“The scarlet light of dawn was woven on the lake...” S. Yesenin. The scarlet color of dawn is woven on the lake, you yourself are under the caresses
“The scarlet light of dawn was woven on the lake...” Sergei Yesenin
The scarlet light of dawn was woven on the lake.
On the forest, wood grouse are crying with ringing sounds.An oriole is crying somewhere, burying itself in a hollow.
Only I don’t cry - my soul is light.I know that in the evening you will leave the ring of roads,
Let's sit in the fresh haystacks under a nearby haystack.I'll kiss you when you're drunk, I'll fade away like a flower,
There is no gossip for those who are intoxicated with joy.You yourself, under the caresses, will throw off the silk veil,
I’ll carry you drunk into the bushes until the morning.And let the wood grouse cry with the bells,
There is a cheerful melancholy in the red of the dawn.
Analysis of Yesenin’s poem “The scarlet light of dawn was woven on the lake...”
Researchers of his life and work consider Yesenin’s early lyrics to be unequal and heterogeneous. It is difficult to single out a single dominant motive; it should not be subsumed under one key idea. Sergei Alexandrovich experienced various influences. Here are Russian folk tales, songs, ditties, and works of professional writers - Tolstoy, Gorky, Nadson. Therefore, among his poems there are both those imbued with daring fun and unbridled joy, and those reflecting pessimistic moods, developing the theme of death.
Yesenin’s early poetry includes the poem “The scarlet color of dawn was woven on the lake,” written in 1910, which combines the features of intimate and landscape lyrics. The first few couplets are devoted to the description of nature. The lyrical hero admires the sunrise. An amazingly beautiful sight appears before him - as if someone had woven a scarlet color against the blue background of the lake. To create a three-dimensional picture, Sergei Aleksandrovich adds sounds to it - “grouse are crying in the forest with ringing sounds,” “an oriole is crying somewhere.” It would seem that the lyrical hero should be sad, but his soul is light. The reason for this is love. The young man is looking forward to a date with a girl dear to his heart. Feelings overwhelm him. The character is immersed in dreams regarding their time together. In the finale, Yesenin uses a curious oxymoron - “merry melancholy.” With the help of this means of artistic expression, the poet manages to quite accurately convey the state of a man in love, who quickly wants to see the object of his desire.
There is a possibility that the poem “The scarlet color of dawn was woven on the lake...” is dedicated to Sergei Alexandrovich’s first serious feeling. The heart of young Yesenin belonged to Anna Alekseevna Sardanovskaya, the daughter of relatives of the Konstantinovsky priest Father John, who came to the village to stay for the summer. It is difficult to name the exact time the poet met the girl. The most common version is 1907 or 1908. At first, a childhood friendship began between them, then Yesenin fell in love, which was reflected in a number of his early works. Sergei Alexandrovich remembered his first strong feeling, pure and innocent, until the end of his life. Perhaps Sardanovskaya is the prototype of Anna Snegina. The strongest blow for the poet was the early death of Anna Alekseevna, who died in 1921, at the age of twenty-five.
Sergey Yesenin
poem
The scarlet light of dawn was woven on the lake.
On the forest, wood grouse are crying with ringing sounds.
An oriole is crying somewhere, burying itself in a hollow.
Only I don’t cry - my soul is light.
I know that in the evening you will leave the ring of roads,
Let's sit in the fresh haystacks under a nearby haystack.
I'll kiss you when you're drunk, I'll fade away like a flower,
There is no gossip for those who are intoxicated with joy.
You yourself, under the caresses, will throw off the silk veil,
I’ll carry you drunk into the bushes until the morning.
And let the wood grouse cry with the bells,
There is a cheerful melancholy in the red of the dawn.
Read by R. Kleiner
Rafael Aleksandrovich Kleiner (born June 1, 1939, village of Rubezhnoye, Lugansk region, Ukrainian SSR, USSR) - Russian theater director, People's Artist of Russia (1995).
From 1967 to 1970 he was an actor at the Moscow Taganka Drama and Comedy Theater.
Currently director and screenwriter of the Moscow Philharmonic
Yesenin Sergei Alexandrovich (1895-1925)
Yesenin was born into a peasant family. From 1904 to 1912 he studied at the Konstantinovsky Zemstvo School and at the Spas-Klepikovsky School. During this time, he wrote more than 30 poems and compiled a handwritten collection “Sick Thoughts” (1912), which he tried to publish in Ryazan. The Russian village, the nature of central Russia, oral folk art, and most importantly, Russian classical literature had a strong influence on the formation of the young poet and guided his natural talent. Yesenin himself at different times named different sources that fed his work: songs, ditties, fairy tales, spiritual poems, “The Tale of Igor’s Campaign,” the poetry of Lermontov, Koltsov, Nikitin and Nadson. Later he was influenced by Blok, Klyuev, Bely, Gogol, Pushkin.
From Yesenin's letters from 1911 to 1913, the complex life of the poet emerges. All this was reflected in the poetic world of his lyrics from 1910 to 1913, when he wrote more than 60 poems and poems. Here his love for all living things, for life, for his homeland is expressed (“The scarlet light of dawn was woven on the lake...”, “Flood filled with smoke...”, “Birch,” “Spring Evening,” “Night,” “Sunrise.” ”, “Winter is singing - it’s calling...”, “Stars”, “Dark night, I can’t sleep...”, etc.)
Yesenin's most significant works, which brought him fame as one of the best poets, were created in the 1920s.
Like any great poet, Yesenin is not a thoughtless singer of his feelings and experiences, but a poet and philosopher. Like all poetry, his lyrics are philosophical. Philosophical lyrics are poems in which the poet talks about the eternal problems of human existence, conducts a poetic dialogue with man, nature, earth, and the Universe. An example of the complete interpenetration of nature and man is the poem “Green Hairstyle” (1918). One develops in two planes: the birch tree - the girl. The reader will never know who this poem is about - a birch tree or a girl. Because the person here is likened to a tree - the beauty of the Russian forest, and she is like a person. The birch tree in Russian poetry is a symbol of beauty, harmony, and youth; she is bright and chaste.
The poetry of nature and the mythology of the ancient Slavs permeate such poems of 1918 as “Silver Road...”, “Songs, songs, what are you shouting about?”, “I left my home...”, “Golden leaves swirled...” etc.
Yesenin's poetry of the last, most tragic years (1922 - 1925) is marked by a desire for a harmonious worldview. Most often in the lyrics one feels a deep understanding of oneself and the Universe (“I don’t regret, I don’t call, I don’t cry...”, “The golden grove dissuaded...”, “Now we are leaving little by little...”, etc.)
The poem of values in Yesenin's poetry is one and indivisible; everything in it is interconnected, everything forms a single picture of the “beloved homeland” in all the variety of its shades. This is the highest ideal of the poet.
Having passed away at the age of 30, Yesenin left us a wonderful poetic legacy, and as long as the earth lives, Yesenin the poet is destined to live with us and “sing with all his being in the poet the sixth part of the earth with the short name “Rus”.
The poem “The scarlet color of dawn was woven on the lake...” is an example of early lyrics by S.A. Yesenina. It was written in 1910. Researchers believe that the young poet was prompted to create the work by a bright feeling for Anna Alekseevna Sardanovskaya, who came to his village in the summer. The approximate date the young people met is 1907 and 1908. Anna Alekseevna died in 1921, but her image remained in Yesenin’s memory and heart until the end of her life. The poet's work is diverse in mood: there are poems that are pessimistic and full of optimism and vital energy. The analyzed work belongs to the second group.
The theme of the poem is the joy of love overflowing the heart; meeting of lovers at dawn. The author shows that when the soul laughs with love, external events cannot upset it.
The poem is conventionally divided into two parts - a landscape and a story about a date with a girl. Both parts are united by a lyrical hero. First, he watches as evening descends onto the earth and weaves “the scarlet light of dawn on the lake.” The young man notices the crying of birds, but it cannot darken his soul. The paintings of nature capture traditional images of the Russian landscape: pine forest, haystacks and haystacks, lake. In the following stanzas, the hero reveals the secret of his mood: he is looking forward to meeting his beloved.
There is no portrait of the girl in the verse; the author does not even mention the details. All his attention is concentrated on the meeting, kisses and caresses. Yesenin hints that the lovers are crossing the line of youthful, innocent love, while the girl consciously takes a serious step: “you yourself will throw off the silk of the veil under the caresses.” This development of events contradicts traditional principles of morality, according to which a girl should maintain her virginity until marriage.
In the last verse, the poet returns to the description of nature, talking about the cry of wood grouse. He talks about cheerful melancholy, by which he means the feelings that grip lovers even in a short separation.
Work by S.A. Yesenin’s “The scarlet color of dawn was woven on the lake...” is replete with artistic means that serve to convey the inner state of the characters and convey the idea. The verse uses metaphors (“the scarlet color of dawn is woven on the lake”, “grouse are crying”, “the soul is light”, “ring of roads”, “intoxicated with joy”), epithets (“fresh shocks”, “scarlet dawn”), comparison (“I will change like a color”). In the last verse, the main idea is emphasized by the oxymoron “merry melancholy.” Contrast also plays an important role: the image of the cry of nature and the joy of the lyrical hero.
The poem consists of six couplets. Short stanzas help convey the joyful impulses of the lyrical hero’s heart, his excitement. The poetic meter is iambic hexameter with pyrrhic. The intonation of the poem is measured, calm, which contrasts with the content of the verse and the experiences of the lyrical hero.
Verse S.A. Yesenin’s “The scarlet color of dawn was woven on the lake...” is quite “mature” in content and idea, despite the fact that it was written by the poet at the age of 15.
At the age of fifteen, just setting out on the path of a poet, Yesenin wrote the poem “The scarlet color of dawn was woven on the lake,” full of youthful romance. A deep analysis of the lines is not needed to see the spontaneity of Sergei’s adolescence, his childish naivety against the backdrop of the formation of a beautiful style and clear rhyme.
The lines show two main directions of creativity - nature and women. Yesenin will not turn away from his origins until the end of his life, until the fateful night in a hotel in St. Petersburg.
The plot of the poem
The poet’s soul is not yet clouded by partings, betrayals and betrayals, and alcohol has not yet opened the doors of the soul for a black man. In the poem, against the backdrop of the idealism of nature, Sergei talks about a date with a girl, whose meeting is scheduled in a fresh hay behind the ring of roads:
The date is full of passion, the couple gets drunk with the joy of meeting and gives in to love until dawn. The only thing that upsets the author is parting in the morning, when the wood grouse are crying loudly, and the dawn is red on the horizon.
Merry melancholy
But even this melancholy is not dark - it is cheerful, since the morning symbolizes a new day, and behind it will come the evening and the joy of a new meeting.
Youthful dates have not yet brought Yesenin the pain of separation, ideals have not yet been lost, the heart has not yet known the bitterness of betrayal and betrayal.
This is one of the first famous poems by Sergei Yesenin, but even in it the gait of the future poet is clearly visible with his ability to convey to the reader the beauty of thought and make him empathize with the hero.
The scarlet color of dawn was woven on the lake.
On the forest, wood grouse are crying with groans.
An oriole is crying somewhere, burying itself in a hollow.
Only I don’t cry - my soul is light.
I know that in the evening you will leave the ring of roads,
Let's sit in the fresh haystacks under the autumn haystacks.
I'll kiss you when you're drunk, I'll fade away like a flower,
There is no gossip for those who are intoxicated with joy.
You yourself, under the caresses, will throw off the silk veil,
I’ll carry you drunk into the bushes until the morning.
And let the wood grouse cry with the bells,
There is a cheerful melancholy in the red of the dawn.
In conclusion, I suggest listening to the song based on the verses “The scarlet color of dawn is woven on the lake” performed by Mikhail Svetlov.”
Galina Benislavska
There is no gossip for those who are intoxicated with joy.
You yourself, under the caresses, will throw off the silk veil,
I’ll carry you drunk into the bushes until the morning.
And let the wood grouse cry with the bells,
There is a cherished longing in the red of the dawn.
S. Yesenin
A girl is sobbing on a grave hill.
Neither a wife, nor a mistress, nor a widow.
Dawns, dawns, flashes of the night...
Someone prophesied the girl's fate...
She has no life, no breath,
To the unfulfilled passion, deaf sobs.
The dawn does not blaze like a scarlet ribbon.
There is no Sergei, woe is a crescendo!
The life of a moth can be shorter!
These dark nights will also disappear.
She will be buried nearby in a year.
And the harrow will not affect their love...
Life story
As a very young girl, she ended up in the house of her aunt, who adopted her after Galya’s mother began to suffer from mental illness. The baby's father, Russified French student Arthur Carrier, either left the family or never lived with her. The girl received the surname of her adoptive father, doctor Benislavsky. Galya lived with her adoptive parents in the Latvian city of Rezekne. Having matured, she went to St. Petersburg, where she graduated from the Preobrazhensk Women's Gymnasium with a gold medal. During the revolution, already a convinced Bolshevik, Galina Benislavskaya studied at Kharkov University at the Faculty of Natural Sciences. But in 1919, the city was captured by the White Guards, and the brave girl, crossing the front, settled in Moscow.
“The long ordeal on the road ended very unpleasantly,” Vasily Berezhkov, a veteran of the USSR state security agencies, and journalist Snezhana Pekhtereva tell about this period of her life in their book “Chekist Women.” – Once she got to the Reds, Benislavskaya was arrested. She was simply mistaken for a White Guard spy!..
However, fate favored Benislavskaya. Once in Moscow, Galina met Yana Kozlovskaya, whose father was a Bolshevik. Moreover, Mikhail Yuryevich Kozlovsky (1876-1937) after February 1917 was a member of the executive committee of the Petrograd Soviet and chairman of the Vyborg District Duma. In November 1918, he served as chairman of the Extraordinary Commission of Inquiry, and in 1919 for some time he headed the People's Commissariat of Justice of Lithuania and Belarus...
Thanks to Kozlovsky’s intervention, Galina Arturovna was released. Mikhail Yuryevich took care of Benislavskaya even after the arrest. He assisted her in getting a room in Moscow... Kozlovsky helped Benislavskaya join the party. In addition, he was given the position of secretary in the Special Interdepartmental Commission under the Cheka.”
Later, Benislavskaya went to work at the editorial office of the Bednota newspaper. Galina read a lot, had a good understanding of literature, visited the famous cafe “Pegasus Stall”, where the best poets of Moscow read their poems in the twenties. But her whole life turned upside down on September 19, 1920, when, one evening at the Polytechnic Museum, she heard Sergei Yesenin.
In “Memoirs” Benislavskaya wrote:
“Suddenly that same boy comes out: a short, open deerskin jacket, hands in his trouser pockets, completely golden hair, as if alive. Throwing his head and waist back slightly, he begins to read:
Spit, wind, with armfuls of leaves, -
I'm just like you, bully.
He is the whole element, a mischievous, rebellious, uncontrollable element, not only in poetry, but in every movement that reflects the movement of the verse...
What happened after reading it is difficult to convey. Everyone suddenly jumped up from their seats and rushed to the stage, to him... Having come to my senses, I saw that I was also at the very stage. How I ended up there, I don’t know and don’t remember. Obviously, this wind picked me up and spun me around too.”
Yesenin turned twenty-five, Galina Benislavskaya turned twenty-three. “Since then there has been a long string of endless joyful meetings,” she recalled. - I lived in the evenings - from one to the other. His poems captivated me no less than he himself..."
There is a version that Benislavskaya was assigned to the poet as an agent of the Cheka. This fact is denied by the already mentioned V. Berezhkov and S. Pekhtereva: “... personal file materials... refute such an opinion. The OMK (Special Interdepartmental Commission) did not set itself intelligence and intelligence tasks; the secret department of the Cheka dealt with the lives of writers and poets. Therefore, the assumption that Benislavskaya received instructions from Agranov to “keep an eye on Yesenin” is an idle fiction.”
They came together and parted; Yesenin dated other women, Galina suffered... Finally, Isadora Duncan appeared in the poet’s destiny, and Sergei Alexandrovich settled with her in a mansion on Prechistenka.
Already in exile, the poetess Lika Styrskaya, the author of the acclaimed book of erotic poems “Muddy Wine,” which was published in Moscow in the twenties of the twentieth century with a circulation of three hundred copies, recalled those times:
“He was loved by modest provincial women - naive souls. He was loved by Galya Benislavskaya, a girl with fiery eyes, a fiery gaze and a Lenin badge on her chest. She was devoted and faithful to him as a friend and a woman, without demanding anything for it, nothing. She had a miserable room and many responsibilities: business and party loads. But in the name of her love, she was ready to give up everything. And she mortally hated her brilliant rival Isadora Duncan.
Yesenin disappeared from her circle. He moved to a mansion on Prechistenka. He rarely appeared in the Pegasus Stable. And if he came, then only on the arm of Isadora...”
When the famous couple flew abroad, Benislavskaya was admitted to a psychiatric clinic with a nervous system disorder.
Nevertheless, she believed that Yesenin would still be with her. And so it happened: after returning from abroad, the poet left the dancer’s luxurious mansion and moved into Benislavskaya’s little room (however, as in all his places of residence, he stayed here on short visits). Her joy knew no bounds! Together they composed a farewell telegram to the boring “Dunka” (as the poet called her) who was vacationing in Crimea:
“Don’t send letters or telegrams to Yesenin. He is with me, he will never return to you. We must be considered. Benislavskaya".
“Sergei Alexandrovich and I laughed at this telegram,” Galina Arturovna later recalled. “Of course, such a defiant tone is not in my spirit, and if Duncan knew me at least a little, then, of course, she would understand that this is intimidation, and nothing more.”
In response to Isadora’s perplexed message, another telegram was sent to Duncan:
“I love someone else. Married and happy. Yesenin."
For the poet, this period of his life turned out to be perhaps the most difficult. Constant drinking with friends, conflicts with imagists... They grabbed him for any reason, dragged him to the nearest police station and prepared materials there on charges of anti-Semitism and hooliganism. And always Galina Benislavskaya, who rescued her beloved from trouble, was a guardian angel for him: she arranged his poems according to editions, extorted fees, looked for the poet in cheap pubs, worried about his health, worrying about a ticket to a good sanatorium...
“When Sergei Alexandrovich,” continues Benislavskaya, “moved to me, he gave me the keys to all the manuscripts and all things in general, since he himself lost these keys, gave away manuscripts and photographs, and what he didn’t give out, they took from him themselves. He noticed the loss, grumbled, swore, but did not know how to take care of it, store it and demand it back...”
In the winter of 1924-1925, Galina enjoyed housekeeping: she purchased six Viennese chairs, a dining table, a wardrobe, and bought dishes. As the poet’s sister Alexandra Yesenin explained, living alone, she “cared little about home comfort, and her furnishings were extremely poor... But the cleanliness was always perfect.” The economy improved so much that I had to hire a housekeeper. There were also difficult days, “when Sergei met with his “friends.” Katya and Galya tried in every possible way to protect Sergei from such “friends” and were not allowed into the house, but they looked for Sergei in publishing houses, in editorial offices, and, as a rule, such meetings ended in drinks.”
There was never a dull moment at home, which, in fact, became a literary and poetic “transshipment base.” In Benislavskaya’s two little rooms, after heated debates about the problems of modern versification, interspersed with rollicking ditties accompanied by an accordion, sometimes up to twenty people stayed overnight.
Yesenin was cruel to Galina - as well as to his other women. Frankly:
“You are free and free to do whatever you want, it has nothing to do with me. I’m also cheating on you, but remember, don’t touch my friends. Don’t touch my name, don’t offend me, anyone, as long as they aren’t my friends.”
In the last years of the poet’s life, Galina devoted herself entirely to his publishing affairs. “Dear Galya! You are close to me as a friend, but I don’t love you at all as a woman!” - Yesenin admitted to her. “Yesenin wrote this insulting and murderous letter for Benislavskaya because he needed an open break with her... Sophia Tolstaya, the granddaughter of the “great old man,” came into his life,” Stanislav and Sergei Kunyaev explain in their book about the poet. “Unexpectedly and frivolously, as he always did in these cases, the poet decided to marry her.”
Yesenin and Tolstaya met at a party at the same Benislavskaya, where Sofya Andreevna came with Boris Pilnyak, her then lover.
According to some evidence, having learned about Galina’s affair with journalist Lev Povitsky, Sergei Alexandrovich finally left her. Although there are other versions. Ilya Shneider, Duncan studio administrator, recalled:
“This girl, smart and deep, loved Yesenin devotedly and selflessly... Only Yesenin’s marriage to Leo Tolstoy’s granddaughter Sofya Andreevna Tolstoy forced Benislavskaya to move away from him...”
The poet's sisters, Katya and Shura, lived with Galina in Bryusovsky Lane from the fall of 1924 (after Yesenin left for the Caucasus).
“Galya’s neighbors were young,” recalled Alexandra Yesenina, “interested in everything, especially literature. They loved poetry here, and successful new songs were recited right on the go... But the main place for us was occupied by Sergei’s poems. At this time, he very often sent us new poems from the Caucasus... Galya and Katya managed his literary and publishing affairs in Moscow, and he often gave them written instructions on where, how and what to print, how to compile a newly published collection... .
“We received 3 letters from you from Batum at once. The poem “Letter to a Woman” - I went crazy about it. And I’m still raving about it - how good it is...”
During the poet’s stay with the great elder’s granddaughter in the Caucasus, the singer of “Moscow Tavern” sent letters to Galina almost every day. He confidentially shared with her his state of mind, as if it were a great achievement, he reported that he and Leva (Povitsky, who sheltered Yesenin in the Caucasus) only drink two bottles of wine a day and in general “I write devilishly well... I will soon overwhelm you with material. .."
In the summer of 1925, apparently after the Caucasian voyage, Yesenin, together with Benislavskaya, went to his homeland, to the wedding of distant relatives.
“A young woman with long braids came up to us,” the poet’s fellow countryman and childhood friend Ivan Kopytin later recalled. – Later I found out that it was Galya Benislavskaya... a peasant on horseback met us. Yesenin raised his hand and stopped him. He asked for a horse - Galya wanted to ride. And he himself has paper money in his hand. “I’ll pay,” he said. Sergei put Galya on a horse, and she rushed through the meadows like a real horsewoman... And when they approached the Oka River, they, Yesenin and Galya, got into a boat and sailed away from me... They sailed away forever...”
How did Benislavskaya react to Yesenin’s marriage to Sofya Tolstoy? It was a very difficult experience, but apparently she couldn’t come to terms with it. Her feeling for Yesenin was too strong, too deep, she knew Sergei Alexandrovich too well not to understand what different people the newlyweds were. From her diary:
“He chased the name Tolstoy - everyone pities and despises him: he doesn’t love him, but he got married... even she herself says that if she weren’t Tolstoy, no one would notice her... Sergei says that he pities her. But why does he regret it? Just because of the last name. He didn't feel sorry for me. He didn’t regret Volpin, Rita and others, about whom I don’t know... Sleeping with a woman who is physically disgusting to him because of her last name and apartment is not a pound of raisins. I could never do this..."
The news of the poet's tragic death found Benislavskaya in a hospital. She was grieving the death of her loved one, but did not come to the funeral. And less than a year later, at his grave, she ended her own life.
“The poet’s sister Shura believed,” write Stanislav and Sergei Kunyaev in the book “Yesenin,” “that Benislavskaya’s suicide was caused not only by the death of Yesenin, but also by a failed marriage with Trotsky’s son, and also by the fact that during the division of Yesenin’s inheritance she, in essence, , who was both Yesenin’s literary secretary and friend for several years, whom at times he even imagined as his wife, turned out to have nothing to do with it.”
Unfortunately, these assumptions remain as such.
When Galina Arturovna’s friend came to her on the day of suicide, she found an open closet, things dumped on the floor and destruction in the room, which had obviously been searched... The death of Galina Benislavskaya turned out to be one of many in a terrible series of mysterious deaths associated with Yesenin’s personality . There is a version that Galina was killed...
Every evening, as the blue fades,
As the dawn hangs on the bridge,
You are coming, my poor wanderer,
Bow down to love and the cross...
On the afternoon of December 3, 1926 in Moscow, at the Vagankovskoye cemetery, at the grave of Sergei Yesenin, rare visitors could see the lonely figure of a modestly dressed young woman. Like a mournful statue, she bowed before the grave mound, covered with fresh flowers.
The woman took out a pack of cigarettes and lit a cigarette. She quickly scribbled something on a piece of paper, then scribbled a few words on a cigarette box... And then a pistol shot sounded.
The cemetery watchman called the police and an ambulance. The seriously wounded woman had documents in the name of Galina Arturovna Benislavskaya. Found a note:
“I committed suicide here, although I know that after this even more dogs will be blamed on Yesenin... But he and I won’t care. Everything that is most precious to me is in this grave...”
Moaning barely audibly, she was hastily taken to the Botkin hospital. She died on the way.
Galina was buried on December 7, 1926 next to the poet - hastily, so as not to cause unnecessary conversations. Previously, on her grave there was an inscription: “Faithful Galya.” Now - another, more official one.