The image of the motherland and nature in Yesenin's lyrics. The theme of native nature in the lyrics of C
Topic native nature in the lyrics of S. Yesenin
He said that his lyrics live as one big and pure love, love for the motherland. He did not share the concept native land and Russia - for him they were one. He called Russia "the country of birch calico". He was Sergei Yesenin.
One of the favorite and main themes of S. Yesenin's lyrics is the theme of nature. Images of the Russian land are present in almost all of his works. So, the poem "Goy, you, Russia, my dear ..." tells about the poet's unspeakable love for Russia. Already at the beginning of the work, in the first line, the poet calls her "native", and then creates an image of fabulous and righteous Russia, in which "huts are in the robes of the image", and in churches - "meek Savior", that is, the celebration of the Orthodox Savior.
The concept of the motherland for Yesenin is assembled from many words, among which “people”, “faith” and “nature” are especially significant. How not to admire the tenderness and care with which the images of landscapes close to the heart of the poet are created in this poem. This is a wrinkled stitch, that is, a path, a path with crushed grass along which the lyrical hero will run, and the expanse of “green lehs” - that is, where there are “fences”, the edges of a plowed field, field strips. Finally, this is the endless Russian expanse, the "end and edge" of which "cannot be seen."
Special attention deserves artistic and visual means, with the help of which the author managed to create such a poignant image of his native land. These are epithets (“green lehi”, “meek Savior”), and comparisons (“like earrings, girlish laughter will ring out”, “like a pilgrim who comes in”), and metaphors (“huts are in robes of the image”). The author also turns to color painting. A single picture of the native land turns out to be woven from the blue of the sky, correlated by the great lyric poet with the entire Russian land, and the greenery of the field expanse, and the gold that is visible in the foliage of the poplar trees anticipating autumn, which “was ringing”, and in the guessed gold of fresh honey, which will be carried in church on honey spas.
This poem once again proves to us that Yesenin's Motherland and nature are inseparable, and he will never renounce his dear land.
The image of native nature can also be found in the famous poem of the poet "Shagane, you are mine, Shagane ...". This work is imbued with admiration with which the poet speaks of his fatherland. Wanting to show the eastern girl Shagane how beautiful his homeland is, the poet finds the most accurate definitions for describing his native land:
Shagane, you are mine, Shagane!
Because I'm from the north
I'm ready to tell you field
About wavy rye in the moonlight.
The poet contrasts oriental landscapes with Russian ones:
No matter how beautiful Shiraz is,
It is no better than Ryazan expanses ...
"Ryazan expanses" is that particle of the immense blue Russia that gave rise to Yesenin's sense of homeland. After all, it was Konstantinovo, where Sergei Yesenin grew up, that played a huge role in the formation of the poet's work. Ryazan nature is especially dear to the poet's heart. It is the description of the landscapes of the Ryazan province that gives uniqueness to such a masterpiece of Yesenin's lyrics as the poem "I left my dear home ...". The work is filled with precise epithets (“blue Russia”, “golden frog”), metaphors (“the moon // Spread like a golden frog”), comparisons (“Like an apple blossom, gray hair // ... shed”), with the help of which the author creates the image of relatives places.
For Yesenin, "shrine" is not only nature, but also the peasant world, inseparable from the image of his native land. Therefore, the images of his parents appear as if they are part of a landscape dear to the heart: “A three-star birch forest over a pond // Warms an old mother’s sadness ...”, “like an apple blossom, gray hair // Spilled in my father’s beard.”
The hero is sad that he will not return home soon, but, comparing himself with an old maple tree, he hopes that the village will retain its former features and will not lose its patriarchal foundations.
After analyzing only some of Sergei Yesenin's poems, we can conclude that the poet infinitely loved his homeland and his native nature with the purest and most tender love.
9th grade student
MAOU secondary school №7
them. G.K. Zhukov, Armavir
Timoshinova Ekaterina
The theme of the motherland is one of the main themes in the work of S. Yesenin. It is customary to associate this poet primarily with the village, with his native Ryazan region. But the poet left the Ryazan village of Konstantinovo very young, then lived in Moscow, and in St. Petersburg, and abroad, came to his native village from time to time as a guest. It is important to know this in order to understand the position of S. Yesenin. It was the separation from his native land that gave his poems about her that warmth of memories that distinguishes them. In the very descriptions of nature, the poet has that measure of detachment, which allows this beauty to be seen and felt more sharply.
Already in the early poems of S. Yesenin there are declarations of love for Russia. So, one of his most famous works is “Goy you, my dear Russia.” From the very beginning, Russia appears here as something sacred, the key image of the poem is a comparison of peasant huts with icons, images in robes, and behind this comparison is a whole philosophy, system of values. The world of the village is like a temple with its harmony of earth and sky, man and nature. The world of Russia for S. Yesenin is also the world of miserable, poor, bitter peasant houses, an abandoned land, a "village in potholes", where joy is short, and sadness is endless:
"Sad song, you are Russian pain." This feeling is especially enhanced in the poet's poems after 1914 - the beginning of the war: the village seems to him a bride, abandoned by her beloved and expecting news from him from the battlefield. For a poet, his native village in Russia is something united, his homeland, especially in his early work, is, first of all, his native land, his native village, something that later, already at the end of the 20th century, literary critics defined as a concept " small homeland"With S. Yesenin's inherent lyrical tendency to animate all living things, everything around him, he also addresses Russia as a person close to him:" Oh, you, Russia, my meek homeland, / Only for you I save love. "Sometimes poetry poets acquire a note of poignant sadness, a feeling of restlessness arises in them, their lyrical hero is a wanderer who left his native hut, rejected and forgotten by everyone. And the only thing that remains unchanged, that preserves eternal value, is nature and Russia: sail, dropping oars across the lakes.
And Russia will still live, Dance and cry at the fence.
S. Yesenin lived in a turning point, full of dramatic and even tragic events. In the memory of his generation - war, revolution, war again - now civil. The turning point for Russia - 1917 - the poet met, like many artists of his circle, with hopes for renewal, for a happy turn in the peasant lot. The poets of the circle of S. Yesenin of that time are N. Klyuev, P. Oreshin,
In the post-revolutionary poetry of S. Yesenin, the theme of the motherland is saturated with difficult thoughts about the poet's place in a new life, he is painfully experiencing alienation from his native land, it is difficult for him to find mutual language with the new generation, for which the calendar Lenin on the wall replaces the icon, and the "pot-bellied" Capital "- the Bible. It is especially bitter for the poet to realize that the new generation sings new songs:" Poor Demyan's agitation sing ". This is all the more sad because S. Yesenin rightly remarks: "I am a poet! And it’s not like some Demyan’s there.” That’s why his lines sound so sad: “My poetry is no longer needed here, / Yes, and, perhaps, I myself am also not needed here.” But even the desire to merge with new life does not force S. Yesenin to abandon his vocation as a Russian poet; he writes: "I will give my whole soul to October and May, / But I will not give only my dear lyre." And so his confession is filled with such deep pathos:
"I will sing
With the whole being in the poet
sixth of the earth
With a short name "Rus".
Today, it is difficult for us, living in Russia, to fully understand the meaning of these lines, and yet they were written in 1924, when the very name - Rus - was almost forbidden, and citizens were supposed to live in "Resefeser". With the theme of the motherland, S. Yesenin understands his poetic mission, his position as "the last singer of the village", the keeper of her precepts, her memory. One of the programmatic, important for understanding the theme of the motherland, the poet's poem was "The feather grass is sleeping": "The feather grass is sleeping.
And the lead freshness of wormwood!
No other homeland
Do not pour my warmth into my chest.
Know that we all have such a fate,
And, perhaps, ask everyone -
Rejoicing, raging and tormented,
Life is good in Russia.
The light of the moon, mysterious and long,
Willows are crying, poplars are whispering,
But no one under the cry of a crane
He will not stop loving his father's fields.
And now that behold the new light
And my life touched fate,
I still remain a poet
At night, clinging to the headboard,
I see a strong enemy
How someone else's youth splashes with new
To my glades and meadows.
But still cramped by the new,
Give me in the homeland of my beloved,
Loving everything, die in peace."
This poem is dated 1925, refers to the mature lyrics of the poet. It expresses his innermost thoughts. In the line "rejoicing, raging and tormented" - a difficult historical experience that fell to the lot of the Yesenin generation. The poem is built on traditionally poetic images: feather grass as a symbol of the Russian landscape and at the same time a symbol of longing, wormwood with its rich symbolism and a crane cry as a sign of separation. The traditional landscape, in which the no less traditional "light of the moon" is the personification of poetry, is opposed by " New World", rather abstract, inanimate, devoid of poetry. And in contrast to it, the lyrical hero of Yesenin's poem is recognized as adherent to the age-old village way of life. The epithet "golden" is especially significant for the poet: "I will still remain a poet / Golden Log Cabin." He is one of most often found in the lyrics of S. Yesenin, but usually it is associated with a color concept: golden - that is, yellow, but certainly with a touch of the highest value: "golden grove", "golden frog moon". In this poem, the shade of value prevails: golden not only the color of the hut, but a symbol of its enduring value as a symbol of the way of village life with its inherent
beauty, harmony. The village hut is a whole world, its destruction is not redeemed for the poet by any tempting news. The finale of the poem sounds somewhat rhetorical, but in the general context of S. Yesenin's poetry, it is perceived as a deep and sincere recognition of the author. Thus, the theme of the motherland in the poetry of S. Yesenin develops from an unconscious, almost childishly natural attachment to the native land to a conscious, withstood the test of hard times, changes and fractures of the author's position.
I am not a new person, what to hide, I remained in the past with one foot, In an effort to catch up with the "steel army", I slide and fall with the other. Yesenin "My entire autobiography is in verse," Yesenin wrote. The larger the artist, the larger his work, the more original talent, the more difficult it is for contemporaries to fully appreciate his contribution to the spiritual life of the nation. In later poems, Yesenin, as if summing up his creative activity, wrote: "My village will be famous only for the fact that here once a woman gave birth to a Russian scandalous piit."
Yesenin lived only thirty years, but the mark he left in poetry is indelible. The Russian land is rich in talents. Yesenin was born in Konstantinov, where he spent his childhood, and then the years of his youth, here he wrote his first poems. To the heights of poetry Sergey
Yesenin rose from the depths folk life. The world of folk - poetic images surrounded him from childhood. All the beauty of the native land over the years was depicted in poems full of love for the Russian land:
Oh Russia - raspberry field,
And the blue that fell into the river
I love to joy and pain
Your lake longing.
The pains and hardships of peasant Russia, its joys and hopes - all this was reflected in the poetry of Sergei Yesenin. “My lyrics,” Yesenin said not without pride, “are alive with one great love, love for the Motherland. The feeling of the Motherland is the main thing in my work.”
The heart dreams of Stacks of the sun in the waters of the womb,
I would like to get lost In the greenery of your callous, the poet wrote.
Such lines, in my opinion, can only be born in the soul of a true artist, for whom the Motherland is life.
Yesenin's grandfather, "a bright personality, a broad nature," according to the poet, had an excellent memory and knew by heart many folk songs and ditties. Yesenin himself knew perfectly Russian folklore, which he studied not from books. Yesenin's mother knew many songs that Yesenin remembered more than once. Yesenin knew the songs, as rarely anyone knew them, he loved them - sad and cheerful, old and modern. Songs, legends, sayings - Sergei Yesenin was brought up on this. About four thousand miniature masterpieces were recorded in his notebooks. Over time, Yesenin's talent gained strength. Enter literary world Yesenin was helped by Blok, before whom he bowed. He (Blok) wrote a letter to his friend Gorodetsky asking him to help the young talent. In his diary, Blok wrote: "The verses are fresh, clean, vociferous. I haven't experienced such pleasure for a long time." Later, poems by Sergei Yesenin began to be printed in the capital's magazines: Rural dreamer - I'm in the capital Became a first-class poet.
One of the reviewers said about the poet's early poems: "A tired, satiated city dweller, reading Yesenin's poems, joins the forgotten aroma of the fields, something joyful emanates from his poetry." The First World War began. With all his heart, with all his soul, the poet is devoted to the Motherland and his people in these long years of grief and sorrow:
Oh you, Russia, my meek homeland,
Only for you I save love.
The poem "Rus" is a remarkable and widely famous work, it is the artistic credo of the poet. In terms of mood, "Rus" has something in common with Blok's mournful thoughts about the Motherland:
Russia, impoverished Russia,
I have your gray huts,
wind, Like tears of the first love!
The time of Yesenin's work is the time of sharp turns in the history of Russia. He wrote in his autobiography: "I accepted the revolution, but with a peasant bias." It couldn't be otherwise. Yesenin is not just a lyricist, he is a poet of great intelligence, deep philosophical reflections. The dramatic nature of his worldview, his intense search for truth, error and weakness - all these are the facets of a huge talent, but studying him creative way, we can safely say that Yesenin was always true to himself in the main thing - in an effort to comprehend the difficult fate of his people. The year and a half spent by the poet abroad was an exceptional period in his life: he did not write poetry, nothing inspired the poet away from his native land. It was there that the idea of the tragic poem "The Black Man" arose. This is Yesenin's last poetic work.
Only abroad did he realize what grandiose changes were taking place in his homeland. He notes in his diary that perhaps the Russian revolution will save the world from hopeless philistinism. After returning from abroad, Yesenin visits his native land. He is sad, it seems to him that the people do not remember him, that huge changes have taken place in the village, but in which direction, he could not determine. The poet writes: This is the country! What the hell am I, Oral, that I am friendly with the people. My poetry is no longer needed here, And I myself am not needed here in the slightest. From the mountain comes the peasant Komsomol, Playing zealously to the harmonica, Poor Demyan's agitation sings, Announcing the dol with a merry cry.
For many years at school they studied the poetry of Demyan Bedny, Lebedev-Kumach, but the youth did not know Khodasevich, talented from God, in school textbooks they did not include Yesenin's lyrics, falsely accusing him of lack of ideas, the best poets were deleted from literature. But they are alive, their poems are read, loved, they are believed. Yesenin wrote his poems with the "blood of feelings". Giving himself away, he burned himself early, his poetry is his destiny. Even earlier, in the poem "I'm tired of living in my native land," he predicts his future: I'm tired of living in my native land Longing for buckwheat expanses, I'll leave my hut, I'll leave as a vagabond and a thief. And the month will sail and sail, dropping oars on the lakes, And Russia will still live, dance and cry at the fence.
In the poetry of subsequent years, the motive of sadness, regret for the wasted forces, is increasingly heard, some kind of hopelessness emanates from his poetry. In The Black Man, he writes tragic lines: “My friend, I am very, very sick, I don’t know where this pain came from, whether the wind is rustling in an open field, or, like a grove in September, alcohol burns brains.” This is not a momentary weakness of the poet, this is a clear understanding that his life is coming to an end. Recently, a message flashed in our press that Yesenin did not commit suicide, that he was killed, because he had a great influence on the minds of the Russian people. The question is debatable, but the lines ("it's not new to die in this life, but life, of course, is not newer") indicate that he was tired of fighting with the surrounding reality. I would like to finish my essay with lines from his poem "We are now leaving little by little." His words are a tribute to the Motherland, to the descendants: I thought many thoughts in silence, I composed many songs to myself, And on this gloomy land I am happy that I breathed and lived.
"Project Culture Soviet Russia" 2008-2011 All rights reserved. When using the materials of the site, you must place a link to us, the content is regularly monitored.
The theme of Motherland and nature in the lyrics of S.A. Yesenin
Purpose: to identify the features of the disclosure of the theme of the Motherland and nature in Yesenin's lyrics, features of the author's poetic world; develop skills research work in microgroups, improve analysis skills lyrical work, develop skills expressive reading and reading by heart; to cultivate love for Russian poetry, a sense of patriotism.
Equipment: presentation, vocabulary cards (Imagism. New peasant poetry, metaphor, personification, epithet, anaphora, alliteration, assonance), book exhibition, portrait of the poet.
During the classes
Organizational start.
Greetings.
Psychological mood.
Listening musical composition to the words of Yesenin.
Work on the topic of the lesson.
Introductory word of the teacher.
– The Silver Age of Russian literature is an amazing time when the literary horizon lit up amazing stars. In addition to the symbolists, acmeists and futurists, the new peasant poetry movement clearly declared itself. Russian new peasant poetry of the 10-30s of the 20th century led a hereditary thread from Koltsov, Nikitin, Surikov. Mixing with folk songs, epic tales, biblical symbols, the traditions of Pushkin and Nekrasov, she created inimitable poetic masterpieces. N. Klyuev, S. Klychkov, P. Oreshin spoke through peasant Russia. But perhaps the most talented representative of the new peasant poetry was Sergei Alexandrovich Yesenin. Peter Oreshin wrote about him in 1926:
Rainy autumn
Sprinkled our garden.
Songbook Yesenin,
Blue-eyed brother.
Age-old blue,
Our side...
If Pushkin is autumn,
You are our spring!
Definition of the topic, setting the goal of the lesson.
– Today we continue to plunge into the creative world of S. Yesenin. In the last lesson, we got acquainted with the biography of the poet. Let's try to determine the topic of our lesson. You will work at a school, what topic will you offer the children after you introduce them to the author's biography?
Today we will get acquainted with the poet's lyrics, talk about the leading theme of the poet's lyrics - the theme of the Motherland and nature - its artistic originality. Since Yesenin's lyrics, we all get acquainted for the first time in early childhood and we continue to discover all the new poems of the poet throughout our lives, I propose to take an especially serious approach to the analysis of the poet's artistic world. In this regard, we divided the group into micro-groups, each of which will report on the work that she has done during the lesson. Let's look at these micro-groups: biographers and historians, literary critics and literary critics, and art critics.
Work with portraits of the poet.
– In many of our homes there are portraits of S. Yesenin, which depict a golden-haired young man with bottomless blue eyes, a delicate oval face and a thoughtful gaze. The real mythical Lel, a wonderful shepherd-singer, the son of the goddess of love Lada:
I am a shepherd; my mansions -
In soft green fields.
cows talk to me
In cursive language.
Spirited oak trees
They call branches to the river.
Forgetting human grief
I sleep on clearings of branches.
I pray for scarlet dawns,
I take communion by the stream.
Work with a book exhibition.
– The exhibition of books presents various collections of poems and prose of different years, collections of poetry Silver Age, which includes Yesenin's poems. On the book fair children's books are also presented, tk. they begin to get acquainted with the work of Yesenin very early.
Updating previously acquired knowledge.
– When you work at school and give a lesson in practice, you will introduce children to Yesenin's poems. Let's name these verses. (We recall a few lines from Yesenin's children's poems).
Student's report "The origins of the theme of the motherland in Yesenin's work."
– Where does the Motherland begin for each of us? Of course, from my home, from my family, from the place where I was born and raised. Sergei Yesenin is very similar to all of us in this. For him, the Motherland began with his native village of Konstanstinovo, with his mother, with a house “with blue shutters”, with a maple that grew under the windows, with native birches. The theme of Russia is closely connected with the theme of native nature. “Whatever I talk about, write about, whatever I think about, the image of the Motherland is always before my eyes ... My lyrics are alive with one great love - love for the Motherland. The feeling of the Motherland is the main thing in my work, ”Yesenin said about himself. Reading his poems, we are fully convinced of this. But the image of the Motherland in Yesenin is not frozen, static, but changing, developing.
Conditionally, the evolution of the theme of the Motherland in Yesenin can be divided into 3 stages:
1 - 1914 - 1917 - early poems
2 - 1918 - 1923 - after the revolution
3 – 1924 – 1925 – last years.
7. Reading and analysis of the poem "Where the cabbage beds are" (1910)
– When was the poem written? What does this date say?
– What picture of nature does Yesenin paint? What time of year, time of day?
– What kind artistic means did you notice in the poem?
– What are the features of Yesenin's word formation?
– What colors do you see in the poem? What is the symbolism of these flowers?
– What is the theme and idea of the poem?
In early poems, he uses vivid metaphors, ordinary epithets. This is still only the initial, student period of Yesenin's work. But since 1914, Yesenin's poetic world has been changing, the poet introduces biblical images into it.
8. Vocabulary work.
Metaphor- the transfer of a sign from one object to another on the basis of their associative connection, similarity. There are 3 main types of metaphors:
– personification- transferring the sign of a living face to an inanimate object (“Like a white dress sang in a beam ... (A. Blok),
– reification - the transfer of the sign of an inanimate object to a living face - “We are processing oaks with human voices ...” (V. Mayakovsky)
– distraction - the transfer of a sign of a particular phenomenon (person or object) to an abstract, abstract phenomenon - “Then anxiety subsides in my soul ...” (M. Lermontov).
Epithet- figurative definition.
Oxymoron- a combination of words with opposite meanings.
Alliteration- sound writing, the repetition of identical or homogeneous consonants, giving the poem a special sound expressiveness.
Anaphora- unity of command, repetition of the same words or groups of words at the beginning of lines.
Reading by heart the poem "Goy you, my dear Russia"
Analysis of the poem
– What year was this poem published? What can be said about the history of its creation?
The poem was written in 1914 and belongs to the early poems included in the first collection "Radunitsa".
Let's define the theme of the poem.
Let's look at the first line of the poem. What does Yesenin call his homeland? Why exactly "Rus", was that the name of the country in 1914? Give historical background.
The poem was written in 1914, when the country was called Russian empire, since 1917 - the Russian Republic, since 1918 - the Russian Socialist Federative Soviet Republic, since 1922 - the Union of Soviet Socialist Republics. The country was called Rus in the 12th-16th centuries. Russia for Yesenin is something sacred, a country of pilgrims, church holidays, faith. Yesenin wanted to emphasize the indissoluble connection of times, the unity of man and nature at all times.
Let's find biblical images. (Hat-images, the meek Savior, the holy army, paradise; the lyrical hero is compared to a pilgrimage).
In 1914, Yesenin wrote a series of poems in which God, the village landscape and the homeland merged into one, nature was seen by the poet as a divine temple, "Blue Russia" seemed to him a more beloved place than paradise:
If the holy army shouts:
"Throw you Russia, live in paradise!"
I will say: “There is no need for paradise,
Give me my country."
From the very beginning, Russia in Yesenin appears as something sacred. The world of the village is like a temple with its harmony of earth and sky, man and nature.
- What means of artistic representation did you find?
Personification: "blue sucks eyes."
Metaphorical comparisons: "huts - in the robes of the image"; girlish laughter rings like earrings.
Epithet: "meek Spas", "merry dance", "wrinkled stitch", "holy army"
Oxymoron: "Poplars wither loudly." Why Yesenin used the word "ringing" and not "voicing". The poet found a sound image that he used in his work: ringing.
Compare with another poem from 1914:
Native land! Fields like saints
Groves in iconic rims.
I would like to get lost
In the greens of your bells.
Alliteration: "blue sucks eyes" - alliteration for whistling gives rise to an expressive sound-painting image blinding to tears, corroding the eyes of the blue of the vast Russian expanses to pain.
What sounds are heard in the poem?
What are the main colors in this poem?
Determine the size of the poem. (4-foot trochee)
How is the theme of nature revealed in early lyrics Yesenin:
– idyllic image of rural Russia,
– Availability landscape sketches,
– orthodox images,
– proximity to folklore,
– metaphor and imagery of language.
Information project "Color painting of Yesenin".
– In the lyrics of Yesenin there is a color painting. The use of color by the poet is not accidental. Your classmate prepared an informational project “Symbolism of color in the poetry of S.A. Yesenin".
The purpose of my work was to reveal the symbolism of color in the poetry of S.A. Yesenin. To do this, I got acquainted with the poems of the poet, created at different stages of creativity. I also analyzed Yesenin's work "The Keys of Mary" and the book of the researcher of S. Yesenin's work Alla Markova "Yesenin's Poetic World".
Sergei Yesenin enriched poetry with multicolored Russian landscapes.
The color impressions spilled in his sonorous poems largely echo and repeat the colors that we find in folk embroideries, fresco painting, oral folk poetry. "Multicolored and multicolored Yesenin's landscapes." Nature plays and shimmers with all colors, the images are picturesque.
The most used colors with which the poet skillfully colored his poetic work are yellow and gold. In pre-revolutionary poems, yellow and gold are the colors of autumn: “yellow nettle”, “yellow valleys”, “yellow grass”, “golden branches”.
In post-revolutionary poems, the negative symbolism of yellow prevails - sin, betrayal, withering, sadness, despair, illness, death: “yellow sadness”, “yellow decay”, “yellow skeleton”.
"The favorite colors of the poet - blue and cyan". They enhance the feeling of the immensity of the expanses of Russia (“only blue sucks the eyes”, “blue mountains”, “blue backwaters”, “blue Russia”, “the skies are already blue”) create an atmosphere of bright joy of being (“blue ringing”, “blue happiness” , “lunar evening, blue evening”, “blue board of heaven”, “pre-dawn, blue, early”), express a feeling of tenderness, love (“blue-eyed guy”, “blue in the eyes”, etc.). Yesenin creates the impression of blueness persistently and consistently. His hands and mouths, and even fire and soul, become “blue”.
« Blue colour and its shades were not an ordinary palette for Yesenin, as they expressed something divine, unsaid, romantic. Blue is the color of the sky, purity. The poet even associated Russia itself with this color, saying that there is “something blue” in the name “Rus”. The blue spilled in the poetry of Sergei Yesenin really resembles ancient Russian fresco painting. “This blue haze fell in love with Yesenin, became his leading colorful tonality.”
White - a simpler earth color. Its main meaning is a deity, goodness, fullness of being: “white chime”, “white temple”, “white angel”, “clothes are festively white”. Yesenin's palette is characterized by "addiction to white color, which symbolizes peace, peace, silence, purity, concentration. In white, the poet painted the moon over the roof, the smooth surface of the river, and Yesenin’s moonbeam - like a “snow-white feather” (“white field”, “white road”, “white apple trees smoke”, “white path”, “white rose”, “ white blizzard", "white hut". Imagewhite birch causes a feeling of joy, shining light, purity, the beginning of a new life.
As soon as the landscape becomes too monotonous, Yesenin introduces red color - the color of wealth, royalty, beauty: “red evening”, “red dawn”, “red wings of sunset”, “red fire”, “red gates”, “glow of red lightning bolts”, “red drops burn cities”, “evenings red bottom." Yesenin after the revolution uses red in his poems a little more often. For the poet, this color has a double meaning. Until 1917, Yesenin perceived red as the color of beauty, power, and after - something aggressive, bloody, restless.
The use of the contrast of white and black was very characteristic of ancient Russian literature, where "the black" personified the forces of evil. The symbolism of this color is negative. This is most clearly demonstrated in Yesenin's poem "The Black Man", where everything terrible, merciless, evil attitude towards the spiritual world of a person, his experiences is personified in a black, devilish likeness of a person. Before the revolution, the poet used this color 13 times, after - 16. In the verses of 1910-1916, black does not have a negative interpretation, it simply means the color: “black curls”, “black braids”, “black capercaillie”, “black veil”. In the poems of 1917-1925, this is the color of death, gloomy perception and even the denial of life: “black horror”, “black death”, “black fate”, “black man”.
Yesenin had a look that "subtly perceives the color characteristics of nature." The poet "dressed" Russia in a "green shawl". The poet uses green color as the color of vegetation, spring, awakening, hope: “green of lakes”, “free green forests”, “green water in the grass”, “green hillocks”, “green canopy”, “green grass”, “green firs. Before the revolution in Yesenin's poems we meet this color 18 times, after - 9.
With the help of words corresponding to colors, Yesenin managed to convey the subtlest emotional nuances, to depict the most subtle movements of the soul of a lyrical hero. Indeed, according to the palette of the most used colors, one can determine the mood of S.A. Yesenin at various periods of life.
12. Reading the poem "I am the last poet of the village" (1920).
- Before we start analyzing this poem, let's turn to historical background. What events took place after 1914 in the country?
S. Yesenin lived in a turning point, full of dramatic and even tragic events. In the memory of his generation - the First World War (1914 - 1918), the Revolution of 1917, the Civil War 1917 - 1922.
- How did Yesenin perceive the events of the revolution?
Yesenin met 1917 with the hope of renewal, of a happy spanking in the peasant lot. The feelings and moods of the poet of this time are very complex and contradictory - these are hopes, and the expectation of a bright and new, but also anxiety for the fate of his native land, philosophical reflections on eternal topics. The tone of Yesenin's poems also changes. Gradually the poet was disappointed in his expectations a better life for the village. Sadness and doubts settle in his soul. The split in the country worries the poet. He increasingly sees himself in the "Rus leaving".
13. Analysis of the poem "I am the last poet of the village."
– What is the mood of the poem?
This is a requiem poem, a farewell poem. The poet feels that the age-old harmony of nature and man is leaving.
– What is the relationship between wood and iron in the poem?
The “iron guest”, alien to the ancient “wooden” world, and new poets who will not sing of the “plank bridge”, green birches, are approaching. In the outgoing world, everything was from nature, from wood.
14. Analysis of the paragraph of the textbook "Yesenin's Metaphorism" (on the symbolism of a tree).
– Does the new "iron world" need a poet?
In the new "iron" world, the poet can no longer sing. Therefore, the poet stands behind the poor "birch trees that incense with leaves."
– How do you understand the words "birch leaves incense"?
Birches "burn incense", i.e. shed leaves. It takes place in autumn. And autumn is the end of the year, a symbol of an orphaned, dying nature.
– What word does quatrain 2 begin with? Why?
2 quatrain opens with the verb "will burn out." This verb is at the beginning of the stanza, so it sounds especially weighty.
– How do you understand the words "candle made of body wax"?
Candle made of "body wax", i.e. from the fate of millions of people, broken, rejected by the new world. Among these people is the poet himself.
In quatrain 3, the cause of the death of the ancient wooden world is spoken of. Who bears the death of the old world?
"The Iron Guest" carries a triple meaning: machine technology, a city opposing the village, a new mechanical world in which the main thing is a machine, not a person.
– Why does Yesenin talk about the "iron guest" and not the owner? The guest is not a worker, not a master, he is a stranger to nature, because born in another world. The guest has "lifeless, alien palms." With him, nature is orphaned.
– How will nature endure the advent of the new time?
The wind will "celebrate the dance with a memorial service." This is a blasphemous dance on graves dear to the hero. Nature mourns like a poet.
15. Reading an excerpt from the poem "Sorokoust" (1920). Comparative analysis two poems.
– Are the two poems “I am the last poet of the village” and “Sorokoust” similar?
– Find the symbols in this poem.
The poems have one theme - the pain of the outgoing old world, where man lived in harmony, in unity with nature. The old world of the village, dear to Yesenin, symbolizes the “foal”, which is naive, like the whole life of the village that is receding into the past. The image of a "foal" is opposed by the image of a "locomotive", symbolizing a soulless civilization clad in iron. The poem also contains the motif of the confrontation between the city and the countryside.
Let's make a conclusion. What remains and what changes in the image of the Motherland of this post-revolutionary period of Yesenin's work?
- There remains rural Russia, images of native nature.
- The mood, tonality, colors, sounds change, harmony disappears.
16. Reading by heart the poem “The feather grass is sleeping. Dear Plain (1925).
17. Analysis of the poem.
– when the poem was written. To what period of life and work does this poem belong?
The poem is dated 1925, refers to the mature lyrics of the poet. It expresses his innermost thoughts.
– Which line summarizes the difficult historical experience of Yesenin's generation?
“Rejoicing, raging and tormented…”.
– What traditional poetic images are represented in the poem?
The poem is built on traditionally poetic images: feather grass as a symbol of the Russian landscape and at the same time a symbol of longing, wormwood with its rich symbolism and a crane cry as a sign of separation. The traditional landscape, in which the no less traditional “light of the moon” is the personification of poetry, is opposed by the “new light”, rather abstract, inanimate, devoid of poetry. And in contrast to it, the recognition of the lyrical hero of Yesenin's poem in adherence to the age-old rural way of life sounds.
– What colorful epithets are present in the poem?
The epithet “golden” is especially significant for the poet: “I will still remain a poet / Golden log hut.” It is one of the most frequently encountered in the lyrics of S. Yesenin, but usually it is associated with a color concept: golden - that is, yellow, but certainly with a touch of the highest value: “golden grove”, “golden frog moon”. In this poem, the shade of value prevails: gold is not only the color of the hut, but a symbol of its enduring value as a symbol of the way of village life with its inherent beauty and harmony. The village hut is a whole world, its destruction is not redeemed for the poet by any tempting news.
– What is the end of the poem?
The finale of the poem sounds somewhat rhetorical, but in the general context of Yesenin's poetry, it is perceived as a deep and sincere recognition of the author.
– Let's follow how the theme of the motherland develops in Yesenin's poetry from early poems to poems of the late period.
The theme of the motherland in the poetry of S. Yesenin develops from an unconscious, almost childishly natural attachment to the native land to a conscious, withstood the test of hard times, changes and fractures of the author's position.
In the poem "Russia is leaving", Yesenin wrote:
I'm not new!
What to hide?
I stayed in the past with one foot.
In an effort to catch up with the steel army.
I slide and fall another.
Conclusion on the poem of 3 periods of creativity:
– The focus is still on the native village - a symbol of Russia.
– The poem is filled with sadness.
– Appears autobiographical and confessional.
III. Summary of the lesson.
Grand total. How the image of the Motherland changes at different stages of Yesenin's life and work:
– Before the eyes of Yesenin, the country was changing, the poet himself was also changing, his perception of life was changing. Only love for the Motherland remained unshakable.
Features of Yesenin's poetic style:
– folklore beginning of lyrics,
– imagery
– unique color and light palette,
– the maximum proximity of the image of the lyrical hero to the author,
– a sense of the blood connection of the lyrical hero with all living things in the world.
IV. Homework assignment.
Write an essay on the topic:
The theme of nature in the lyrics of S.A. Yesenin.
Village and city ("living and" iron ") in Yesenin's poetry.
The theme of the Motherland in the work of S.A. Yesenin and A.A. Blok.
The theme of the Motherland is one of the main ones in the work of S. Yesenin. It is customary to associate this poet primarily with the village, with his native Ryazan region. But the poet left the village of Konstantinov very young, then lived in Moscow, and in St. Petersburg, and abroad. In my opinion, it was the separation from the Motherland that gave his poems that warmth of memories of her, which distinguishes them.
Already in the early poems of S. Yesenin there are declarations of love for Russia. Suffice it to recall one of his most famous works - “Goy you, Russia, my dear. “. This is key
A poet's poem, from which many of his other poems will later be born, filled with tenderness and great love for the Motherland. At the same time, in Yesenin's early poems, which were written against the backdrop of the World War, there is a lot of melancholy and sadness. The poet perceived the war as a great disaster. People died, cities and villages burned, moral foundations collapsed:
And my beloved friend will sharpen a knife for the shaft.
Yesenin's talent was asserted as a peasant and Russian talent. The homeland in his poems acts as a measure of everything. Yesenin recognized Koltsov and Klyuev as his teachers. Later, the names of Blok and Bryusov were added to them, in which the Ryazan poet, according to
By his own admission, he studied lyricism. S. Yesenin lived in a turning point, full of dramatic and even tragic events. In the memory of his generation - World War I, revolution, war again - now civil. The poet met 1917 with hopes for renewal, for a happy turn in the peasant lot. A new feeling of Russia appears in his work:
Already washed away, erased the tar Resurrected Russia.
The feelings and moods of the poet of this time are very complex and contradictory - here is hope, and anxiety for the fate of his native land, and philosophical reflections on eternal topics. One of them - the theme of the collision of nature and the human mind, invading it and destroying its harmony - sounds in the poem "Sorokoust“:
Have you seen How it runs through the steppes, Hiding in lake mists. Snoring with an iron nostril, On the paws of a cast-iron train?
And behind him On the big grass, Like on a feast of desperate races, Throwing thin legs to the head, A red-maned colt gallops?
Here the foal, as it were, embodies all the beauty of nature, its touching defenselessness. The train takes on the features of an ominous monster. In Yesenin's "Sorokoust" eternal theme confrontation between nature and technical progress merges with reflections on the fate of Russia. Yesenin deeply understood nature, penetrated into its innermost secrets. Practical knowledge was included in his poems. It is known, for example, that when preparing a garden for winter, a person abundantly waters the earth around the trees in order to subsequently protect the roots from freezing with an ice shell. And in the poem “Spring” we read about maple:
And a girl will come out to you, Water will pour from the well, So that in harsh October You could fight snowstorms.
S. Yesenin’s understanding of his poetic mission, his position as “the last singer of the village”, the keeper of her precepts, her memory, is closely connected with the theme of the Motherland and nature. One of the important for understanding this topic in the poet's work was the poem “The feather grass is sleeping. The plain is expensive. “:
The feather grass is sleeping. Expensive plain, And leaden freshness of wormwood. No other homeland Will pour my warmth into my chest. To know, we all have such a fate, And, perhaps, ask everyone - Rejoicing, raging and tormented, It is good to live in Russia. The light of the moon, mysterious and long, The willows are crying, the poplars are whispering. But no one under the cry of a crane will fall out of love with his father's fields. And now, when here's a new light And life touched my fate, I still remained a poet of the Golden log hut. At night, clinging to the headboard, I see, like a strong enemy, How someone else's youth splashes new On my glades and meadows. But still, oppressed by the new, I can sing with feeling: Give me in my beloved homeland, Loving everything, die in peace!
The boundless love of Sergei Yesenin for Russian nature, for the Motherland gave him the right to say:
But even then, When the enmity of the tribes will pass throughout the planet, Lies and sadness will disappear, - I will sing with all my being in the poet The sixth part of the earth With the short name "Rus"
(No ratings yet)
Essays on topics:
- Sergei Alexandrovich Yesenin rose to the heights of world poetry from the depths of folk life. Ryazan land became the cradle of his poetry, Russian songs,...
Sergei Yesenin lived short life(1895-1925), but is alive in the memory and consciousness of the people. His poetry has become an integral part of the spiritual culture of the nation.
Yesenin belongs to those artists whose works are characterized by great simplicity. They are clear to any reader. The poet's poems enter the soul, merge with a feeling of love for the motherland. Perhaps it is this feeling of indissoluble connection with the native land that is the essence of Yesenin's poetic world.
Beloved edge! Dreaming of the heart
Stacks of the sun in the waters of the womb,
I would like to get lost
In the greens of your bells.
Russia is in the heart of the poet, and that is why this declaration of love for his native land is so piercing and loud! One of the successors of Yesenin's tradition in modern poetry, Nikolai Rubtsov, conveyed this quality of Yesenin's work in precise and expressive lines:
Versts of all the shaken earth,
All earthly shrines and bonds
As if nervous system entered
In the waywardness of Yesenin's muse!
Yesenin was born in the Ryazan region, in the village of Konstantinovo, freely spread among wide fields on the steep bank of the Oka. But the poet left the Ryazan village very young, then lived in Moscow, and in St. Petersburg, and abroad, came to his native village from time to time as a guest.
The memory of childhood - "I was born with songs in a grassy blanket" - nourished the roots of his poetry and life itself. In one of his autobiographies, the poet notes that he had “a childhood like that of all rural children”1. It left an indelible mark on his work.
How good
that I saved you
All the feelings of childhood.
Yesenin was destined to spend most of his life in the city, only he visited endlessly expensive places where he spent his childhood and youth.
The soul remained forever attached to the father's house, native family, beloved Ryazan expanses. Russian nature, peasant way of life, folk art, great Russian literature - these are the true sources of his poetry.
It was the separation from his native land that gave his poems about her that warmth of memories that distinguishes them. In the very descriptions of nature, the poet has that measure of detachment, which allows this beauty to be seen and felt more sharply.
For a poet, his native village in Russia is something unified, his homeland, especially in his early work, is first of all his native land, his native village, what later, at the end of the 20th century, literary critics defined as the concept of "small homeland". With the lyrical tendency inherent in S. Yesenin to animate all living things, everything around him, he also addresses Russia as a person close to him:
Oh you, Russia, my meek homeland,
Only for you I save love ...
Sometimes the poet's poems take on a note of aching sadness, a feeling of restlessness arises in them, their lyrical hero is a wanderer who left his native hut, rejected and forgotten by everyone. And the only thing that remains unchanged, that preserves the eternal value, is nature and Russia:
And the month will swim and swim,
Dropping oars across the lakes...
And Russia will also live,
Dance and cry at the fence.
It is the folk ideas about beauty and goodness that are embodied in creativity.
Yesenin. In his poems, poetry accompanies man in everything - in hard peasant labor and in cheerful village festivities.
Oh arable land, arable land, arable land,
Kolomna sadness,
Yesterday in my heart
And Russia shines in the heart.
Nature itself is the center of beauty. Yesenin drew poetry from this pantry. And it is difficult to name another poet whose poetic perception would be so directly and deeply connected with the world of native nature:
I wander through the first snow,
In the heart are lilies of the valley of flashing forces.
Evening blue candle star
He lit up my road.
Man and nature are merged in the attitude of the poet. They have common life and common lot. Nature in Yesenin's lyrics is really alive, endowed with reason and feeling, capable of responding to the pains and joys of a person.
Yesenin's poetic vision is concrete, therefore his poems are so visible, sonorous and multicolored. The poet creates a harmonious world where everything is coordinated and has its place:
Quietly, squatting, in the patches of dawn
They listen to the tale of the old mower...
Such vivid imagery can only be born from a deep and true feeling. Yesenin searched and found unexpected images, his amazing comparisons and metaphors came, as a rule, from everyday life. peasant life: "evening frosty, like a wolf, dark storm"; “birch milk is pouring across the plain”; "dawn with a dewy hand of coolness knocks down the apples of dawn."
The image was never an end in itself for him. Reflecting on the poets who sinned with form-creation, he accurately identified the source of their delusions: “My brethren do not have a sense of homeland in the entire broad sense of the word, therefore everything is inconsistent with them.”
Yesenin was endowed, as noted by almost all who wrote about him, with an exceptional, phenomenal impressionability. He discovered the beautiful in the usual, spiritualized the everyday with his word:
Weaved out on the lake the scarlet light of dawn.
Capercaillie are crying in the forest with bells.
And this same increased impressionability did not allow him to pass by someone else's grief, endowed his Muse with responsiveness, which really extended to all living things:
They did not give the mother a son, The first joy is not for the future. And on a stake under an aspen
The breeze fluttered the skin.
Sometimes his poetic revelations, the accuracy of his vision, seem like a miracle born not of man, but of nature itself. It is no coincidence that M. Gorky in his essay on Yesenin emphasized precisely this idea: “Yesenin is not so much a person as an organ created by nature exclusively for poetry, to express the inexhaustible“ sadness of the fields ”, love for all living things in the world and mercy, which is more everything else is deserved by man.
Yes, the poet's natural gift is enormous. But it would not be entirely fair to assume
Yesenin as a kind of carefree village shepherd singing on the flute, Lelem.
By the way, the poet himself has always been uncomfortable with such an interpretation of his work.
Behind each of his poetic insights was a serious literary work.
Yesenin came to the city not naive " natural man". He knew classical literature well, he traced his poetic pedigree from A. Koltsov. And in the final autobiography (October 1925) he emphasized great value Pushkin for him: “In the sense of formal development, now I am drawn more and more to
Pushkin. Interest in Russian classics woke up in Yesenin while still studying at the Spas-Klepikovskaya teacher's school. And later in Moscow, in the classroom at the Shanyavsky People's University, he continued its in-depth study.
The poet especially loved Gogol. And just like the author of Evenings on a Farm near
Dikanki”, Yesenin not only organically felt and remembered the fairy tales, songs, ditties he heard in childhood, but also thoughtfully studied oral folk art. The poet studied with the people, in folklore he saw the “nodal ties” of the figurative expression of the world.
It is known that Yesenin collected and recorded four thousand ditties. Already it was a peculiar, but, undoubtedly, a living and serious poetic school. Yesenin was not alone in his interest in this form of folk art. At that time, the ditty was actively included in the works of Blok, Mayakovsky, D.
Poor. In 1918, 107 ditties recorded by Yesenin appeared on the pages of the Moscow newspaper Voice of the Working Peasantry. And in 1920 he published the book "Keys of Mary" - an interpretation of the worldview and creativity of the people.
Already in the first youthful poems that appeared in print in January 1914,
Yesenin is an outstanding poet, his poetic feeling is so rich and fresh, his figurative vision is so precise and expressive! But his life in great Russian literature began, perhaps, on March 9, 1915, after a significant meeting with A. Blok. Yesenin, an aspiring poet, did not accidentally come to
Blok. He knew well the work of his older contemporary and felt a certain poetic affinity with him. Subsequently, comprehending his path in art, Yesenin accurately outlined the range of his interests and poetic origins: “Of the contemporary poets, I liked Blok, Bely and
Klyuev. Bely gave me a lot in terms of form, while Blok and Klyuev taught me lyricism.” Blok instantly felt the original sonorous gift of the “young Ryazan guy” and spoke to him as to a fellow writer. He did not teach and instruct, but invited Yesenin to think about creativity, as if foreseeing the difficult poetic fate of the young poet: “... I think that the path
You, perhaps, will not have a short one, and in order not to stray from it, you must not rush, not be nervous. Sooner or later you will have to give an answer for your every step, and it is difficult to walk now, in literature, perhaps, the most difficult thing. Blok does for Yesenin, perhaps, the most necessary thing for him at that moment: it helps to strengthen the feeling of self-confidence and brings closer, through letters of recommendation to magazines, the meeting of Yesenin's poems with his reader.
Readers of Petrograd magazines, in which Yesenin's poems began to appear one after another, were literally stunned by the sincerity of his poetry. A rush to people, closeness to nature, love for the Motherland, poetization of simple human feelings - these moods and thoughts, voiced in Yesenin's poems, captivated contemporaries. Before the revolution, only one book of the poet was published - "Radunitsa" (1916), but Yesenin's fame was enormous.
Contemporaries were waiting for his new poems, they treated them as an unparalleled document of life, addressed and addressed directly to each reader. The poet rapidly reduced the distance between the author, the lyrical hero and the reader. Giving himself entirely to the reader's judgment, sharing his innermost feelings, he with good reason could write later: "... as for the rest of the biographical information, they are in my poems."
The poetry of Sergei Yesenin is deeply patriotic. Already in the first verses, with merciless sincerity, he sang the high civic love for the Motherland:
If the holy army shouts:
"Throw you Russia, live in paradise!"
I will say: “There is no need for paradise,
Give me my country."
Motherland, in essence, is the main human and creative theme poet. With all the inevitability, Yesenin's filial love for the world around him turns into a great love for the Motherland, its past and present. Poetic perception
The poet's homeland is as concrete and direct as his depiction of nature. First of all, this is peasant Russia, the width of the Ryazan fields, fellow villagers, relatives. The joy of communicating with your beloved land does not obscure the pictures of the difficult peasant life.
The drought drowned out the sowing,
Rye dries, and oats do not sprout,
At a prayer service with banners girls
Stripes dragged in butts.
A thorough knowledge of peasant life, the aspirations of rural workers makes Yesenin a singer of the people, of Russia. With all his heart, he wants the life of the peasants to become more joyful and happy. In pre-revolutionary Russia, the poet cannot but see the bleak downtroddenness and deprivation of the village (“You are my abandoned land, you are my wasteland”). Angrily does not accept the first poet world war bringing new troubles to the people. But, perhaps, the feeling of hopelessness of what is happening depresses the compassionate soul most of all:
And Russia will still live,
Dance and cry at the fence.
Sharp social vision allows Yesenin to perceive February revolution in a broader historical perspective. He calls for a further and deeper renewal of the country in his very first poetic response after February 1917:
O Russia, flap your wings, Put up a different support!
With special enthusiasm in the "Heavenly Drummer" the poet will express his attitude to the transforming power October revolution. Its truly popular character, the scale of social changes cannot but attract the rebellious soul of the poet to it. Even his theomachic poems of those years, "Transfiguration", "Jordan Dove", "Inonia", permeated with a vague understanding of the revolution, a naive idea of the coming "peasant's paradise", were still a tangible blow to the old world. Yesenin's voice, praising the revolution, sounds in unison with the poetic anthem of the revolution in Blok's poem "The Twelve", with the revolutionary poems of Mayakovsky and D. Poor. A truly new one is being born - Soviet poetry.
And, nevertheless, it is pointless, and it is not necessary to deny the complexity and inconsistency of the poet's perception of a radical break in the patriarchal way of life. Yesenin noted in his autobiography: “During the years of the revolution he was entirely on the side of October, but he accepted everything in his own way, with a peasant bias.”
Reflections on the fate of the modern peasantry lead Yesenin to history. He turns to the peasant war of the 18th century and creates a poignant dramatic poem about the outstanding leader of the peasant masses.
Emelyan Pugachev. The element of popular revolt powerfully splashed out in the lines
"Pugacheva". He draws the hero of the poem as a great sympathizer of national disasters, but at the same time a historically doomed political figure.
During the civil war and the first post-war years the country is undergoing colossal changes, the village is being transformed before our eyes. The unheard-of depth of perestroika at times frightens the poet. These fluctuations are especially significant in
1919-1920. The village seems to him to be sacrificed to an alien city.
The poet's lines in Sorokoust sound poignant:
Dear, dear, funny fool
Well, where is he, where is he chasing?
Doesn't he know that living horses
Did the steel cavalry win?
And yet the new inevitably captures the soul of the poet. He feels that patriarchal foundations can no longer be perceived as the unconditional and the only ideal principle. Time gives birth to other values.
A trip with his wife, the famous American dancer Isadora Duncan, around Europe and the United States helps to fully understand the legitimacy and prospects of the social reorganization of the country.
America (1922-1923). A true patriot, Yesenin cannot see without pain the irrefutable evidence of Russia's technical backwardness. At the same time, he keenly felt the wretchedness of the spiritual life of the West, the all-consuming power of money. Pride is born in the heart for the grandeur of the revolutionary transformations taking place in the Motherland. There is a turning point in the mood of the poet, there is a steady desire to discover, as it were, anew his own country:
Nice publisher! In this book
I indulge in new feelings
Learning to comprehend in every moment
Commune rearing Russia.
Sergei Yesenin is the son of Russia. Her new, social choice of the majority of the people becomes native for him too. The poet clearly understands “what the peasants gossip about”, he fully shares the decision of his fellow villagers: “With Soviet power live for us." Farewell to the old village is inevitable:
Field Russia! Enough
Drag along the fields.
It hurts to see your poverty
And birches and poplars.
How palpable in these lines is the pain for Russia, the spiritual continuity of Yesenin's work to the Russian classics!
The selfless feeling of love for the Motherland leads Yesenin to a revolutionary theme. An amazing revolutionary epic “Song of the Great Campaign” appears, written in the form of a ditty. He pays tribute to the heroes of the revolution
(“The Ballad of Twenty-Six”, “Captain of the Earth”, etc.), bowing to the selfless fighters for a great idea, to the people who opened up new horizons for Russia. Their life for the poet is an example of civic service to the Motherland:
I envy that
Who spent his life in battle
Who defended the great idea...
Making sense of the revolution and social transformation in the country reaches true historicism in the poem "Anna Onegin" (1925). And in the development of this topic
Yesenin is again on a par with Mayakovsky and D. Poor. In "Anna Snegina" surprisingly accurate and expressive words were heard about Lenin as a truly popular leader:
Trembling, swaying steps
Under the ringing of the head:
Who is Lenin?
I answered quietly:
"He is you"...
The revolutionary theme in Yesenin's poetry objectively introduced the poet into a common circle with the people, gave life perspective. However, finding a place in the new reality turned out to be very difficult for him. That new, which with such artistic power was embodied in his art, was hardly affirmed in his own destiny. The new is accepted and sung, but somewhere in the recesses of the soul, longing is hidden, the poet is burdened by a feeling of spiritual fatigue:
I'm not new!
What to hide?
I stayed in the past with one foot,
In an effort to catch up with the steel army,
I slide and fall another.
Personal life is also difficult. Always surrounded by admirers and friends, Yesenin is essentially lonely. A bitter line breaks out of him -
“I don’t find shelter in anyone’s eyes,” but how much he needs a “friendly smile”!
All his life, Yesenin dreamed of a family, of "his own home." The family didn't work out.
For many years his life was disorderly. Such a way of life is alien to the nature of the poet. “With unprecedented cruelty to himself” (P. Oreshin), Yesenin exposes his delusions and doubts in the “Moscow Tavern” cycle. Not the ecstasy of revelry in these verses, but painful philosophical reflections on the meaning of life, on one's own destiny.
He sought salvation from "dark forces, tormenting and destroying" in the images of his native nature, in appealing to people dear to him - mother, sister, beloved women, friends. Yesenin's messages of recent years open up new possibilities for the epistolary poetic genre, traditional in Russian literature. This poetic form of confidential appeal is filled with a special lyrical confession and patriotic sound. Behind the image of a woman dear to him stands the "iconic and strict face" of the Motherland, his beloved sister is compared with a birch tree, "that stands behind the birth window." Tense confession
Yesenin, in many verses addressed to a specific addressee, turns out to be generally significant. From the personal experience grows the universal. The fusion of personal and public in Yesenin's poetry leads to the fact that in lyrics he acts as a poet "with a big epic theme", and in poems, especially in
“Anna Snegina,” his lyrical voice sounds fully.
The famous lines of "Letters to a Woman" speak not only about the complexity of the poet's fate, but also about the drama of history:
You didn't know
That I'm in solid smoke
In a life torn apart by a storm
That's why I suffer that I do not understand -
Where the rock of events takes us.
Indeed, in every image, in every line, we feel the naked Yesenin "I". Such sincerity requires wisdom and courage.
Yesenin rushed to people, immersion in himself, “desert and breakaway” were a dead end for him, creative and human (this is one of his latest works- the tragic poem "The Black Man", completed on November 14
1925). The poet hoped to find a new creative life:
And let another life of the village
Will fill me
New strength.
Like before
Led to fame
Native Russian mare.
The poets of the circle of S. Yesenin of that time are N. Klyuev, P. Oreshin, S. Klychkov.
These hopes are expressed in the words of N. Klyuev, a close friend and poetic mentor of S. Yesenin: "The peasant land is now, / And the church will not hire a government official." In Yesenin's poetry in 1917, a new sensation appears
Russia: "Already washed away, erased the tar / Resurrected Russia." The feelings and moods of the poet of this time are very complex and contradictory - these are both hopes and expectations of the bright and new, but this is also anxiety for the fate of his native land, philosophical reflections on eternal topics. One of them - the theme of the collision of nature and the human mind, invading it and destroying its harmony - sounds in S. Yesenin's poem "Sorokoust". In it, the competition between the foal and the train, which acquires a deeply symbolic meaning, becomes central. At the same time, the foal, as it were, embodies all the beauty of nature, its touching defenselessness.
The locomotive takes on the features of an ominous monster. In Yesenin
"Sorokouste" the eternal theme of confrontation between nature and reason, technological progress merges with reflections on the fate of Russia. In the post-revolutionary poetry of S. Yesenin, the theme of the motherland is saturated with difficult thoughts about the poet's place in a new life, he is painfully experiencing alienation from his native land, it is difficult for him to find a common language with the new generation, for whom the calendar Lenin on the wall replaces the icon, and "pot-bellied" Capital " - The Bible It is especially bitter for the poet to realize that the new generation sings new songs:
Poor Demyan". This is all the more sad that S. Yesenin rightly remarks: "I am a poet! And not like some Demyan there."
Therefore, his lines sound so sad: "My poetry is no longer needed here, / Yes, and, perhaps, I myself am not needed here either." But even the desire to merge with a new life does not force S. Yesenin to abandon his calling as a Russian poet; he writes: "I will give my whole soul to October and May, / But I will not give only my dear lyre."
Today, it is difficult for us, living in Russia, to fully understand the meaning of these lines, and yet they were written in 1924, when the very name - Rus - was almost forbidden, and citizens were supposed to live in "Resefeser". With the theme of the motherland, S. Yesenin understands his poetic mission, his position as "the last singer of the village", the keeper of her precepts, her memory. One of the programmatic, important for understanding the theme of the motherland, the poet has become the poem "The feather grass is sleeping":
The feather grass is sleeping.
Plain dear
And the lead freshness of wormwood!
No other homeland
Do not pour my warmth into my chest.
Know that we all have such a fate,
And, perhaps, ask everyone -
Rejoicing, raging and tormented,
Life is good in Russia.
The light of the moon, mysterious and long,
Willows are crying, poplars are whispering,
But no one under the cry of the cranes
He will not stop loving his father's fields.
And now that behold the new light
And my life touched fate,
I still remain a poet
Golden log cabin.
At night, clinging to the headboard,
I see a strong enemy
How someone else's youth splashes with new
To my glades and meadows.
But still cramped by the new,
I can sing heartily:
Give me in the homeland of my beloved,
Loving everything, die in peace."
This poem is dated 1925, refers to the mature lyrics of the poet. It expresses his innermost thoughts. In the line "rejoicing, raging and tormented" is a difficult historical experience that fell to the lot of Yesenin's generation. The poem is built on traditionally poetic images: feather grass as a symbol of the Russian landscape and at the same time a symbol of longing, wormwood with its rich symbolism and a crane cry as a sign of separation.
The traditional landscape, in which the no less traditional "light of the moon" is the personification of poetry, is opposed by the "new light", rather abstract, inanimate, devoid of poetry. And in contrast to it, the recognition of the lyrical hero of Yesenin's poem in adherence to the age-old rural way of life sounds. The poet's epithet "golden" is especially significant: "I will still remain a poet / of the Golden Log Cabin."
It is one of the most frequently encountered in the lyrics of S. Yesenin, but usually it is associated with a color concept: golden - that is, yellow, but certainly with a touch of the highest value: "golden grove", "golden frog moon". In this poem, the shade of value prevails: gold is not only the color of the hut, but a symbol of its enduring value as a symbol of the way of village life with its inherent beauty and harmony. The village hut is a whole world, its destruction is not redeemed for the poet by any tempting news. The finale of the poem sounds somewhat rhetorical, but in the general context of poetry
S. Yesenin, he is perceived as a deep and sincere recognition of the author.
In the last years of his life, human and creative maturity comes to the poet. The years 1924-1925 are perhaps the most significant in terms of what he created. From September 1924 to August 1925, Yesenin made three rather long trips to Georgia and Azerbaijan. As a result of these trips, in particular, an amazing cycle of poems "Persian Motives" was born.
The Georgian poet Titian Tabidze noted that “... the Caucasus, as once for
Pushkin, and for Yesenin turned out to be a new source of inspiration. In the distance, the poet had to rethink a lot ... He felt the influx of new topics ... ".
The scale of the poet's vision is enlarged. His civic feeling is able to glorify not only his native Ryazan corner, but the entire "sixth of the earth" - a large
Homeland:
I will chant
With the whole being in the poet
sixth of the earth
With a short name "Rus".
Yesenin's poetry lives in time, appeals to empathy. His poems breathe love for everything, "that clothes the soul in flesh." The earthly simplicity of the subject of the image turns into high poetry:
Bless each work, good luck!
To a fisherman - so that a net with fish.
Plowman - so that his plow and nag
They got bread for a year.
The poet strove for the fullness of being, hence this life-loving line was born:
“Oh, I believe, I believe, there is happiness!” And even the picturesqueness of many of his works, especially in his early work, is due to this desire to include all the diversity of the surrounding life in his poetic world. Yesenin comprehends the deep laws of human life and nature and wisely blesses everything that
"It has come to flourish and die." In his heartfelt “I am happy that I breathed and lived” - a generous gratitude to the world that filled the soul with inexhaustible impressions.
Sergei Yesenin always lived and wrote on the extreme strain of mental strength.
That is his nature. Filled with love for the Motherland, for man, nature,
Yesenin did not spare only himself. He did not know another way for the artist:
Being a poet means the same
If the truth of life is not violated,
Scarring your soft skin
To caress other people's souls with the blood of feelings.
The reader, feeling this generous dedication of the poet, submits to the emotional power of Yesenin's poems.
Today Yesenin's poetry is well known and loved in all the republics of our country, in many foreign countries. Such a deeply Russian, glorifying native nature with great lyrical power, home country She was truly international. And that is why the words of the Lithuanian writer Justinas Marcinkevičius about the Russian poet are so organic: “Yesenin is a miracle of poetry. And like any miracle, it's hard to talk about it. A miracle must be experienced. And you have to believe in him ... "
Send a request with a topic right now to find out about the possibility of receiving a consultation.