alexy I Boris Karpov shoots for abroad the film "Russian Orthodox Church today".
“It was a milestone in his journey, the film became a seed from which a lot sprouted,” says Tatyana Mikhailovna. - For me, it is like an art encyclopedia, it is not surprising that the film has become so popular. 5 screenings a day at the cinema, queues outside. People were discovering the world of the Church and Russian history, and it was so joyful.” Companions performed at the evening Boris Karpov- former director of the studio "Fatherland" Dmitry Zotov, directors Irina Ulyanova, Victor Shkurko, Valery Demin. Zotov who worked together with Karpov at the TSSDF studio, told how they created the Fatherland studio.
Around Boris Karpov a team of like-minded people immediately formed, the director Nikolai Ryapolov came to the studio - with the theme of man on Earth. Several non-state orders appeared in Karpov's portfolio. And if during the first year only 4 films were made, the next year there was a breakthrough - 44 films. “The studio has worked successfully all the years,” says Dmitry Zotov, - and, despite the fact that now for the second year our applications do not pass to the Ministry of Culture, the creative backbone of the studio - Boris Liznev, Boris Krinitsyn, Victor Shkurko, Anton Vasiliev, Tatyana Karpova, Irina Ulyanova, Nadezhda Fedenistova- active. And we with with a pure heart we can say that the “case” of Boris Leonidovich lives on, we do not give up.” The evening ended with a screening of the film "Sergey Yesenin", built on close-ups of Yesenin's photographs, a combination of his poems, heartfelt read Alexey Konsovsky with disturbing music Alexandra Kholminova. The audience gets the feeling of communicating with a living poet. Unforgettable are the first frames where a living Yesenin appears in the chronicle. He looks into the hall, right at us, past us, into eternity. And the image Boris Karpov remains in our imagination forever associated with the rebellious poet.
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1. In early 1988 at the Central Studio documentaries(TSSDF) was reorganized - five creative production associations (TPO) were formed:"Youth" (art director), "Risk" (art directors: , ), "Man and Time" (art director:), "Contemporary" (art director A. Pavlov), "Memory" - renamed "Nerv" in 1989 ( artistic director) and "Patriot" - renamed to "Fatherland" in 1990 (art director: ). The purpose of the next restructuring was to optimize the creative and production processes, to increase the ideological and artistic level of the created film production after the so-called years of "stagnation".
In 1991, five creative and production associations TSSDF - "Youth", "Risk", "Man and Time", "Sovremennik" and "Fatherland" received the status of state enterprises.
Since September 1991, Boris Karpov has been the artistic director of the Fatherland film studio (State Enterprise Film and Video Studio Fatherland; Film Video Studio was liquidated on September 13, 2006; Assignee: FSUE Film Fund of the M. Gorky Film Studio).
In July 2003, Dmitry Konstantinovich Zotov and Andrey Dmitrievich Zotov organized a non-profit partnership "Film Video Studio" Fatherland ", which continued the traditions of the film studio, created in 1991 by Boris Karpov.
Related materials
- Catalog of Otechestvo film studio (Archive of NET-FILM LLC)
I will chant
With the whole being in the poet
sixth of the earth
With a short name "Rus".
S. Yesenin
Sergei Alexandrovich Yesenin rose to the heights of world poetry from the depths of folk life. The Ryazan land became the cradle of his poetry, Russian songs, sad and secluded, were reflected in his poems. The theme of the Motherland is the leading theme in Yesenin's work. Yesenin himself said: "My lyrics are alive with one great love - love for the Motherland. The feeling of the Motherland is the main thing in my work." For him, there was nothing outside of Russia: no poetry, no life, no love, no glory. Outside of Russia, Yesenin simply could not imagine himself. But the theme of the Motherland in the poet's work has its own evolution. At first she was almost unconscious, childish, serene.
I was born with songs in a grassy blanket
Spring dawns twisted me into a rainbow.
I have grown to maturity, the grandson of the bathing night,
The witch's cradle prophesied happiness to me.
And the fire of the dawn, and the splash of the wave, and the silvery moonlight, and the rustle of the reeds over the years have been cast in Yesenin's poems with all their beauty.
O Rus - raspberry field
And the blue that fell into the river
I love to joy and pain
Your lake longing.
From a young age, the Russian land sunk into the heart of Yesenin, its rustic and secluded songs, bright sadness and valiant prowess, the rebellious Ryazan spirit, cheerful girlish laughter. Each Yesenin line is warmed by a feeling of boundless love for Russia. He exclaims:
But most of all, love for the native land
I was tormented, tormented and burned.
The poet lovingly describes and poeticizes the signs of his native country.
The light of the moon, mysterious and long.
Willows are crying, poplars are crying.
But no one under the cry of a crane
He will not stop loving his father's fields.
Yesenin's favorite image is the image of a birch. He has a birch - "girl", "bride", she is the personification of everything pure and beautiful:
I'm forever behind fogs and dews
I also fell in love with birch trees,
And her golden braids
And her canvas sundress.
Yesenin's poetry can be used to study our history. Here is 1914. War. And the poet's poems reflect the pain of the era. In the poem "Rus" Yesenin conveys pain and sadness for the fate of the country, anxiety for the life of the peasants involved in the maelstrom of the world war:
Black crows croaked:
Terrible troubles a wide scope.
The whirlwind of the forest twists in all directions.
Waves shroud foam from the lakes.
This Russia is dear and close to Yesenin. In the most difficult time, the poet with all his soul, with all his heart is next to the people.
Oh, Russia, my meek homeland.
Only for you I save love.
The bleaker the pictures of Russian reality, the stronger the poet's attachment to the Motherland. With the advent of the revolution begins new stage in the work of Yesenin. The fate of the Motherland, the people in a turbulent revolutionary era - that's what worries him now:
Oh, Russia, flap your wings,
Put another support!
With other names
Another steppe rises
Yesenin welcomed the revolutionary renewal of the Motherland, but when the transformation of the village began, the poet perceived the invasion of the rural expanses of urban civilization as the arrival of a hostile "iron guest".
significant role in creative development the poet was played by his foreign trip in 1922-1923. After her, Yesenin "fell out of love with the impoverished Motherland." The poet happily describes the changes that have taken place in the life of the Russian peasantry. He now accepts with all his heart and is ready to sing the beauty of the emerging "steel" Russia, because the future lies with her.
Field Russia! Enough
Drag along the fields!
It hurts to see your poverty
And birches and poplars.
I don't know what will happen to me...
Maybe in new life I'm not fit.
But still I want steel
To see poor, impoverished Russia.
Yesenin's books, which were published in 1924-1925, contain the voice of the new Russia, its dreams, hopes, anxieties, they contain the soul of the people, the soul of the poet. The appearance of the native land, the historical fate of the Motherland and the people - Yesenin solves these most important topics in a highly original, artistic, bright way.
Yesenin's work is one of the brightest, deeply exciting pages in the history of Russian poetry, filled with love for people, beauty native land, imbued with kindness, a sense of constant concern for the fate of the people and all life on earth. Yesenin's poetry awakens in us all the best human feelings. From the distant 1920s, the poet invisibly stepped into our time and further into the future. "The farther he goes from us, the closer he becomes to us," the poet Lugovskoy rightly said about Yesenin.
On October 14-15, the Ryazan State University named after S. Yesenin will host the All-Russian Scientific and Practical Conference "New Technologies for the Implementation of Regional Historical Materials in the Practice of Teaching School and University Courses in the History of Russia."
Participation in the conference is expected not only of scientists, teachers of the history of universities and schools of Ryazan, but also representatives of the scientific community of a number of Russian cities and even guests from abroad, in particular from Germany. After all, it was in this country that at one time historians were faced with a task similar to ours - how to change the attitude of society towards the past of their own country, without sacrificing patriotic feelings.
The relevance of the declared topic of the conference is beyond doubt, if only because in Lately there is obvious concern in the Russian state and society about the level of teaching national history both in schools and in higher educational institutions. The young generation's ignorance of Russia's past, a kind of historical nihilism, have reached their apogee, and there is more than enough evidence of this.
It must be said that, along with the problems of interpreting one's own history that have emerged in recent decades, a lot of good things are happening. First of all, this concerns a steady interest in local, personal, even family history, which has emerged recently. It is in the last 15-20 years that the local history component of national history is experiencing a kind of renaissance: archival funds have become more accessible for local history work, local museums, including school ones, have become more active, more and more books and research materials on the topic of the history of the native land are being published. The situation with the study of local history strongly resembles the beginning
last century. Then everything began well with the activation of local history work, but quickly ended with the prejudice of the Soviet authorities towards local historians. The Soviet country needed a new, one for all history. Local variations and accents were considered unnecessary and even harmful.
Now everything is back to normal. Historians - professionals and local history enthusiasts collect evidence of the past bit by bit, for the most part lost. Fill them with local museums and private collections. A Ryazan textbook on regional studies is being prepared, the local history component is increasingly being used in school lessons by history teachers, who in this way save their students from unconsciousness.
The university, which trains professional researchers and teachers of history, has also accumulated many years of experience in scientific research on the past of the Ryazan land, prepared many publications, dissertations based on materials
Ryazan archives and libraries. Libraries, by the way, have become a kind of centers for the study of local history, the accumulation of knowledge about it. It is no coincidence that the Ryazan Regional Library named after Gorky, a repository and active propagandist of a huge array of knowledge about the past of the region, will also participate in the upcoming conference.
How to combine all the accumulated potential into one powerful creative stream directed towards a specific goal? To teach history as a subject and at the same time to form one of the elements of the social self-awareness of society, to pass on positive values from generation to generation, to cultivate a positive attitude towards one's country and oneself.
The conference, initiated by the Department of Russian History of the Russian State University under the guidance of Professor A.F. Agarev, will begin its work on October 14 at 10 am in the conference hall of the Ryazan state university. We will tell you more about the results of her work.
Irina Sizova Ryazan Vedomoti No. 192 (10.10.2008)
But most of all, Love for the native land, I was tormented, Tormented and burned. S. Yesenin. The theme of the Motherland in Russian literature is one of the most beloved themes of Russian writers and poets. There is not a single creator known to me who would not touch on this topic in his works. Some of them only briefly touched on it, others devoted all their creations, putting love and feelings into them, proving that the Motherland is an important, and sometimes the most important part of their life and work. This attitude to their native land burst into their works with a stormy stream of emotions, during which there was admiration for the Russian land, and an immense love for the Motherland. “The theme of the Motherland, Russia, is the main one in all my poems ...” Yesenin often mentioned. Yes, it was ardent love for Russia, for that corner the globe, where he was born, was the force that inspired him to new works. "Face to face You can't see the face. Big things are seen at a distance ..." - this is how the poet's own words can characterize his gaze, turned to Russia from the "beautiful far away." Creating a cycle “Persian motifs”, Yesenin, having never been in Persia, gives a wonderful image of the Motherland. Even being in a fertile land, he cannot forget that “The moon is a hundred times bigger there, No matter how beautiful Shiraz is, It is no better than Ryazan expanses "Because I'm from the north, or what?". Sharing with Russia the tragic turns of her fate, he often turns to her as a close person, looking for sympathy and an answer to bitter unsolvable questions: "Ah, motherland! What have I become funny. A dry blush flies on my sunken cheeks. The language of my fellow citizens has become like a stranger to me, In my country I’m like a foreigner! ”This is how he perceives revolutionary events, this is how he sees himself in the new Russia. everything in its own way, "with a peasant bias." of the peasants, Yesenin expresses his attitude to the actions of the new masters of Russia: “Yesterday the icons were thrown from the shelf, The commissar took off the cross at the church ... But, regretting the “outgoing Russia”, Yesenin does not want to lag behind the “coming Russia”: “But all the same, I'm happy. In the host of storms I made unique impressions. Enough to drag along the fields! It hurts to see your poverty And birches and poplars. "But no matter what hardships tormented Russia, its beauty still remained unchanged, thanks to the wondrous nature. The enchanting simplicity of Yesenin's paintings cannot fail to captivate readers. delicate lemon moonlight ”you can fall in love with the poet’s Russia. Every leaf, every blade of grass lives and breathes in Yesenin's poems, and behind them is the breath of their native land. Yesenin humanizes nature, even his maple looks like a person: “And, like a drunken watchman, going out onto the road, he drowned in a snowdrift, froze his leg.” Behind the seeming simplicity of the images, there is great skill, and it is the word of the master that conveys to the reader a feeling of deep love and devotion native land. But Russia is inconceivable without a sense of respect and understanding of the difficult nature of the Russian people. Sergei Yesenin, experiencing a deep feeling of love for the Motherland, could not help but bow before his people, their strength, power and endurance, a people who managed to survive hunger, and devastation: "Oh, my fields, dear furrows, You are good in your sadness! I love these frail huts Waiting for gray-haired mothers. the Motherland is loved, it is impossible. Lermontov also spoke of his strange love for Russia and the insubordination of this feeling to reason: "I love the Fatherland, but with a strange love ..." Yesenin will echo almost a century later: "But I love you, the meek Motherland! And behind which I can't figure out." (12.05.2007)
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