{"id":6796,"date":"2026-07-03T13:00:33","date_gmt":"2026-07-03T10:00:33","guid":{"rendered":"https:\/\/vestnik.rsu-rzn.ru\/?page_id=6796"},"modified":"2026-07-03T14:08:14","modified_gmt":"2026-07-03T11:08:14","slug":"6796-2","status":"publish","type":"page","link":"https:\/\/vestnik.rsu-rzn.ru\/en\/6796-2\/","title":{"rendered":""},"content":{"rendered":"<p><\/p>\n<h1>Yesenin motifs in Mushni Mikaya\u2019s poetry in the context of Russian-Abkhaz literary links<\/h1>\n<p><strong>Pages:<\/strong> 165-176 \u00a0|\u00a0 <strong>DOI:<\/strong> 10.37724\/RSU.2026.91.2.016<\/p>\n<p><strong>Biguaa V.A.<\/strong><br \/>\nA. M. Gorky Institute of World Literature of the Russian Academy of Sciences<\/p>\n<p><strong>Abstract<\/strong><\/p>\n<p>The study of Sergei Yesenin\u2019s work in the context of the literatures of the peoples of Russia and neighboring countries has become an integral part of Yesenin studies since the early 1990s. This article examines Yesenin motifs in the work of the Abkhaz writer Mushni Mikaya, whose many works have already become national classics. Yesenin\u2019s influence on Mikaya, on the one hand, was a familial one; the Abkhaz poet was drawn to the spirit of the great Russian poet\u2019s lyrics, closely connected to his native roots and national traditional culture. On the other hand, the experience of Yesenin, who lived through the First World War, the romantic and tragic years of the Revolution and the Civil War, also proved instructive. Mikaya was particularly interested in spiritualized images of nature in Yesenin\u2019s poetics, his manner of emotionally \u201cpsychologizing\u201d the landscape, his love for the native land, his reverent attitude toward the national roots, the traditional Russian poetry with its thousand-year-old Orthodox culture, and Russian village life as the custodian of spiritual assets. These two deeply national poets were united by a \u201cdialogue\u201d with nature, which greatly influenced the formation of the artistic consciousness both of Yesenin and Mikaya, the worldview of the lyrical hero, These became the foundation of their imagery. This comparative analysis also examines the symbolism of colors, which reflects the dynamics of the lyrical hero\u2019s spiritual state and the his inner \u201cbiography.\u201d Particular attention is paid to the white color (including the closely related colors of dew \/light and silvery\/ and gray hair); this occupies a significant place in Yesenin\u2019s poetics but has been very little studied (unlike red, yellow, blue, light blue, and other colors). The white color is also a recurring theme in Mikaya\u2019s poetry.<\/p>\n<p><strong>Keywords:<\/strong> Yesenin reminiscences in the poetry of the Abkhaz poet Mushni Mikaya, worldview of a lyrical hero, symbolism of colors, symbolism of white and the colors close to it, dew (light, silvery) and gray hair, comparative analysis<\/p>\n<p><strong>Funding:<\/strong><\/p>\n<p>none<\/p>\n<p><strong>References<\/strong><\/p>\n<p>1. \u0410\u0440\u0434\u0437\u0438\u043d\u0431\u0430 \u0412. \u0413. \u041d\u0430\u0440\u0442\u0441\u043a\u0438\u0439 \u0441\u044e\u0436\u0435\u0442 \u043e \u0440\u043e\u0436\u0434\u0435\u043d\u0438\u0438 \u0433\u0435\u0440\u043e\u044f \u0438\u0437 \u043a\u0430\u043c\u043d\u044f \/\/ \u0414\u0440\u0435\u0432\u043d\u044f\u044f \u0410\u043d\u0430\u0442\u043e\u043b\u0438\u044f. \u2014 \u041c. : \u041d\u0430\u0443\u043a\u0430, 1985. \u0421. 128\u2013168.<br \/>\n2. \u0411\u0435\u043b\u044b\u0439 \u0446\u0432\u0435\u0442. \u2014 URL : http:\/\/mar4586.narod.ru\/colors\/white.html (\u0434\u0430\u0442\u0430 \u043e\u0431\u0440\u0430\u0449\u0435\u043d\u0438\u044f: 12.07.2025).<br \/>\n3. \u0415\u0441\u0435\u043d\u0438\u043d \u0421. \u0410. \u041f\u043e\u043b\u043d\u043e\u0435 \u0441\u043e\u0431\u0440\u0430\u043d\u0438\u0435 \u0441\u043e\u0447\u0438\u043d\u0435\u043d\u0438\u0439 : \u0432 7 \u0442. \u041c. : \u041d\u0430\u0443\u043a\u0430 : \u0413\u043e\u043b\u043e\u0441, 1995\u20132002. \u2014 \u0422. 1. \u2014 1995. \u2014 672 \u0441. ; \u0422. 2. \u2014 1997. \u2014 464 \u0441. ; \u0422. 4. \u2014 1996. \u2014 544 \u0441. ; \u0422. 6. \u2014 1999. \u2014 816 \u0441.<br \/>\n4. \u0417\u0430\u0439\u0446\u0435\u0432 \u0412. \u0410. \u041e\u0431 \u043e\u0434\u043d\u043e\u043c \u043f\u043e\u044d\u0442\u0438\u0447\u0435\u0441\u043a\u043e\u043c \u043e\u0431\u0440\u0430\u0437\u0435 \u0432 \u043b\u0438\u0440\u0438\u043a\u0435 \u0415\u0441\u0435\u043d\u0438\u043d\u0430 \u0438 \u0422\u0432\u0430\u0440\u0434\u043e\u0432\u0441\u043a\u043e\u0433\u043e (\u00ab\u0431\u0435\u0440\u0435\u0437\u0430\u00bb) \/\/ \u0415\u0441\u0435\u043d\u0438\u043d\u0441\u043a\u0430\u044f \u044d\u043d\u0446\u0438\u043a\u043b\u043e\u043f\u0435\u0434\u0438\u044f. \u041a\u043e\u043d\u0446\u0435\u043f\u0446\u0438\u044f. \u041f\u0440\u043e\u0431\u043b\u0435\u043c\u044b. \u041f\u0435\u0440\u0441\u043f\u0435\u043a\u0442\u0438\u0432\u044b : \u043c\u0430\u0442\u0435\u0440\u0438\u0430\u043b\u044b \u041c\u0435\u0436\u0434\u0443\u043d\u0430\u0440. \u043d\u0430\u0443\u0447. \u043a\u043e\u043d\u0444., \u043f\u043e\u0441\u0432\u044f\u0449. 111-\u043b\u0435\u0442\u0438\u044e \u0441\u043e \u0434\u043d\u044f \u0440\u043e\u0436\u0434\u0435\u043d\u0438\u044f \u0421. \u0410. \u0415\u0441\u0435\u043d\u0438\u043d\u0430 \/ \u043e\u0442\u0432. \u0440\u0435\u0434. \u041e. \u0415. \u0412\u043e\u0440\u043e\u043d\u043e\u0432\u0430. \u2014 \u041c. ; \u041a\u043e\u043d\u0441\u0442\u0430\u043d\u0442\u0438\u043d\u043e\u0432\u043e ; \u0420\u044f\u0437\u0430\u043d\u044c : \u041f\u0440\u0435\u0441\u0441\u0430, 2007.<br \/>\n5. \u041b\u0430\u043a\u043e\u0431\u0430 \u0421. \u0417. \u00ab\u041a\u0440\u044b\u043b\u0438\u043b\u0438\u0441\u044c \u0434\u043d\u0438 \u0432 \u0421\u0443\u0445\u0443\u043c-\u041a\u0430\u043b\u0435\u2026\u00bb: \u0438\u0441\u0442\u043e\u0440\u0438\u043a\u043e-\u043a\u0443\u043b\u044c\u0442\u0443\u0440\u043d\u044b\u0435 \u043e\u0447\u0435\u0440\u043a\u0438. \u2014 \u0421\u0443\u0445\u0443\u043c : \u0410\u043b\u0430\u0448\u0430\u0440\u0430, 1988 ; 2-\u0435 \u0438\u0437\u0434. \u2014 \u0421\u0443\u0445\u0443\u043c, 2011.<br \/>\n6. \u041c\u0438\u043a\u0430\u0438\u0430 \u041c. \u0418\u0441\u043f\u043e\u0432\u0435\u0434\u044c \u043c\u043e\u0435\u0433\u043e \u0432\u0440\u0435\u043c\u0435\u043d\u0438 \/ \u043f\u0435\u0440. \u0412. \u0410\u043b\u0435\u0439\u043d\u0438\u043a\u043e\u0432\u0430 \/\/ \u0421\u0443\u0445\u0443\u043c\u0441\u043a\u0430\u044f \u043a\u0440\u0435\u043f\u043e\u0441\u0442\u044c. \u0421\u0431\u043e\u0440\u043d\u0438\u043a \u0441\u0442\u0438\u0445\u043e\u0442\u0432\u043e\u0440\u0435\u043d\u0438\u0439 \u043f\u043e\u044d\u0442\u043e\u0432 \u0410\u0431\u0445\u0430\u0437\u0438\u0438. \u041c. : \u0423 \u041d\u0438\u043a\u0438\u0442\u0441\u043a\u0438\u0445 \u0432\u043e\u0440\u043e\u0442, 2016. \u0421. 32\u201333.<br \/>\n7. \u041d\u0435\u0441\u0442\u043e\u0440 : \u0430\u043b\u044c\u043c\u0430\u043d\u0430\u0445. \u2014 2022. \u2014 \u2116 1.<br \/>\n8. \u041f\u043e\u043b\u043d\u044b\u0439 \u043f\u0440\u0430\u0432\u043e\u0441\u043b\u0430\u0432\u043d\u044b\u0439 \u0431\u043e\u0433\u043e\u0441\u043b\u043e\u0432\u0441\u043a\u0438\u0439 \u044d\u043d\u0446\u0438\u043a\u043b\u043e\u043f\u0435\u0434\u0438\u0447\u0435\u0441\u043a\u0438\u0439 \u0441\u043b\u043e\u0432\u0430\u0440\u044c : \u0432 2 \u0442. \u2014 \u0422. 2. (\u0420\u0435\u043f\u0440\u0438\u043d\u0442\u043d\u043e\u0435 \u0438\u0437\u0434\u0430\u043d\u0438\u0435). \u2014 \u041c. : \u0411. \u0438., 1992. \u2014 2464 \u0441\u0442.<br \/>\n9. \u0421. \u0410. \u0415\u0441\u0435\u043d\u0438\u043d \u0432 \u0432\u043e\u0441\u043f\u043e\u043c\u0438\u043d\u0430\u043d\u0438\u044f\u0445 \u0441\u043e\u0432\u0440\u0435\u043c\u0435\u043d\u043d\u0438\u043a\u043e\u0432 : \u0432 2 \u0442. \u041c. : \u0425\u0443\u0434\u043e\u0436. \u043b\u0438\u0442., 1986. \u2014 \u0422. 2. \u2014 448 \u0441.<br \/>\n10. \u0421\u043e\u0432\u0435\u0442\u0441\u043a\u0430\u044f \u0410\u0431\u0445\u0430\u0437\u0438\u044f : \u0433\u0430\u0437. \u2014 1962. \u2014 \u2116 142. \u2014 20 \u0438\u044e\u043b\u044f.<br \/>\n11. \u0425\u0440\u0438\u0441\u0442\u0438\u0430\u043d\u0441\u0442\u0432\u043e. \u042d\u043d\u0446\u0438\u043a\u043b\u043e\u043f\u0435\u0434\u0438\u0447\u0435\u0441\u043a\u0438\u0439 \u0441\u043b\u043e\u0432\u0430\u0440\u044c : \u0432 3 \u0442. \u2014 \u041c. : \u0411\u043e\u043b\u044c\u0448\u0430\u044f \u0420\u043e\u0441\u0441\u0438\u0439\u0441\u043a\u0430\u044f \u044d\u043d\u0446\u0438\u043a\u043b\u043e\u043f\u0435\u0434\u0438\u044f, 1995. \u2014 \u0422. 2. \u2014 672 \u0441.<br \/>\n12. \u0410\u043f\u0441\u0443\u0430 \u043f\u043e\u0435\u0437\u0438\u0430 \u0430\u043d\u0442\u043e\u043b\u043e\u0433\u0438\u0430. \u0425\u0425 \u0430\u0448\u0432\u044b\u0448\u044b\u043a\u0432\u0441\u0430: \u044e-\u0442\u043e\u043c\u043a\u043d\u044b. 1-\u0442\u0259\u0438 \u0430\u0442\u043e\u043c [\u0410\u043d\u0442\u043e\u043b\u043e\u0433\u0438\u044f \u0430\u0431\u0445\u0430\u0437\u0441\u043a\u043e\u0439 \u043f\u043e\u044d\u0437\u0438\u0438. XX \u0432\u0435\u043a :\u0432 2 \u0442. \u0422. 1.]. \u2014 \u0410\u043a\u044a\u0432\u0430 ; \u041c., 2001. \u2014 634 \u0434.<br \/>\n13. \u041c\u0438\u043a\u0430\u0438\u0430 \u041c. \u0418. \u0410\u0434\u0432\u0445I\u0432\u044b\u043f\u0448. \u0410\u0436\u0432\u0435\u0438\u043d\u0440\u0430\u0430\u043b\u0430\u043a\u0432\u0430. [\u041c\u0438\u043a\u0430\u0438\u0430 \u041c. \u0418. \u041f\u043e\u043b\u044f\u043d\u0430. \u0421\u0442\u0438\u0445\u0438]. \u2014 \u0410\u043a\u044a\u0432\u0430 : \u0410\u043b\u0430\u0448\u0430\u0440\u0430, 1977. \u2014 80 \u0434.<br \/>\n14. \u041c\u0438\u043a\u0430\u0438\u0430 \u041c. \u0418. \u0410\u0435\u0447I\u0432\u0430 \u0430\u0448\u044c\u0442\u0430. \u0410\u0436\u0432\u0435\u0438\u043d\u0440\u0430\u0430\u043b\u0430\u043a\u0432\u0435\u0438 \u0430\u043f\u043e\u0435\u043c\u0430\u043a\u0432\u0435\u0438. [\u041c\u0438\u043a\u0430\u0438\u0430 \u041c. \u0418. \u0421\u043b\u0435\u0434 \u0437\u0432\u0435\u0437\u0434\u044b. \u0421\u0442\u0438\u0445\u0438 \u0438 \u043f\u043e\u044d-\u043c\u044b]. \u2014 \u0410\u043a\u044a\u0432\u0430 : \u0410\u043b\u0430\u0448\u0430\u0440\u0430, 1981. \u2014 92 \u0434.<br \/>\n15. \u041c\u0438\u043a\u0430\u0438\u0430 \u041c. \u0418. \u0423\u0430\u0447I\u0432\u0442I\u0432\u0438 \u0430\u043c\u0448. \u0410\u0436\u0432\u0435\u0438\u043d\u0440\u0430\u0430\u043b\u0430\u043a\u0432\u0430. [\u041c\u0438\u043a\u0430\u0438\u0430 \u041c. \u0418. \u0417\u0430\u0432\u0442\u0440\u0430\u0448\u043d\u0438\u0439 \u0434\u0435\u043d\u044c. \u0421\u0442\u0438\u0445\u0438]. \u2014 \u0410\u043a\u044a\u0432\u0430 :\u0410\u043b\u0430\u0448\u0430\u0440\u0430, 1986. \u2014 156 \u0434.<br \/>\n16. \u041c\u0438\u043a\u0430\u0438\u0430 \u041c. \u0418. \u0410\u043c\u0437\u0430\u0442\u0432\u044b\u043c\u0442\u0430. \u0410\u0436\u0432\u0435\u0438\u043d\u0440\u0430\u0430\u043b\u0430\u043a\u0432\u0430, \u0430\u0431\u0430\u043b\u043b\u0430\u0434\u0430\u043a\u0432\u0430. [\u041c\u0438\u043a\u0430\u0438\u0430 \u041c. \u0418. \u041f\u043e\u043b\u043d\u043e\u043b\u0443\u043d\u0438\u0435. \u0421\u0442\u0438\u0445\u0438, \u0431\u0430\u043b\u043b\u0430\u0434\u044b]. \u2014 \u0410\u043a\u044a\u0432\u0430 : \u0410\u043f\u0445I\u0432\u044b\u043d\u0442\u0448\u0432\u043a\u044a\u0432\u0442\u044b\u0436\u044c\u044b\u0440\u0442\u0430, 2011. \u2014 448 \u0434.<br \/>\n17. \u041c\u0438\u043a\u0430\u0438\u0430 \u041c. \u0410\u0436\u044a\u0435\u0438\u043d\u0440\u0430\u0430\u043b\u0430 \u0448I\u044b\u0446\u043a\u0432\u0430 [\u041c\u0438\u043a\u0430\u0438\u0430 \u041c. \u041d\u043e\u0432\u044b\u0435 \u0441\u0442\u0438\u0445\u0438] \/\/ \u0410\u043b\u0430\u0448\u0430\u0440\u0430. \u2014 2012. \u2014 \u2116 1. \u2014 \u0410\u0434. 64\u201372.<\/p>\n<hr \/>\n<p><a href=\"https:\/\/vestnik.rsu-rzn.ru\/wp-content\/uploads\/2026\/07\/\u0412\u0435\u0441\u0442\u043d\u0438\u043a-\u2116-2-91-16-\u0411\u0438\u0433\u0443\u0430\u0430.pdf\" download=\"\">Download PDF<\/a><br \/>\n<a href=\"https:\/\/disk.yandex.ru\/d\/gSz_G5Ka5-1H9w\" download=\"\">Download XML<\/a><\/p>\n<p>&nbsp;<\/p>","protected":false},"excerpt":{"rendered":"<p>Yesenin motifs in Mushni Mikaya\u2019s poetry in the context of Russian-Abkhaz literary links Pages: 165-176 \u00a0|\u00a0 DOI: 10.37724\/RSU.2026.91.2.016 Biguaa V.A. A. M. Gorky Institute of World Literature of the Russian Academy of Sciences Abstract The study of Sergei Yesenin\u2019s work in the context of the literatures of the peoples of Russia and neighboring countries has [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"categories":[],"tags":[],"class_list":["post-6796","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/vestnik.rsu-rzn.ru\/en\/wp-json\/wp\/v2\/pages\/6796","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/vestnik.rsu-rzn.ru\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/vestnik.rsu-rzn.ru\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/vestnik.rsu-rzn.ru\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/vestnik.rsu-rzn.ru\/en\/wp-json\/wp\/v2\/comments?post=6796"}],"version-history":[{"count":0,"href":"https:\/\/vestnik.rsu-rzn.ru\/en\/wp-json\/wp\/v2\/pages\/6796\/revisions"}],"wp:attachment":[{"href":"https:\/\/vestnik.rsu-rzn.ru\/en\/wp-json\/wp\/v2\/media?parent=6796"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/vestnik.rsu-rzn.ru\/en\/wp-json\/wp\/v2\/categories?post=6796"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/vestnik.rsu-rzn.ru\/en\/wp-json\/wp\/v2\/tags?post=6796"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}