автор: Куликова Елизавета 10 класс
Руководитель: Булаева Марина Александровна
учитель английского языка МБОУ «Спасская гимназия» Спасского муниципального района Рязанской области
“The American Poet Robert Frost and the Russian Poet Sergei Yesenin: Literary Parallels”
Министерство просвещения Российской Федерации
Муниципальное бюджетное образовательное учреждение
«Спасская гимназия»
Спасского муниципального района Рязанской области
Исследовательская работа на тему:
“The American Poet Robert Frost and the Russian Poet Sergei Yesenin: Literary Parallels”
Секция «Английский язык»
Работу выполнила:
ученица 10 класса
МБОУ «Спасская гимназия»
Куликова Елизавета
Научный руководитель:
учитель английского языка
МБОУ «Спасская гимназия»
Булаева Марина Александровна
Спасск-Рязанский, 2020
Contents
Introduction……………………………………………………………………….3
Chapter 1. American poet Robert Frost and Russian poet Sergei Yesenin as representatives of the literary era of the late 19th — early 20th centuries…….…5
- Biographical information about R. Frost and S. Yesenin………….….5
- 2. R. Frost and S Yesenin in the world poetry of the late 19th — early 20th centuries…………………………………………………………………5
Chapter 2. Literary parallels in the works of the American poet Robert Frost and the Russian poet Sergei Yesenin………………………………………………….9
- Comparative analysis of the poem by R. Frost «Stopping at the forest on a snowy evening» and the poem by S. Yesenin «Пороша»……………………….9
- The theme of choice in a person’s life in the work of poets……………12
- The problem of human relations, friendship in the poetry of R. Frost and S. Yesenin…………………………………………………………………………14
- The theme of nature in the stylistics of poets’ poems………………….16
- The problem of the meaning of life in the poetry of R. Frost and S. Yesenin…………………………………………………………………………….18
Conclusion………………………………………………………………………..20
Literature………………………………………………………………………….22
Introduction
Poetry is as universal as language and almost as old. The most primitive peoples have used it, and the most civilized have cultivated it. Why? First, because it has given pleasure. People have read it or listened to it or recited it because they liked it, because it gave them enjoyment. Rather, it has been regarded as something central to each man’s existence, something having unique value to the fully realized life, something that it is better off for having and spiritually poor without. To understand the reasons for this, we need to have at least a temporary understanding of what poetry is — temporary, because man has always been more successful at admiring poetry than at fixing the limits of it.
Initially, poetry might be defined as a kind of language that says more, and says it more strongly, than ordinary language does. In order to understand this fully, we need to understand what it is that poetry «says». But it is not in the first place to communicate information that novels and short stories and plays and poems are written. We all have an inner need to live more deeply and fully and with greater awareness, to know the experience of others and to know better our own experience. The poet, from his own store of felt, observed, or imagined experiences, selects, combines, and reorganizes. He creates significant new experiences for the reader — significant because focused and formed — in which the reader can participate, and that he may use to give him a greater awareness and understanding of his world. The greatest American poet Robert Frost wrote: «Poetry provides the one permissible way of saying one thing and meaning another.» This is the literary use of language, for literature is not only an aid to living but a means of living.
And what are the ways the world poetry is developed? Are there any links among the poetic creativity of poets from different countries of the same period? We try to deal with this problem comparing poetry by R. Frost to poetry by S. Yesenin and come to some conclusions.
The theme of our research work is “The American Poet Robert Frost and the Russian Poet Sergei Yesenin: Literary Parallels”. The object of the research is the poetry by R. Frost to by S. Yesenin. The subject of our work is the development of the world literature.
The hypothesis of the research is our assumption about the similarity of the the poetry by R. Frost to by S. Yesenin. This fact can indicate the uniform lines of the development of world literature of the same period.
The aim of the research is to analyze and compare R. Frost’s poetry to S. Yesenin’s creative work.
So, the tasks of this work are:
- to study the main features in the world poetry of the late 19th — early 20th centuries and biographical information about R. Frost and S. Yesenin;
- to examine the poets’ themes, philosophy, symbols in their poetry;
- to analyze what stylistic devices the poets used in the poems and their mood;
- to find out some common and different features in poems by both poetss;
- to explore the place and role of their creative work in the world literature .
To achieve the aim of this work we used the following research methods: the theoretical, empirical analysis of literary texts, the method of comparison and systematization.
Our work has both theoretical and practical importance. The results of the work can be interesting and important to those who study English literature and culture in comparison with our native cultural traditions and achievements. They can be used in the elective course “English Literature” and in extra-curricular activities while studying the American poetry.
Chapter 1. American poet Robert Frost and Russian poet Sergei Yesenin as representatives of the literary era of the late 19th — early 20th centuries.
- Biographical information about R. Frost and S. Yesenin.
Robert Lee Frost (1874 — 1963) is one of the greatest American poets of the 20th century. He grew up on a farm in New England and much of his poetry expresses his love for nature and the countryside. He published fine poetry for fifty years. He reached the height of his popularity after World War II.
Frost produced poetry uniquely his own, terse, paradoxical, fresh and vigorating. He was four times awarded the Pulitzer Prize. Most of his poems deal with life in rural New England and reflect the old- fashioned individualism of that region. Some of his best-known poems are The Road Not Taken, Stopping by Woods on a Snowy Evening, Mending Wall (the source of the line » Good fences make good neighbours «) and The Gift Outright (which begins with the line » The land was ours before we were the land’s»), The Black Cottage, Home Burial, Fire and Ice, Two Tramps in Mud Times and To a Thinker.
At the same time in another part of the world lived and wrote his poems a brilliant Russian poet Sergey Yesenin (1895 — 1925). Yesenin was born in the village of Konstantinovo in our Ryasan region. His first poems were written at the age of 9 — 17 and later were put into his book «Radunitsa». Yesenin followed poetry by Andrey Belyi in form. Blok and Kluev taught him to create lyrical poems. His best-known poems are «Russia», «The Letter to a Woman», «The Ballade about 26», «Flowers», «Anna Snegina» and others.
- R. Frost and S Yesenin in the world poetry of the late 19th — early 20th centuries.
The beginning of the twentieth century was marked by a realistic rise in American poetry, called the «poetic renaissance» by historians of US literature. Its beginning is usually considered to be in 1912, when the magazine «Poetry» was founded in Chicago, a modest Chicago magazine that managed to unite talented young people representing a new generation. It was an extraordinarily gifted generation that created the poetic language of modernity. Poets such as Carl Sandberg, Edgar Lee Master, Robert Frost, V. Lindsay, E. Robinson were published in «Poetri». These poets turned to the life of the American people. Breaking the outdated romantic canons, they laid the foundations of a new realistic poetics, which included updating the poetic dictionary, prosaization of verse, in-depth psychologism.
The new attitude demanded new poetic forms. Imagism has become one of the new trends in poetry.The poetics of the imagists was directed against Romanticism with its verbosity, vagueness and grandiloquence, to which it had come by the beginning of the 20th century.
The thirst for a «revolution of the word», the desire to give the language «energy and charge», the idea of the poet’s high mission in the society of «stupidity and vulgarity» found an echo in the works of T.S. Eliot, R. Frost, J. Joyce, E. Hemingway.
Robert Frost is the strongest representative of realism in American poetry of the twentieth century. In each of Frost’s poems we can observe the presence of the lessons of Horace and Ovid, the lessons of proportionality, harmony, impeccable taste. Frost’s poetry did not convince readers that this world is a haven of comforting peace. In Frost’s poetry, the nature of New England became a symbol, a metaphor for this world, which was especially vividly manifested in the poems «Mowing», «Revelation». The poet, listening to people’s conversations, drew his plots and themes from them. A distinctive feature of his lyrics is restraint and epic. The poet avoids direct «outpouring of feelings». He communicates with readers through narration, through characters, through a plot. Frost’s narrative pictures often end with morality, behind the external simplicity of which is complexity and depth.
The secret of the depth of Frost’s poetry lies in the proximity to the earth, to work on the earth, to nature. In his poems, complex moral, spiritual, and psychological problems are solved through the theme of human labor activity. Frost is a poet of philosophical sound. He is a «regionalist», but like any great artist, he gives universality to the material associated with his small homeland, His poems are a confidential conversation with the reader.
Frost particularly vividly expresses another distinctive feature of American poetry (and above all, of course, New England poetry) — its epicness and narrative character.
The beginning of the XX century entered the history of Russian literature under the beautiful name of the «silver age». During this period, the great rise of Russian culture occurred, enriching poetry with new names. The beginning of the «silver age» was in the 90s of the XIX century. It is associated with the appearance of such wonderful poets as V. Bryusov, I. Annensky, K. Balmont. We are aware of the disturbing historical events of this time. Poets, like politicians, tried to discover something new for themselves. The classics of the XIX century were being replaced by new literary trends: symbolism, acmeism, futurism. Symbolists believed that the new art should convey the moods, feelings and thoughts of the poet with the help of symbolic images. Symbolists are characterized by concentration on the inner world of the poet. In a dispute with symbolism, a new literary trend of the “silver age” was born — acmeism. Poets of this direction — N.Gumilev, A.Akhmatova, O.Mandelstam — rejected the attraction of symbolism to the unknown, the poet’s excessive concentration on the inner world. They preached the idea of displaying real life, the poet’s appeal to what can be known. The new literary movement of the “silver age” that replaced acmeism — futurism — was distinguished by aggressive opposition to the traditional poems of classical poets. Futurists tried to find new poetic rhythms and images, to create the poetry of the future. Russian futurism was distinguished by rebelliousness, anarchism, expression of the mood of the crowd, experiments with rhyme and rhythm.
Some poets of the Silver Age developed and transformed this direction, creating «Novokrestyan poetry». Novokrestyan poetry is a conventional direction of Russian poetry that united poets of the Silver Age with peasant origin. The most famous representative of this direction is Sergey Yesenin. Poets related to this direction, in their work, addressed the theme of rural Russia and the connection with nature.
Sergey Yesenin came to Russian poetry at the end of a bright poetic era, called the «Silver Age». In the course of his creative development, the poet came into contact with many of the largest poets who represented the main poetic trends in Russian literature at the beginning of the XX century: symbolism, acmeism, futurism.
In the 20s, the critic V. Lvov-Rogachevsky called Yesenin a peasant symbolist poet. The influence of symbolism can be traced in the structure of the picture of the world, the techniques of creating a lyrical subtext, in the poetization of existential paintings, in the motives of a lyrical premonition of future spiritual changes, in anticipation of the transformation of the world.
Yesenin’s early work is related to the Acmeists by the poetization of the objective world.
Yesenin’s creativity of the following years confirmed that he was no stranger to the avant-garde search for futurism. The planetarity and titanism of their artistic thinking, the expression of pain, the outrageous tragic attacks of the hooligan — all this influenced Yesenin both in the revolutionary and later periods, without destroying, however, his personal poetic individuality. It was he who combined the idea of the temple-hut with the national picture of the world.
All this taken together allows us to assert that within the framework of the era of the «Silver Age» Yesenin created an innovative aesthetic system, which is rightly called «neotraditionalism», or more precisely, «mythorealism». This is one of the most distinctive branches of Russian realistic poetry of the XX century.
Chapter 2. Literary parallels in the works of the American poet Robert Frost and the Russian poet Sergei Yesenin.
- Comparative analysis of the poem by R. Frost «Stopping at the forest on a snowy evening» and the poem by S. Yesenina «I’m going. Quiet.»
Let’s compare the lines, the style of their creative work to find if their poems have something in common.
Probably the best-known poem by Robert Frost is «Stopping by Woods on a Snowy Evening». In it he uses the iambic feet of natural speech and sharp, specific images.
Stopping by Woods on a Snowy Evening
Whose woods these are I think I know.
His house is in the village though;
He will not see me stopping here
To watch his woods fill up with snow.
My little horse must think it queer
To stop without a farmhouse near
Between the woods and frozen lake
The darkest evening of the year.
He gives his harness bells a shake
To ask if there is some mistake.
The only other sound the sweep
Of easy wind and downy flake.
The woods are lovely, dark and deep.
But I have promises to keep,
And miles to go before I sleep,
And miles to go before I sleep.
According to the title, the stopping by woods is important. We need to keep this in mind.
What images are in the poem? Here are the clear, concrete images. The speaker is near some woods filling up with snow. The owner of woods and the village are far away, carefully excluded from the picture.
In the next stanza a horse and other details of the picture appear. And the speaker is precisely depicted as being between the woods and a frozen lake on a dark evening.
The third stanza deals with images of sound and touch, the harness bells jingling in contrast to the sound and feel of «the sweep of easy wind and downy flake». This is not a chilly, uncomfortable stopping. The wind is «easy» and the snowflakes are soft as down. The speaker is enjoying something that the horse does not understand.
The last stanza starts with the image of the woods — «lovely, dark and deep» — and ends with the image of sleep. What repetition is there? The question is, does the last line indicate that because he has many miles, or things that he must do, he would like to end his life; or does it mean that he has many things to do before he can rest and have sometime for himself?
John Clardi, a well-known American critic and poet, suggests that the last line could be a death wish, a going into the «lovely, dark and deep» woods, never to return. But there may be another interpretation. Perhaps the narrator is simply stopping here for a while, lulled by the beauty of the snowy wood and the freedom of being away from people, but aware that he has much to do to fulfill those promises before he can take time out for himself. Whichever interpretation we use, we find that speaker is someone worn down by promises. The last two lines , important because of repetition, invite us to speculate upon its further meaning.
And what a wonder! We can find the same poem written by Sergey Yesenin.
Пороша
Еду. Тихо. Слышны звоны
Под копытом на снегу,
Только серые вороны
Расшумелись на снегу.
Заколдован невидимкой,
Дремлет лес под сказку сна,
Словно белою косынкой
Подвязалася сосна,
Понагнулась, как старушка,
Оперлася на клюку,
А над самою макушкой
Долбит дятел на суку.
Скачет конь, простору много,
Валит снег и стелет шаль.
Бесконечная дорога
Убегает лентой вдаль.
Here we also see the images of deep, silent woods, the endless road, hear the harness bells, watch falling snow. Winter nature seems to be alive. In order to strengthen this feeling Yesenin uses some stylistic devices: personifications («дремлет лес»), similes ( about the pine — «Понагнулась, как струшка»), metaphors ( «Бесконечная дорога убегает лентой вдаль»). The reader can find the similar devices in some other poems by Robert Frost. And in these two poems there are many epithets: «easy wind», «downy flake», «lovely, dark woods» (R. Frost), «серые вороны», «бесконечная дорога» ( S. Yesenin). As one can notice, there is no repetition at the end of Yesenin’s poem, but there are a lot of them in Yesenin’s poetry: «По-осеннему сыплет ветер, По-осеннему шепчут листья», «Мир тебе, отшумевшая жизнь, Мир тебе, голубая прохлада». So Yesenin’s poem about a winter forest is much like Frost’s poem by its plot, words, and in its last lines it also gives the reader an opportunity to think about a man’s way in life.
- The theme of choice in a person’s life in the work of poets.
The theme of different ways, choice for a man is in other poems by Frost and Yesenin. For example, in Frost’s poem «The Road Not Taken» a person would like to explore two roads walking in the wood.
Two roads diverged in a yellow wood
And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth;
Then took the other, as just as fair,
And having perhaps the better claim,
Because it was grassy and wanted wear;
Though as for that the passing there
Had worn them really about the same,
And both that morning equally lay
In leaves no step had trodden black…
…Two roads diverged in a wood, and I –
I took the one less traveled by,
And that has made all the difference.
The person tells himself that he will explore one and then come back and explore the other, but he knows that he shall probably be unable to do so. By the last stanza we must interpret his choice of a road as a symbol for any choice in life between alternatives that appear almost equally attractive but will result through the years in a large difference in the kind of experience one knows. So in this poem we should refer to the two leaf-strewn roads in the yellow wood as an image; if we are discussing the significance of a poem, we talk about them as symbols.
The same symbol of a human way we can find in Yesenin’s poetry. The poet asks:
Серебристая дорога,
Ты зовёшь меня куда?
And then he answers his own question:
…Ничто не обошёл я мимо.
Но мне милее на пути,
Что для меня неповторимо…
* * *
…Долга, крута дорога,
Несчётны склоны гор;
Но даже с тайной бога
Веду я разговор…
Like Robert Frost, Sergey Yesenin chooses the way full of difficulties, hardship, but fair and not taken by anybody. Synonymical repetitions in Frost’s and Yesenin’s poetry such as «roads — way» create some other — parallel to the concrete -philosophic contents of the poems.
- The problem of human relations, friendship in the poetry of R. Frost and S. Yesenin.
Two poets demonstrate their philosophic attitude to life telling about relations among people, for example, relations between a man and a woman.
In the poem «Meeting and passing» R. Frost touches upon the theme of parting with a lover.
As I went down the hill along the wall
There was a gate I had leaned at for the view
And had just turned from when I first saw you…
Afterwards I went past what you had passed
Before we met and you what I had passed.
Yesenin’s poem «Ты меня не любишь, не жалеешь» is focused on the same subject-matter.
Этот пыл не называй судьбою,
Легкодумна вспыльчивая связь, —
Как случайно встретились с тобою,
Улыбнусь, спокойно разойдясь.
Да и ты пойдёшь своей дорогой
Распылять безрадостные дни…
They are full of images of «a road» meaning the life-way and unhappy love.
Both poets have very anxious and warm-hearted attitude towards their friends. Let’s compare the poetic lines:
When a friend calls to me from the road
And slows his horse to a meeting walk,
I don’t stand still and look around…
I thrust my hoe in the mellow ground,
Blade-end up and five feet tall,
And plod: I go up to the stone wall
For a friendly visit.
(From «A Time to Talk» by R. Frost)
Разбуди меня завтра рано,
О моя терпеливая мать!
Я пойду за дорожным курганом
Дорогого гостя встречать.
Воспою я тебя и гостя,
Нашу печь, петуха, коров… (By S. Yesenin)
In the poem «What Fifty Said» Robert Frost expresses his own regret to the teacher:
When I was young my teachers were the old.
I gave up fire for form till I was cold…
Now I am old my teachers are the young.
What can’t be molded must be cracked and sprung.
I strain at lessons fit to start a suture.
I go to school to youth to learn the future.
The poet also says that it’s worth studying using the experience of old man and the youth. The Russian poet S. Yesenin shares his opinion independently. Yesenin’s teachers were great Russian poets Aleksey Koltsov, Nikolay Kluev. We can learn about it from the poem «О Русь, взмахни крылами…» The frame-repetition «С иными именами встает иная степь» reminds of the repetition in Frost’s poem «The Road Not Taken» in form and demonstrates the similar firm idea that the future belongs to the youth.
- The theme of nature in the stylistics of poets’ poems.
Many poems by Frost are devoted to the description of nature. Please, listen to the silver song of spring streams.
A Hillside Thaw
To think to know the country and not know
The hillside on the day the sun lets go
Ten million silver lizards out of snow! –
As often as I’ve seen it done before
I can’t pretend to tell the way it’s done…
It looks as if some magic of the sun
Lifted the rug that bred them on the floor,
And the light breaking on them made them run.
There are a lot of metaphors (streams — «silver lizards»), similes («It looks as if some magic of the sun lifted the rug…»), personifications («The sun’s a wizard», «…so’s the moon a witch», «It was the moon’s: she held them until day, One lizard at the end of every ray.»). We can watch the similar images of silver streams, the sun, the moon in S. Yesenin’s poetry:
Черёмуха душистая
С весною расцвела
И ветки золотистые
Что кудри завила…
А рядом, у проталинки,
В траве, между корней,
Бежит, струится маленький
Серебряный ручей.
* * *
Тихо струится река серебристая
В царстве вечернем зелёной весны.
Солнце садится за горы лесистые,
Рог золотой выплывает луны.
* * *
Край любимый! Сердцу снятся
Скирды солнца в водах лонных.
Я хотел бы затеряться
В зеленях твоих стозвонных.
* * *
Прячет месяц за овинами
Жёлтый лик от солнца ярого.
Высоко над луговинами
По востоку пышет зарево.
Sergey Yesenin’s poetry, like Robert Frost’s poetry, is multicolored. One can meet colorful epithets ( green, yellow), some of them are metaphorical epithets (silver, golden). Nature in their poetry is not like a still landscape, it is all in moving, renovation and in harmonious unity with a person. The poets reach this effect by using different stylistic devices. We saw it in Frost’s poem «A Hillside Thaw». The same devices are present in Yesenin’s poetry: metaphors («лик» месяца, «скирды солнца», «царство весны»), similes («весна, как странница», «ветки золотистые, что кудри»), personifications («сыплет черёмуха», «прячет месяц»).
All the richness of wordy painting by Frost and Yesenin has the only aim — to give the reader an opportunity to feel the beauty and life-giving force of the nature.
- The problem of the meaning of life in the poetry of R. Frost and S. Yesenin.
The theme of nature is closely connected with the thoughts about leaving, death in poetry by both poets. In the poem «Nothing Gold Can Stay» Frost says that the beauty isn’t eternal:
Nature’s first green is gold,
Her hardest hue to hold.
Her early leafs a flower,
But only so an hour.
Then leaf subsides to leaf.
So Eden sank to grief,
So dawn goes down to day.
Nothing gold can stay.
We can find the similar ideas in Yesenin’s poems:
He жалею, не зову, не плачу,
Всё пройдёт, как с белых яблонь дым,
Увяданья золотом охваченный,
Я не буду больше молодым.
Both poets write about the death, a different world with the great sadness pain in their soul, but accept it as reality:
I should not be withheld but some day
Into the vastness I should steal away,
Fearless of ever finding open land,
Or high way where the slow wheel pours the sand. (By R. Frost)
Sergey Yesenin foresees his close death in many poetic lines. For example:
Всё встречаю, всё приемлю,
Рад и счастлив душу вынуть.
Я пришёл на эту землю,
Чтоб скорей её покинуть.
The reader can call Frost’s and Yesenin’s poetry Life-loving and optimistic. They believed that a Poet leaves some feelings, eternal values, beauty in a human soul and there are always some people who can follow his deeds.
I’d like to get away from earth awhile
And then come back to it and begin over.
(By R. Frost)
He всё ль равно — придёт другой,
Печаль ушедшего не сгложет,
Оставленной и дорогой
Пришедший лучше песню сложит.
* * *
Предназначенное расставанье
Обещает встречу впереди.
(By S. Yesenin)
Conclusion
In our research work we have analyzed and compared the poetry by R. Frost to the poetry by S. Yesenin.
In the first chapter we give biographical information about the American poet Robert Frost and the Russian poet Sergei Yesenin. Then, we consider the two poets in the context of the development of world poetry of the late 19th — early 20th centuries and come to the following conclusions. In the American poetry of that period, which was experiencing a realistic rise, R. Frost became a «regionalist» who, like any great artist, gives universality to the material associated with his small homeland, his poems are a confidential conversation with the reader. In the Russian literature of that time, under the beautiful name «silver age», Sergei Yesenin, who absorbed the influence of new trends (symbolism, acmeism, futurism), was a New Peasant poet who created an innovative aesthetic system — «mythorealism». In this connection, both poets represented a realistic school in poetry with elements of the new.
In the second chapter we have dwelt on the poets’ themes, philosophy, symbols in their poetry, stylistic devices the poets used in the poems and their mood. As a result of the analysis of all the information on the subject, we have come to the following conclusions.
Despite some special features of the storyline, the plot and the compositional structure of the works are much alike. Moreover, they both have similar themes and problems: the choice in a person’s life, human relations, nature and the meaning of life.
Frost and Yesenin used not only traditional symbols, but their own imagery. Moreover, similar stylistic devices can be found in their works to reflect some ideas.
So the analysis of both the poets’ poetry shows that though Yesenin and Frost lived in different parts of the world, their poetic lines have much in common. Frost’s use of images allowed Harriet Monroe’s magazine to call him the poet known as the Imagist. At first Yesenin’s aesthetic principles also were very close to the Imagists’ creative purposes. But on the whole Yesenin’s and Frost’s poetry can hardly be referred to the Imagists’ creativity, because their poems contain a lot of folklore images and closely connected with reality, what is absent in Imagism.
Yesenin’s and Frost’s poetry is the beautiful, magic, unique world. They created it by using the same subject-matters of the poems, sometimes the same plots, stylistic devises, images and words. We can find beautiful human feelings, admiration, surprise, enjoyment, deep thoughts about Life and Man, the surrounding reality in their poems. The nature and the man exist in unity there.
To draw the conclusion, we are convinced that the hypothesis of the research about the similarity of the poetry by R. Frost to by S. Yesenin has been confirmed. And on the results of our comparative research we can come to the conclusion that the world poetry of the same period is developed by the same way because the human values, feelings, beauty are eternal like Life itself.
Literature
- American Poetry: Edwin Arlington Robinson, Robert Frost//HHOCTp, яз. в школе. 1993.- №3.
- Есенин С. А. Избранное.- М., 1989.
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