The theme of nature in the image The theme of native nature in the lyrics of S. Yesenin
Probably, for every person who was born in Russia, the feeling and perception of nature has always been as reverent as, perhaps, no one else in the world. Spring, summer, autumn, and especially the Russian “winter winter”, as our simple but great Russian people lovingly used to say about it, took and take the soul for a living, forcing to experience deep feelings similar to exciting love experiences.
Yes, and how not to love all the beauty and charm that surrounds us: white snow, fresh greenery of vast forests and meadows, dark depths of lakes and rivers, pure gold of falling leaves, which from childhood please the eye with their multicolor, overflowing with seething emotions the excited heart of any person, especially poet. Such as the wonderful poet Sergei Alexandrovich Yesenin, who in his sincere lyrics left special place sometimes harsh, but always beautiful Russian mother nature.
Born in the village of Konstantinovo, in the center of Russia, Yesenin saw and contemplated around him such indescribable beauty and charm that can only be found in the Motherland, whose vast expanses, whose solemn grandeur inspired already in childhood those thoughts and reflections that he conveyed to us later in his inspirational and moving lyrics.
The village of Konstantinovo, native Ryazan region - these places aroused in Sergei Yesenin awe and a poetic passion for creativity. It was the native north that was the most inspiring for the poet. I think that only there, only in the north of Russia, with its special, strong, but gentle spirit, could one be imbued with the same feelings that Yesenin experienced, giving birth to these magical lines on one of the long winter evenings:
I'm going. Quiet. Ringing is heard
Under the hoof in the snow
Only gray crows
Made a noise in the meadow.
This is not the usual "Coachman's Romance". It lacks both the coachman and the rider, they are replaced by the poet himself. The trip does not cause him any associations, he does without the usual road sadness. Everything is exceptionally simple, as if written off from nature:
Bewitched by the invisible
The forest slumbers under the fairy tale of sleep,
Like a white scarf
The pine has tied up.
In the simplicity of these lines, in the naturalness of the style, lies the true genius and mastery expressed by the poet with the help of the mighty Russian language. This mastery makes one imagine so vividly both a blizzard, and a winter forest, and the sound of hooves on a snowy crust, that one no longer needs to see the real picture: the imagination, released into the wild, immediately completes the picture winter forest. Well, how can one not remember Surikov, Shishkin, Savrasov!
Like the brush of an artist painter, so Yesenin's pen vividly and brightly brought out on white sheets of paper those wonderful paintings that did not have to go far from home to Spain, France, Germany or anywhere else: they were right here - in the forests of the Ryazan region, in the white nights of St. Petersburg, in the autumn gilded Konstantinov. Wherever the poet cast a glance, waves of creative inspiration seemed to roll over him, sometimes permeated with sadness and quiet melancholy, like nature itself:
You are my abandoned land,
You are my land, wasteland,
Haymaking uncut
Forest and monastery.
When you read Yesenin's poems about nature, all the fullness of the power of the great and mighty Russian word falls upon your consciousness, forcing it to appeal to true life images, perhaps never truly seen, but so surprisingly real.
Goy you, my dear Russia,
Huts - in the robes of the image ...
No end in sight -
Only blue sucks eyes.
Only the words of such a magnificent master as Sergei Yesenin can create images that cannot be seen otherwise than with your own eyes. And strength and inspiration, which can rarely be found even in the smell, sounds, color of the life around us, but captured on paper, gush from every Yesenin's line - as in the passage below:
How birds whistle miles
From under the hooves of a horse.
And the sun splashes with a handful
Your rain on me.
These short lines fit, without losing their fullness, an amazing image of a wide steppe road, free wind and a bright sunny day. Many words would not suffice for another to accurately, vividly and aptly depict the attractive view of the Russian country road that involuntarily appears before us.
You read - and enjoy the simplicity of the poetic skill of Sergei Yesenin, who is not without reason put in one of the first places among the great Russian poets.
Yesenin claimed to be "the last poet of the village" in Russia. In his poems, small details of village life are lovingly written out:
It smells of loose drachens;
At the threshold in a bowl of kvass,
Over turned stoves
Cockroaches climb into the groove.
Every phrase is an artistic detail. And we feel: every detail evokes the tenderness of the poet, all this is dear to him. He often resorts to impersonation. His bird cherry “sleeps in a white cape”, willows “cry”, poplars “whisper”, “a cloud tied lace in a grove”.
Sergey Yesenin's nature is multicolored, colorful. The poet's favorite colors are blue and blue. These color tones enhance the feeling of the immensity of the blue expanses of Russia (“blue that fell into the river”, “only blue sucks eyes”, “on a heavenly blue dish”).
The description of nature by Sergei Yesenin correlates with the expression of the poet's moods. No matter how closely his name is connected with the idea of poetic pictures of Russian nature, his lyrics are not landscape in the corresponding sense of the word. Maple, bird cherry, autumn in the poet's poems are not just signs of native Russian nature, they are a chain of metaphors with which the poet talks about himself, about his moods, about his fate. The poetry of Sergei Yesenin teaches us to see, feel, love, that is, to live.
1. Nature in the poet's lyrics.
2. Image of the nature of the native land.
3. List of references.
1. Nature in the poet's lyrics.
It has long been noted that not a single Yesenin poem is complete without pictures of nature. At first these were landscape sketches, in which nature obscured and displaced man, and later landscape beginnings and natural images in lyrical confession poet. Yesenin's nature never ceases to be a realm of miraculous transformations and more and more absorbs a "flood of feelings": "A fire of red mountain ash burns in the garden, But it cannot warm anyone"; “And golden autumn. In the birches, reducing the juice, For all those whom he loved and abandoned, Cries on the sand with foliage.
Yesenin's natural world includes the sky with the moon, sun and stars, dawns and sunsets, winds and snowstorms, dews and fogs; it is inhabited by many "inhabitants" - from burdock and nettles to poplars and oaks, from mice and frogs to cows and bears, from sparrows to eagles.
Yesenin's "heavenly" landscapes do not seem monotonous, although they are repeated many times, say, the moon and the month are mentioned and described more than 160 times, the sky and dawn - 90 each, the stars - almost 80. But the poet's fantasy is inexhaustible, and the month appears as a "red goose" , then a “dull rider”, then a grandfather’s hat, then he “harnessed our sleigh as a foal”, then “a cloud gores with a horn, bathes in blue dust”, then, “like a yellow raven, circles, winds above the ground”.
Yesenin’s universe is a cosmic village, a gigantic peasant economy, where “the calving sky is licked by a red heifer”, and the blue dusk looks like a flock of sheep, where the sun is a “golden bucket lowered into the world” and a two-horned sickle glides across the sky with a yoke, where a blizzard clicks with a whip, and "the rain with wet brooms cleans willow droppings in the meadows." And Yesenin's "earthly" landscapes are mainly Central Russian nature in all its discreet, modest beauty: "gullies ... stumps ... slopes saddened the Russian expanse." Only in “Persian Motifs” and Caucasian poems is southern, exotic nature (“army of cypresses”, “roses burn like lamps”, “smell of the sea in a smoky-bitter taste”) and in “Poem of 36” the Siberian taiga rustles, “ spits" gray-haired Barguzin and "to the Yenisei places six thousand one snowdrift."
In Yesenin's landscapes, the diversity is striking flora: more than 20 species of trees (birch, poplar, maple, spruce, linden, willow, bird cherry, willow, mountain ash, aspen, pine, oak, apple tree, cherry, willow, etc.), about 20 types of flowers (rose, cornflower, mignonette , bluebell, poppy, levkoy, lily of the valley, chamomile, carnation, jasmine, lily, snowdrop, etc.), different types herbs and cereals. The poet does not like to talk about plants in general, faceless and abstract - for him, each tree and flower has its own appearance, its own character. “Like a blizzard, the bird cherry waves its sleeve”, the birch trees drooping to the ground have sticky earrings, “the rose petals splashed”, “the wormwood wafts with a sticky smell”, the maple squatted down to warm itself in front of the fire of dawn, “its head was crushed on the wattle fence, rowan berries were covered with blood” .
And yet, the main feature of Yesenin's nature is not diversity and many-sidedness, not humanization and at the same time picturesqueness, but a rural, peasant appearance. The plow of the sun cuts the blue water of the river, “the sky is like an udder, the stars are like nipples”, the clouds neigh like a hundred mares, “the earth roars under the plow of a storm”, “a ripe star shines on a branch of a cloud, like a plum”, poplars, like heifers, put their bare feet under the gate. Over the years, the peasant-domestic coloring of landscapes will gradually fade, but the rural one will remain forever.
Unlike other Russian poets - Pushkin and Nekrasov, Blok and Mayakovsky - Yesenin does not have urban landscapes, except for the mention of the "elm city" and "Moscow curved streets."
An equally important feature of Yesenin's "universe" is the universal circulation, universal fluidity and mutual transformations: one goes into another, the other is reflected in the third, the third is like the fourth ... "The sun, like a cat, Touches my hair with a golden paw from heaven" - the cosmos is likened to an animal and a plant, and is attached to man. In turn, people are “catchers of the universe, scooping up the sky with a net of dawn”, and the poet compares himself with a tree, a flower, an animal, a month:
Golden foliage swirled
In the pinkish water of the pond.
Like a light flock of butterflies
With fading flies to the star.
Breezy, midnight, moon pitcher
Scoop up birch milk!
Give me (road) a dawn for firewood,
Willow branch on a bridle.
Comprehending his concept of the world, Yesenin in the article "Keys of Mary" refers to mythological beliefs different peoples and recalls the ancient Russian singer Boyan, who imagined the world as "an eternal, unshakable tree, on whose branches the fruits of thoughts and images grow."
So, on an ancient mythological basis, Sergei Yesenin creates his own poetic myth about space and nature, in which "peace and eternity" are close as a "parental hearth", the hills are filled with "animal inexpressibility", and the poet sees himself as the spokesman and defender of this inexpressibility. For him, there was nothing low and ugly in nature. The croaking of the frogs seemed like music to him - "to the music of the frogs, I raised myself as a poet." The rats deserved to be sung - "to sing and glorify the rats." And I wanted to "marry a white rose with a black toad ... on earth." In such declarations, notes of defiance and outrageousness were sometimes heard, especially during the period (“Moscow tavern”, when Yesenin was in a state of ideological and spiritual crisis, experienced “desperate hooliganism”, “honored rudeness and shouting in a rake”.
Yesenin's fauna is also part of nature, living, animated, intelligent. His animals are not fabled allegories, not personifications of human vices and virtues. These are “our smaller brothers”, who have their own thoughts and worries, their own sorrows and joys. The horses are frightened of their own shadow and thoughtfully listen to the shepherd's horn, the cow pulls "straw sadness", "the abandoned dog howls softly", an old cat sits by the window and catches the moon with its paw, "owls hide with fearful cries", "magpie chirps" called for rain.
Among Yesenin living creatures, birds are the most numerous - more than 30 names (cranes and swans, crows and nightingales, rooks, owls, lapwings, sandpipers, etc.), and the most common domestic animals - horses, cows, dogs. The cow, the breadwinner of a peasant family, grows with Yesenin to a symbol of Russia and the “village cosmos”: “calf-Rus”, “mooing a cow, roaring a heifer of thunders”, “there is no more beautiful than your cow's eyes”, “your east will calve”, “above clouds, like a cow, the dawn lifted its tail”, “the invisible cow god swelled up”. The horse is a worker in a peasant economy and is associated with images of unstoppable movement, waning youth: “our skinny and red mare was pulling out a root crop with a plow”, “the world is rushing to the new shore with a swirling cavalry”, “as if I galloped on a pink horse in a spring echoing early”.
Yesenin's birds and animals behave naturally and authentically, the poet knows their voices, habits, habits: corncrakes whistle, an owl hoots, a tit squawks, hens cluck, "the wedding of crows clung to a palisade", "an old cat sneaks to the mahotka for fresh milk", " a horse waving its skinny tail, looking into an unkind pond”, the fox anxiously raises its head, hearing a “ringing shot”, the dog barely trudges, “licking the sweat from its sides”, the cow sees cow dreams - “she dreams of a white grove and grassy meadows”. And at the same time, they are not soulless creatures. Yes, they are wordless, but they are not sensitive and in terms of the strength of their feelings they are not inferior to a person. Moreover, Yesenin accuses people of heartlessness and cruelty towards the "beast", which he himself "never hit on the head." The collective form (not animals, but the beast), and the comparison with “smaller brothers”, and the singular number of the word “head” are also noteworthy - it is spoken of as a single living being, born, like a person, by mother nature.
Yesenin treats animals not only gently, but respectfully and does not address all at once, but to each individually - to each cow, horse, dog. And not about patronage we are talking, but about the mutual appeal, important and necessary for both "interlocutors": "In the alleys, every dog Knows my light gait" - and "I am ready to give my best tie around the neck to every dog here"; “Each shabby horse nods towards me with its head” - and “I don’t wear a top hat for women. It is more comfortable in it, reducing your sadness. Give gold of oats to a mare” (“I will not deceive myself”); each cow can read the grassy lines slanted by the poet, "paying with warm milk" ("I'm going through the valley..."). This friendly reciprocity and affection originates in early childhood: "From childhood, I understood males and steppe mares to like." And in mature years - “I am a good friend for animals. Each verse heals my soul of the beast. And in turn, the poet is grateful to his friends and is convinced that his "native Russian mare led him to glory." Even the traditional Pegasus ceases to be a poetic convention and turns into a living horse: “Good old, hackneyed Pegasus, do I need your soft lynx?”
2. Image of the nature of the native land.
The image of the nature of the native land occupies a significant place in the poetic heritage of the poet. “Sergey was sociable and affectionate,” continues A. Yesenina. - Arriving in the village, he gathered the neighbors, talked with them for a long time, joked. He liked to chat with the beggars, and with the crippled, and with all other passers-by. He said more than once that meetings give him a lot as a poet: in conversations he draws new words, new images, learns the true folk speech.
The poet divided his rural time between walks, conversations with fellow villagers, fishing and work on poetry. In one of the letters of 1924, he reported: “The weather in the village is not good. It is impossible to fish because of the wind, so I sit in the hut and finish writing the poem. Our nights are wonderful, moonlit and, oddly enough, when autumn is near, dewless. In fine times, the poet would disappear for days on end in the meadows or on the Oka River, as was the case, for example, in July 1925: he disappeared from the house with the fishermen for two days and, returning, wrote:
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.
Drink water from mugs and glasses
You can also drink from water lilies -
Where the pool of pink fogs
The shore will not get tired of gilding.
It's good to lie in the green grass
And, digging into the ghostly expanse,
Someone's look, jealous and in love,
On myself, tired, to remember.
In the village, the poems “Return to the Motherland”, “Golden Grove Dissuaded ...”, “Low House with Blue Shutters ...”, “Son of a Bitch”, “It can be seen that this has been done forever ...” were also written. Many other poems of these years were inspired by village impressions: “Soviet Russia”, “Now this sadness cannot be scattered ...”, “I will not return to my father's house ...”, “I see a dream. The road is black...”, “The feather grass is sleeping. The plain is dear...”, “I am going through the valley. On the back of the head is a cap ... ”,“ Rash, talyanka, loudly, rash, talyanka, boldly ... ”, poetic messages to mother, grandfather, sister.
All these works are permeated with a deep love carried through all the hardships for the fatherland:
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 a crane
He will not stop loving his father's fields.
In these fields, not everything remains the same: there is what was from eternity, and what she brought with her new life. The poet does not want to see a plow and a shack in the village, he hopefully listens to the sounds of engines driving out onto an arable field. This clash of the old with the new will still be reflected later in Yesenin's poems, but his attachment to native land, his love for peasant labor.
The author's experiences in these verses are distinguished by amazing tenderness and purity. They express much of what could be considered intimate, personal, domestic: filial feelings for mothers, brotherly affection for sisters, the joy of friendship, longing for parting, regret for the early departed youth. “To the village and the house,” recalls the poet’s friend, artist V. Chernyavsky, “he returned in almost all of our conversations until last year life. He spoke of this with a sudden surge of tenderness and dreaminess, as if brushing aside everything that twisted and tangled around him in the haze of restless sleep ... It was the most soiled corner of his personal inner peace, the most real point that determines his consciousness.
Yesenin's strength is that he was able to express the most intimate corner of his inner world in words that are ordinary, discreet, but imbued with true awe of the soul and therefore completely captivating the reader's heart. Let us recall his "Letter to Mother", affectionate and peaceful, full of bitter consciousness of guilt before the mother and hope for the generosity of the mother's heart:
I'll be back when the branches spread
In spring, our white garden.
Only you me already at dawn
Don't wake up like eight years ago.
Don't wake up what you dreamed
Don't worry about what didn't come true -
Too early loss and fatigue
I have experienced in my life.
And don't teach me to pray. No need!
There is no return to the old.
You are my only help and joy,
You are my only inexpressible light.
Yesenin's natural lyrics are autobiographical in the broadest sense of the word. There are features of autobiography in the work of any artist; they are strongest in lyric poetry. But only in a few poets are the connections between the content of the lyrics, its poetic structure and those struggles of the soul through which the poet went through in his life so exposed.
“In my poems,” Yesenin warned, “the reader should mainly pay attention to the lyrical feeling and the imagery that showed the way to many, many young poets and novelists.” “This figurative structure,” Yesenin continued, “lives in me organically, just like my passions and feelings.”
These feelings and perceptions affect various aspects of the life of contemporaries. Lyrics are subjective in nature, but generally significant in essence. It is efficient, mobile, active. Finding an echo in the heart of the reader, she inspires him with something, calls somewhere. And Yesenin's lyrics are not only a poetic monument of the time, but also a living force that affects the consciousness and feelings of people.
First of all, this is the lyrics of nature, enchanting us with its colors, exciting us with its music. From the youthful past, a bright and tender birch girl returned to Yesenin's poetry. First of all, the return of the poet to his homeland, his meeting with his fatherland is associated with this image:
Tired of hanging around
Beyond the borders
I returned
To the native home.
green-haired,
In a white skirt
There is a birch tree above the pond.
("My way")
Then this image appears every time the poet turns his memory to his native places:
Birches!
Birch girls!
Only he can not love them,
Who even in an affectionate teenager
The fetus cannot be predicted.
("Letter to my sister")
I'm forever behind fogs and dews
I fell in love with the birch camp.
And her golden braids
And her canvas sundress.
(“You sing me that song that before ...”)
Again, long garlands line up poetic images that inspire nature: aspens, spreading their branches, looked into the pink water, August quietly lay down on the wattle fence, poplars buried their bare feet in the ditches, the sunset sprinkled gray fields with liquid gilding, a white snowstorm roared under the windows - all this is so as natural and organic as in the best poems about nature, relating to the early years; there is not even a hint of deliberateness, which was felt in the complicated metaphors of the poems of the Imagist period. Lyrical sketches appeared again, full of "love for all living things in the world" (M. Gorky), in particular, new poems about animals "Son of a bitch", "Kachalov's dog").
The art of depicting nature now acquires even more poetic freshness and tenderness, lyricism that enchants the reader. Poems "Low house with blue shutters ...", "Blue May. Glowing warmth...”, “Golden foliage swirled...”, “I left my dear home...”, “Answer”, which are distinguished by their extraordinary strength of feeling and “violence” of colors, become one of the masterpieces of Yesenin's lyrics.
Enjoying nature, getting used to it, the poet rises to philosophical reflections about the meaning of life, about the laws of being. Among the samples philosophical lyrics in our poetry (namely, lyrics, and not speculative, scientific writings on philosophical themes, which poetry of this kind is often) without hesitation, one can attribute Yesenin’s poems “Now we are leaving a little ...”, “Golden grove dissuaded ...”, “Life is a deception with enchanting longing ...”, “Flowers”, etc. In this area of \u200b\u200bcreativity, Yesenin is as original as in others; his abstract concepts always receive material expression, the images do not lose their plasticity, the author's voice clearly sounds in the verses. Time as a philosophical category is translated into a subject-metaphorical series (“time - a mill with a wing - lowers the month outside the village like a pendulum into the rye to pour invisible rain for hours”), and we easily catch the course of the author's thought.
Especially significant are the poet's philosophical reflections on life and death, on human destiny, on the transient and eternal in earthly existence. In Yesenin's lyrics, pessimistic motives are often distinguished and emphasized. One of the critics of that time, recognizing the indisputable importance of Yesenin as a lyric poet, called him "a singer of the autumn slope ... rowan berries, purple autumn, rye fields, sadness and longing for the passing."
What can be said about this? Of course, Yesenin has many works painted with sadness, expressing the drama of a ruined fate. But there are also those where the craving for life, for human joy is expressed. “It’s as if I galloped on a pink horse in a spring echoing early...” - this image is not accidental in his work. Critics who considered Yesenin a poet of flawed feelings did not notice the great humanistic content of his lyrics and the life-loving emotions expressed in it: what the poet called "boiling water of heart jets" (in the poem "Well, kiss me, kiss ...", imbued with Bacchic motifs ), or what is said at the end of the poem “What a night! I can't...": "Let the heart dream of May forever..."
We are not at all surprised by the jubilant intonations in the poem “Spring”, where the poet regained the ability to see the delicate colors of nature: here is a cute tit, and a beloved maple, and trees dressed in green, and the poet’s final exclamation: “So drink, my chest , spring! Excite new verses! The completely unusual for the poet, absolutely new, but with his usual emotionality and brilliance, the painted industrial landscape is not surprising either:
Oil on water
Like a Persian blanket
And evening across the sky
Scattered the stellar sack.
But I'm ready to swear
pure heart,
What lights
More beautiful than the stars in Baku.
Even more clearly, through the images of nature, the optimistic mood of the poet shines through in the poetic cycle “Flowers”. “This,” the author warned in a letter to P.I. Chagin, “is a philosophical thing. It should be read like this: drink a little, think about the stars, what you are in space, etc., then it will be understandable. Once, in a conversation with Vsevolod Ivanov, Yesenin said: “I live so that people live more fun!” Much, in his work, as indicated by me above, confirms these words.
Bibliography
1. Belskaya L.L. Song word. Poetic mastery of Sergei Yesenin. – M.: Enlightenment, 1990.
2. Vereshchagina L.N. Materials for lessons on the lyrics of S. Yesenin // Literature at school. - 1998. - No. 7. - S. 115 - 119.
3. Marchenko A. Yesenin's poetic world. – M.: Soviet writer, 1989.
4. Naumov E. Sergei Yesenin. - L .: Education, 1960.
5. Lokshina B.S. Poetry of A. Blok and S. Yesenin in school studies. – M.: Enlightenment, 1978.
6. Prokushev Yu. Sergey Yesenin: image-poetry-epoch. – M.: Sovremennik, 1986.
7. Eventov I.S. Sergey Yesenin. - M .: Education, 1987.
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The theme of nature runs like a red thread through the work of the great Russian poet Sergei Alexandrovich Yesenin, beloved and revered by many generations of readers. Poems from him early years penetrate into our consciousness, capturing a part of our soul, it seems to enchant with its images, which seem to be alive and extremely memorable.
The poetic language of S.A. Yesenin is very original and original, thanks to his living images, which he uses in his poetic work, the natural world seems to come to life. The theme of nature in Yesenin's work occupies one of the central places, his descriptions natural phenomena melodic, filled with ringing motifs. Nature for him is an animated being that acts, lives its own life. The grove “dissuaded” the poet, the birch was “covered” with snow, poplars whisper, and willows cry.
The poet also selects epithets that are quite accurate, capable of recreating a rather vivid and lively picture, he does not try to embellish or use lush comparisons that are inappropriate, rather, on the contrary, he seeks to show the simple and uncomplicated beauty of everything that surrounds us. Let the clouds look like cheap chintz, but they float above their native land, even if the grain is not rich in harvest, but they are grown in their native land. S.A. Yesenin teaches us to notice and love the simple things that surround us, noticing beauty in the most seemingly ordinary things, which some do not even see in everyday bustle.
The poet in his poems unites the world of people, animals, plants, this world personifies one community, interconnected by inextricable ties of spiritual kinship. With incredible warmth and love, the poet and animals describe, entering into a dialogue with them, feeling their lively participation, kindness and incredible tenderness. In his poem "Kachalov's Dog", the poet has a friendly conversation with her on an equal footing, referring to the dog as a true friend and ally, the tone of his conversation is very warm. With Jim, the poet raises serious topics, talks about everything from relationships, love to life in general, believing to an ordinary dog innermost thoughts.
AT creative heritage Sergei Alexandrovich feels an inseparable unity with nature, he dreams when humanity understands and realizes the fact that people are just an integral part of nature, that you need to live in harmony with the surrounding world, which is charming and needs our participation. Lyric works S.A. Yesenin urge us to love and appreciate mother nature, to live in harmony with her, to take care.
Pimenov Andrey
Design and research work on literature on the topic "Native nature in the lyrics of Sergei Yesenin".
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Preview:
PROJECT DEFENSE IN LITERATURE.
slide 1
The project I worked on is called "Native Nature in the Lyrics of Sergei Yesenin"
slide 2
The purpose of my project:To understand the attitude of the poet to his native nature on the example of S. Yesenin's poetry.
Tasks:
Study the poet's biography
Pick up poems about nature
Answer the question: How did the poet relate to his native nature?
My project resulted in:
Expressive reading poems
computer presentation
Why did I choose this topic? Because I like the poetry of S. Yesenin. Also, I love nature.
When I read the poems for the first time, they simply amazed me. It was as if I saw with my own eyes the whole of Russian nature. I also wanted to find and read Yesenin's poems about nature. I found a lot of literature about the poet and his work and prepared this work.
slide 3
Sergei Yesenin was born on September 21, 1895 in an ordinary peasant family and from an early age had a delicate and vulnerable soul and temperament. His mother and father lived in the village of Konstantinov, but he was raised by his maternal grandfather. It was he who, being a wealthy and intelligent man, book lovers, taught the still very young Yesenin to love nature and art, which later became one of the main themes of his creative activity.
slide 4
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, directed his natural talent.
Yesenin himself at different times names different sources that fed his work: songs, ditties, fairy tales, spiritual poems, poetry of Pushkin, Lermontov, Koltsov, Nikitin.
slide 5
Many wonderful poems by S. Yesenin are dedicated to native nature. They must be read carefully, trying to understand the main mood, to get used to the rhythm, to the music of the verse, in order to understand how the words form into stanzas..
slide 6
Birch
White birch
under my window
covered with snow,
Exactly silver.
On fluffy branches
snow border
Brushes blossomed
White fringe.
And there is a birch
In sleepy silence
And the snowflakes are burning
In golden fire
A dawn, lazy
Walking around,
Sprinkles branches
new silver
Slide 7
For the first time the poem "Birch" was published in 1914 in the children's magazine "Mirok", although it was written by the author back in 1913. Since then, it has become widely known and loved by the reader. The poem is dedicated to the beautiful birch. It expresses Yesenin's love for the nature of his native land.
Slide 8 (video)
Bird cherry sprinkles with snow,
Greenery in bloom and dew.
In the field, leaning towards shoots,
Rooks are walking in the band.
The silk grasses will vanish,
Smells like resinous pine.
Oh you, meadows and oak forests -
I'm besotted with spring.
Rainbow secret news
Glow in my soul.
I think about the bride
I only sing about her.
Rash you, bird cherry, with snow,
Sing, you birds, in the forest.
Unsteady run across the field
I will spread the color with foam.
Slide 9
“The bird cherry is throwing snow ...” - a poem dated 1910 and referring to the early landscape lyrics Yesenin. It reflected the fresh look of the young poet on the beauty of nature. The work is imbued with joy caused by the coming spring - sometimes renewal, rebirth, love. Lyrical hero besotted by her.
Slide 10
The themes of the motherland and nature in Yesenin's poetry are closely interconnected. The poet cannot be indifferent to its fields, meadows, rivers, while describing nature, the poet thereby describes the homeland, since nature is part of the homeland. Great love for Russia gave Sergei Yesenin the right to say:
I will chant
With the whole being in the poet
sixth of the earth
With a short name "Rus".
When preparing the project, I listened to many poems by Sergei Yesenin performed by famous theater and film artists. I especially liked the poems performed by the artist Sergei Bezrukov. Fascinating poetry reading!
Slide 11 (video)
slide 12
Yesenin's poetry is close and dear to many nations, his poems are heard in different languages.
The merit of the poet is great.
His works touch on topics close to the people.
Yesenin's language is simple and accessible.
Poetry excites the heart, attracts with its originality and poetic beauty.
Yesenin is a lover of life. And he embodies this quality in his poems, reading which you involuntarily begin to look at life from the other side, treat everything easier, learn to love your land,
I'm in love with Yesenin's lyrics!!!
slide 13
While working on the project, I found out:
- The main theme of Sergei Yesenin's lyrics is the theme of nature and the Motherland.
- In his poems, the author speaks with love and tenderness about the nature of our country.
- Reading Yesenin's poems, I realized that nature has a soul, it is alive.
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Slides captions:
Purpose: To understand the attitude of the poet to his native nature on the example of S. Yesenin's poetry. Tasks: To study the poet's biography To pick up poems about nature To learn to expressively read poetry Answer the question: How did the poet treat his native nature? Project result: Expressive poetry reading Computer presentation
Sergei Alexandrovich Yesenin Sergei Yesenin was born on September 21, 1895 in an ordinary peasant family and from an early age had a delicate and vulnerable soul and temperament. His mother and father lived in the village of Konstantinov, but he was raised by his maternal grandfather. It was he, being a wealthy and intelligent man who loves books, who taught the still very young Yesenin to love nature and art, which later became one of the main themes of his creative activity.
About the poet 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, directed his natural talent. Yesenin himself at different times names different sources that fed his work: songs, ditties, fairy tales, spiritual poems, poetry of Pushkin, Lermontov, Koltsov, Nikitin.
Many wonderful poems by S. Yesenin are dedicated to native nature. They must be read carefully, trying to understand the basic mood, to get used to the rhythm, to the music of the verse, in order to understand how words form into stanzas.
White birch Under my window Covered with snow Like silver. On the fluffy branches With a snowy border, White fringe blossomed tassels. And the birch stands In sleepy silence, And snowflakes burn In golden fire. And the dawn, lazily circling, Sprinkles branches with new silver. Birch
For the first time the poem "Birch" was published in 1914 in the children's magazine "Mirok", although it was written by the author back in 1913. Since then, it has become widely known and loved by the reader. The poem is dedicated to the beautiful birch. It expresses Yesenin's love for the nature of his native land.
“Bird cherry pours snow ...” - a poem dated 1910 and related to Yesenin's early landscape lyrics. It reflected the fresh look of the young poet on the beauty of nature. The work is imbued with joy caused by the coming spring - sometimes renewal, rebirth, love. The lyrical hero is drugged by her.
The themes of the motherland and nature in Yesenin's poetry are closely interconnected. The poet cannot be indifferent to its fields, meadows, rivers, while describing nature, the poet thereby describes the homeland, since nature is part of the homeland. Great love for Russia gave Sergei Yesenin the right to say: I will sing with all my being in the poet One sixth part of the earth With the short name "Rus".
Yesenin's poetry is close and dear to many nations, his poems are heard in different languages. The merit of the poet is great. His works touch on topics close to the people. Yesenin's language is simple and accessible. Poetry excites the heart, attracts with its originality and poetic beauty. Yesenin is a lover of life. And he embodies this quality in his poems, reading which you involuntarily begin to look at life from the other side, treat everything easier, learn to love your land. I'm in love with the lyrics of Sergei Yesenin!!!
In the course of working on the project, I found out: The main theme of Sergei Yesenin's lyrics is the theme of nature and the Motherland. In his poems, the author speaks with love and tenderness about the nature of our country. Reading Yesenin's poems, I realized that nature has a soul, it is alive.
Internet resources used: 2. Video: https://youtu.be/8nAzCk1laDI https://my.mail.ru/bk/volodin.52/video/_myvideo/1943.html 1. Photos and pictures http://www .sesenin.ru/# http://900igr.net/kartinki/literatura/Esenin/Sergej-Esenin.htm http://dreempics.com/img/picture/Jul/17/50c6c87dc3dc3402ee657c7aa94e10ef/1.jpg l
Every poet enters the temple of nature with
his "prayer" and his palette.
V. Bazanov
Probably, for every person who was born in Russia, the feeling and perception of nature has always been as reverent as, perhaps, no one else in the world. Spring, summer, autumn, and especially the Russian “zimushka-winter”, as they lovingly used to say about it in our simple but great Russian people, took and take the soul for a living, forcing to experience deep feelings similar to exciting love experiences. Yes, and how not to love all the beauty and charm that surrounds us: white snow, fresh greenery of vast forests and meadows, dark depths of lakes and rivers, pure gold of falling leaves, which from childhood please the eye with their multicolor, overflowing with seething emotions the excited heart of any person, but especially the poet and creator of the word. Such as the wonderful poet Sergei Alexandrovich Yesenin, who in his many-sided work, in his sincere lyrics, left a special place for the sometimes harsh, but always beautiful Russian mother nature. And it's not smart.
Born in the village of Konstantinovo, in the center of Russia, Yesenin saw and contemplated around him such indescribable beauty and charm that can only be found in the Motherland, whose vast expanses, whose solemn grandeur inspired already in childhood those thoughts and reflections that he conveyed to us later in his inspirational and moving lyrics.
The village of Konstantinovo, native Ryazan region - these places aroused in Sergei Yesenin awe and a poetic passion for creativity. It was the native north that was the most inspiring for the poet. I think that only there, only in the north of Russia, with its special, strong, but gentle spirit, could one be imbued with the same feelings that Yesenin experienced, giving birth to these magical lines on one of the long winter evenings:
I'm going. Quiet. Ringing is heard
Under the hoof in the snow
Only gray crows
Made a noise in the meadow.
This is not the usual "Coachman's Romance". It lacks both the coachman and the rider, they are replaced by the poet himself. The trip does not cause him any associations, he does without the usual road sadness. Everything is exceptionally simple, as if written off from nature:
Bewitched by the invisible
The forest slumbers under the fairy tale of sleep,
Like a white scarf
The pine has tied up.
In the simplicity of these lines, in the naturalness of the style, lies the true genius and mastery expressed by the poet with the help of the mighty Russian language. This mastery makes one imagine so vividly a blizzard, a winter forest, and the sound of hooves on a snow crust that one no longer needs to see the real picture: the imagination, released into the wild, immediately completes the picture of the winter forest. Well, how can one not remember Surikov, Shishkin, Savrasov!
Both the painter’s brush and Yesenin’s pen vividly and brightly brought out on white sheets of paper those wonderful paintings that did not have to go far from home to Spain, France, Germany or anywhere else: they were right here - in the forests Ryazan, in the white nights of St. Petersburg, in the autumn gilded Konstantinov. Wherever the poet cast a glance, everywhere they seemed to roll over him full of creative inspiration, sometimes permeated with sadness and quiet longing, like nature itself:
You are my abandoned land,
You are my land, wasteland,
Haymaking uncut
Forest and monastery.
When you read Yesenin's poems about nature, all the fullness of the power of the great and mighty Russian word falls upon your consciousness, forcing it to appeal to true life images, perhaps never truly seen, but so surprisingly real.
Goy you, my dear Russia,
Huts - in the robes of the image ...
He can not see the end and edge -
Only blue blinds the eyes.
Only the words of such a magnificent master as Sergei Yesenin can create images that cannot be seen otherwise than with your own eyes. And strength and inspiration, which can rarely be found even in the smell, sounds, color of the life around us, but captured on paper, gush from every Yesenin's line - as in the passage below:
How birds whistle miles
From under the horse's hooves.
And the sun splashes with a handful
Your rain on me.
These short lines fit, without losing their fullness, an amazing image of a wide steppe road, free wind and a bright sunny day. Many words would not suffice for another to accurately, vividly and aptly depict the attractive view of the Russian country road that involuntarily appears before us.
You read and enjoy the simplicity of the poetic skill of Sergei Yesenin, who is not without reason put in one of the first places among the great Russian poets.
Yesenin claimed to be "the last poet of the village" in Russia. In his poems, small details of village life are lovingly written out:
It smells of loose drachens;
At the threshold in a bowl of kvass,
Over turned stoves
Cockroaches climb into the groove.
Soot curls over the damper,
In the oven, the threads of popelits,
And on the bench behind the salt shaker -
Husks of raw eggs.
Every phrase is an artistic detail. And we feel: every detail evokes the tenderness of the poet, all this is dear to him.
He often resorts to impersonation. His bird cherry “sleeps in a white cape”, willows “cry”, poplars “whisper”, “a cloud tied lace in a grove”.
Sergey Yesenin's nature is multicolored, colorful. The poet's favorite colors are blue and blue. These color tones enhance the feeling of the immensity of the blue expanses of Russia (“blue that fell into the river”, “only blue sucks eyes”, “on a heavenly blue dish”),
And always the description of nature by Sergei Yesenin correlates with the expression of the poet's moods. No matter how closely his name is connected with the idea of poetic pictures of Russian nature, his lyrics are not landscape in the corresponding sense of the word. Maple, bird cherry, autumn in the poet's poems are not just signs of native Russian nature, they are a chain of metaphors with which the poet talks about himself, about his moods, about his fate. The poetry of Sergei Yesenin also teaches us to see, feel, reflect, that is, live.