Yesenin is a representative of the new, post-Nekrasov generation of peasant and landscape poetry. Yesenin's poetry is a source of deep reflection on many social and philosophical problems: history and revolution, village and city, life and death, state and people, people and individuals, and what interests us most of all - nature and man. Expressing deep human feelings through pictures of nature is the most characteristic feature Yesenin's lyrics. Yesenin's lyrics are incredibly filled with soul and movement. She is very multifaceted. Openness of style, pressure, scope, feelings prevailing over rationalism, “a riot of eyes and a flood of feelings” “I don’t regret, I don’t call, I don’t cry” S. Yesenin. Collection op. in 5 volumes Fiction. M. 1961 - her emotional business cards. Expressing himself by conveying images extremely laconically, but, nevertheless, as picturesque as possible, his lyrics make us think about how Yesenin was able to convey such an image. How I managed to feel like a “one-legged maple”, to feel how “the bush of my head withered” “Hooligan” S. Yesenin. Collection op. in 5 volumes Fiction. M.1961? But Yesenin’s lyrics were not just the lyrics of nature. And if he cultivated his imagery in nature, his sensuality in his nature, then he found persuasiveness in his era. Time lived in his poetry. The turbulent time of wars and revolutions, the uncertainty in the air, could not help but leave its mark on the poetry of a person who was not indifferent to the fate of the Motherland. She is also imbued with the understanding that the end of the Rus' in which he was born, the patriarchal, mossy, dense Russia that he felt, is near. Understanding the rigidity of the new. Understanding that that Russia cannot be returned with compassion “for everything living on earth.” The one who lives in Yesenin's lyrics, his lyrical hero is complex. His character is dramatic, and often even tragic. He, this hero, exists at that point in the country’s destiny when not only the country is changing, but also the age-old way of life, the structure of social thought. Yesenin's poetry subjugates us and does not let us take a step. Her emotional, soulful dance of poetry is incredibly intertwined with a clear internal rhythm. No matter how it may sound, he was a truly inspired singer of his native land, its nature. The first publications of the young man's poems, unknown poet in print dated 1914. Then the collections of his poems “Radunitsa” (1916) and “Dove” (1918) appeared. With these books, Yesenin revealed to the reader the charm and magic of Central Russian nature, the hidden world of his lyrical hero. Yesenin had the rare gift of hearing the almost inaudible, quiet vibrations of nature. He could hear “the ringing of broken sedge” and how “the barley straw gently groans” “The road was thinking about the red evening” S. Yesenin. Collection op. in 5 volumes - M.: Fiction.. 1961. The beauty of his poetic vision of nature, its “humanization”, makes anyone see it with him. Bird cherry trees “in white capes”, “saddened spruce girls”, “green-swept birch”, “maple on one leg”, “swallow stars”. All this mystical, quiet fairy forest grows throughout its vast “blue Rus'”, as an example of an absolute, in its uniqueness, metaphorical image. The man who managed to grow this forest and populated it with a “crying blizzard”, “autumn, a red mare scratching her mane”, “a schematic wind” is a subtle lyricist, a man of nature who found and understood her soul. The technique of personification, the most frequent technique to which Yesenin resorted in his natural lyricism, made his style completely unique, practically inaccessible for copying. Yesenin should in no way be called only a landscape painter, a singer of his native bushes and valleys. He was a comprehensive poet, with a great understanding of the community and integrity of the world, a poet of a very tragic fate. What is his death worth? But this same man, a poet, reveled in life, loved life so much, without any regard for human opinion. This same man, in his fierce love, was poetically observant, precise, noting, capturing in a rich image a second manifestation of beauty or tenderness. Especially natural beauty. How precise and beautiful images he could fill the seemingly simple and unpretentious things that surrounded him - let us remember the poems that he himself named first:
“Where the cabbage beds are
The sunrise pours red water,
Little maple baby to the uterus
The green udder sucks” “Where the cabbage beds are” S. Yesenin. Collection op. in 5 volumes - M.: Fiction. . 1961
Stunningly beautiful and sensual, but so simple. Absolutely all poetic objects, all images begin to live and move here. There was no such dynamics in nature paintings as Yesenin’s in Russian landscape poetry either before or after Yesenin. Yesenin’s nature is filled with color, there are countless colors, the palette is very wide. It contains the slightest shades of colors. There are also harmonious, easily combined and sharply contrasting: “silver dews are burning” “With Good morning!” S. Yesenin. Collection op. in 5 volumes - M.: Fiction. . 1961, “golden-brown whirlpool”, “golden rot in the fields”, “blue fire”. Everything seems to glow, play, refracting in the rays of the sun or sparkling under the moon. But the main Yesenin colors are blue and blue. These colors in Yesenin create an atmosphere of joy of being. By simple sampling, I tried to count Yesenin’s words based on the color blue or blue. I started and stopped, realizing that on just one page of a five-volume book there could be up to three of them. These colors, the colors of the sky, the colors of immense serenity, emphasize and enhance the depth of the image. There is some piercingness and endless space in blue. Perhaps for Yesenin this color was something more than just a color; perhaps it was some kind of childhood memory for him, or symbolized a huge, vast Russia. It seems to me that for Yesenin, “blue” is everything. Everything that breathes and everything that lives; what used to be called “ether”. “The blue now dozes, then sighs” “The melted clay dries” S. Yesenin. Collection op. in 5 volumes - M.: Fiction. 1961. Blue is the color of our planet, the color of the globe. Any comparison, any metaphor, symbolism, and Blue colour was, without a doubt, symbolic for Yesenin; he does not exist on its own, not for the sake of the beauty of the style. He uses them only in order to more fully convey his feelings, their emotional structure, impulse. Is his Rus' blue “I left my home” S. Yesenin. Collection op. in 5 volumes - M.: Fiction.. 1961 or “the blue sucks the eyes” “Go away, my dear Rus'” S. Yesenin. Collection op. in 5 volumes - M.: Fiction. 1961, but it is always beautiful and imaginable:
“There are bagels hanging on the fences
Warmth pours down like bread mash.
Sun planed shingles
They are blocking the blue” “There are bagels hanging on the fences” S. Yesenin. Collection op. in 5 volumes - M.: Fiction.. 1961
There was also, of course, the color gold, but this is a separate, personal part of Yesenin’s poetic range. This color was for him a connecting, almost druidic thread between him and nature, autumn, the withering of leaves on the trees. The idea of the original, deep unity of man and nature is undeniable for Yesenin. She is one of the main driving forces his poetry. The roots of this poetry are folk. Among the ancient Slavs, as well as among the Celtic peoples, trees were revered as living beings. And everyday life depended heavily on wood. Shoes, dishes and other household items were made of wood. “Everything is from the tree - this is the religion of thought of our people,” said Yesenin: “we are all the apple trees and cherries of the blue garden” “Singing Call” by S. Yesenin. Collection op. in 5 volumes - M.: Fiction.. 1961. Therefore, it is not surprising that the main, “end-to-end” image of all his poetry was nature itself, personified in trees, which most visually resemble a person (crown-head, trunk- body, branches-arms). There are two images animated by Yesenin, which he carried throughout his entire poetic life. This is maple and birch. The Yesenin birch is multi-colored and absolutely alive: “Birches! Birch girls!” “Letter to my sister” S. Yesenin. Collection op. in 5 volumes - M.: Fiction.. 1961. She can be “green-braided”, white - “slender and white as a birch tree” “To the warm light, to the father’s threshold” S. Yesenin. Collection op. in 5 volumes - M.: Fiction. 1961, “birch-candle”, also blue, walking, any. It was the birch tree that became one of the initial bridges from Yesenin to the reader. The first published poem for Yesenin was “Birch”, which appeared in children's magazine“Mirok” in 1914. Having lived in Yesenin’s lyrics throughout his entire poetic life, the birch tree turned for Yesenin from just a girl into a certain absolute of tenderness, silence, peace and tranquility: “And our path is tear-stained with birches” “Pugachev” S. Yesenin. Collection op. in 5 volumes - M.: Fiction.. 1961, “birch rustle of shadows” “I remember, beloved, I remember” S. Yesenin. Collection op. in 5 volumes - M.: Fiction.. 1961. The Yesenin birch is perhaps one of the most beautiful poetic images in Russian poetry, personifying a girl, a woman:
“I'm back
To your home
Green-haired,
In a white skirt
There is a birch tree over the pond” “My way” S. Yesenin. Collection op. in 5 volumes - M.: Fiction. 1961
Birch branches for Yesenin can be completely different. Either these are “silk braids” or “green earrings”. A birch trunk could turn into the most delicate “white milk” or become “white chintz”, “canvas sundress”. You can see that for Yesenin the birch is an absolute prototype of the feminine in nature and life, as well as a thread connecting him with his small homeland. Of course, the use of the image of a birch tree is most characteristic of the early period of Yesenin’s work. But this image does not leave Yesenin’s lyrics throughout his life. It also appears in his very late work. It appears every time the poet turns to his native place, to his small homeland, Konstantinovo: “Letter to my sister,” “My path,” “You sing to me that song from before.” The second stunning image created by Yesenin is a maple tree. But this image is very personal, not masculine in general, but applied to oneself, to one’s emotional world, to one’s own experiences. No, this is not the poet’s poetic double. It's a friend. The unity of man and nature, in Yesenin’s depiction, can be almost self-portrait: “ah, the bush of my head has withered” “Hooligan” by S. Yesenin. Collection op. in 5 volumes - M.: Fiction. 1961., “that old maple tree’s head looks like me” “I left my home” S. Yesenin. Collection op. in 5 volumes - M.: Fiction. 1961, “I seemed to myself to be the same maple” “You are my fallen maple, icy maple” S. Yesenin. Collection op. in 5 volumes - M.: Fiction. 1961.. “Klenonechek” appears in Yesenin’s very first poems and, undergoing various metamorphoses, illnesses, aging reaches the end of creativity, becoming completely tangible in the stunning poem “You are my fallen maple.” As a rule, in Yesenin’s poetry, maple appears where the poet touches on the theme of a person who has lost his way. Where a person is scandalous, sick at heart, yearning: “I don’t regret, I don’t call, I don’t cry”, “Son of a bitch”, “Grey, gloomy heights”, “Poem about 36”, “Sorokoust”, etc. By creating this image, the poet sought to bring reality and imagery closer together. Therefore, sometimes he characterizes the maple with adjectives in their literal sense: (old, fallen, rotten, small, etc.), and often animates it, drawing it metaphorically: (maple on one leg, etc.) With the help inconsistent definitions(maple on one leg), the poet gives the tree-image more life. The maple is as much a living participant in the scene as the birch: “the maples wrinkle with the ears of their long branches” “Soviet Rus'” by S. Yesenin. Collection op. in 5 volumes Fiction. M. 1961..
This desire to humanize nature is deeply rooted in folklore. All folk, ancient metaphors were based on man’s desire to make natural phenomena understandable for himself, to “domesticate” nature itself. Make them someone to talk to, to ask for intercession. If we take Russian folk tales, then in almost every one nature was a friend and assistant to man. Yesenin’s landscape lyrics, if they can be fully called such, are, in my opinion, primarily characterized by some difference in their understanding and feeling of nature than that of many Russian poets and writers who operated in their work with images of Russian nature. In his poetry the element of Russian folklore itself is much stronger. Yesenin often borrows a well-known folk technique for describing nature; several phenomena or material objects or animals are taken and combined in one image: “the hut-old woman with the jaws of the threshold” “The road was thinking about the red evening” S. Yesenin. Collection op. in 5 volumes Fiction. M. 1961., “The moon, the sad rider, dropped the reins” “The mountain ash turned red” S. Yesenin. Collection op. in 5 volumes Fiction. M. 1961.. Yesenin himself called this method of unification a “screensaver”. Having developed the “screensaver”, the poet could build a whole chain of poetic images, stringing them on top of each other, and creating an endless narrative, which only he could interrupt at his own discretion:
“The word swells with wisdom,
Elm ears of the field.
Above the clouds like a cow
The dawn lifted its tail.
I see you from the window,
The creator is generous,
A robe over the earth
Hanging the skies.
the sun is like a cat
From the heavenly willow
With a golden paw
Touches my hair” “Transfiguration” by S. Yesenin. Collection op. in 5 volumes - M.: Fiction. 1961..
Yesenin took many of these “screensavers”, or rather the basis for “screensavers” directly from Russian riddles, from folk mythology: (the month is a horseman, a heavenly sower, the wind is a horse), and created his own unique world of folk-poetic images. The animation of the landscape, which is common in folk poetry, and living parallels in Yesenin’s work play a lesser role than the methods of lyrical interpretation of the image that he himself found. But all the same, folk poetic “feeding”, even being creatively developed and reworked by Yesenin, remained dominant in the creation of poetic images. There is a mythological presence, that ancient, pagan, shamanic essence of Rus'. Nature then was an independent, formidable, but at the same time very close, kind force for man. A power that could punish, but could also love tenderly, like a mother loves a child:
“I was born with songs in a grass blanket,
The spring dawns twisted me into a rainbow.
I grew to maturity, grandson of the Kupala night,
The sorcerer’s darkness prophesies happiness for me” “Mother in a bathing suit” S. Yesenin. Collection op. in 5 volumes - M.: Fiction. 1961.
This is reminiscent of a folk song-spell. In Yesenin’s work one can feel that ancient attitude towards nature, when man was on an equal footing with it and did not just try to conquer and control it. Yesenin in almost every poem recognizes nature as Living being. Another confirmation of the direct connection of Yesenin’s lyrics with the Slavic, folk language tradition can be the abundant use of folk vocabulary. Here is a small part of the dialectisms that are often found in his early work: “zhamkat” (chew), “buldyzhnik” (buyan), “korogod” (round dance), “plakida” (mourner), “sutemen” (twilight), “elanka” "(clearing). Yesenin’s choice of verbs is also interesting. Apart from direct verbs reflecting action, “voiced verbs” are scattered throughout Yesenin’s poems, the forest “rings,” the river coos, the clouds “neigh,” the stars “chirp.” Yesenin completely feels independent nature, its animation.This sounds especially strong where nature is the only hero:
“Schemnik-wind with a cautious step
Crumples leaves along road ledges
And kisses on the rowan bush
Red sores to the invisible Christ” “Autumn” S. Yesenin. Collection op. in 5 volumes - M.: Fiction. M. 1961.
“Autumn”, in general, is one of Yesenin’s most lively, in the sense of naturally living, poems. Autumn is clearly depicted here with the colors “red,” “rowan,” and the embodied image of “a red mare scratching her mane.” Here Yesenin is simply an internal observer, he feels like a part of nature, its student and good neighbor. He is one with her. He doesn’t paint it, he’s not a landscape painter, he’s not a pastoral, sweet poet who admires only the beauty of the sunset and a bird on a branch. He seems to live in it:
“Forgetting human grief,
I sleep on clearings of branches.
I pray for the red dawns,
I take communion by the stream” “I am a shepherd, my chambers...” S. Yesenin. Collection op. in 5 volumes - M.: Fiction.. 1961.
That is why he does not have purely landscape poems. For Yesenin, landscape is not just a way to illustrate the feelings that possess the poet. Nature is a close creature for him, whose sensual, emotional coloring coincides with Yesenin’s. Nature and man exist side by side, they live side by side, they are friends. Feeling eternity, the repeating cycle of life and death, nature, together with Yesenin, is calm. They do not try to interfere with the natural flow of life:
“Whom should I feel sorry for? After all, everyone in the world is a wanderer -
He will pass, come in and leave the house again.
The hemp plant dreams of all those who have passed away
With a wide moon over the blue pond” “I will not return to my father’s house” S. Yesenin. Collection op. in 5 volumes - M.: Fiction.. 1961.
From all of the above, it logically follows that the poet, who so idolized his native nature and so thoughtfully studied the folklore of the people, valued his fatherland above all else in the world. Love for nature, for his native Ryazan fields, for his “country of birch chintz”, understanding of his own origins, his origins and roots turns Yesenin’s lyrics into a huge poem about home, about Russia, and about nature as part of it. The significance of Yesenin’s lyrics lies in the fact that in it the feeling of love for the Motherland is expressed not abstractly and rhetorically, but specifically, in visible and clear landscape images:
“Oh Rus' - raspberry field
And the blue that fell into the river -
I love you to the point of joy and pain
Your lake melancholy” “The hewn horns began to sing” S. Yesenin. Collection op. in 5 volumes - M.: Fiction.. 1961.
In my opinion, few people managed to write about Russia as heartfeltly and so imaginatively as he did. This is how they write about a beloved woman, about a mother, about a living person. And in these verses, Rus' appears before us alive, capable of yearning and experiencing pain. Yesenin is a son of Russia, compassionate with his “country of birch chintz,” filled with “blue,” and living in it. And always this “blue”, “blue that fell into the river” emphasizes the moment of his merger with Russia and its nature. He, as a person who has experienced many hardships and misfortunes, but who has also known the great happiness of love, understands that even in the most difficult moment, or in a moment of absolute human joy, the Motherland, native nature is something that will always share with you both happiness and sorrow . You will turn to her at any moment and be accepted:
“But most of all
Love for the native land
I was tormented
Tormented and burned” “Stanzas” by S. Yesenin. Collection op. in 5 volumes - M.: Fiction.. 1961.
Yesenin understands that leaving nature, the homeland, and one’s roots is tragic. However, the tragedy of Yesenin’s fate lies in the fact that, being a more powerful creative unit, he, like every truly great artist, was equally great in both strength and weakness. Realizing the destructiveness of this separation, he was unable to resist it, both personally and under the pressure of circumstances. Over time, Yesenin’s lines begin to acquire a fatal connotation:
"I do not regret, do not call, do not cry,
Everything will pass like smoke from white apple trees.
Withered in gold,
I won't be young anymore.
Now you won't fight so much,
A heart touched by a chill,
And the country of birch chintz
It won’t tempt you to wander around barefoot” “I don’t regret, I don’t call, I don’t cry” S. Yesenin. Collection op. in 5 volumes - M.: Fiction. 1961.
You can trace and feel how gradually Yesenin comes to feel the eternal circular, repeating flow of life, and the inevitability of death as an immutable law of this life. IN last years Yesenin is strangely divided in his life. In the East, in his depiction of nature, peace plays, spring “evening light of the saffron land, roses quietly running through the fields” “Evening light of the saffron land” S. Yesenin. Collection op. in 5 volumes - M.: Fiction.. 1961.. The world is filled with “silent cypress trees at night” “Why does the moon shine so dimly” S. Yesenin. Collection op. in 5 volumes - M.: Fiction.. 1961., with rose petals that “like lamps burn” “The Blue Homeland of Firdusi” S. Yesenin. Collection op. in 5 volumes - M.: Fiction.. 1961., “the smell of oleander and gillyflower” is in the air. The picture of native nature is completely opposite. There is sad small forest there, there is winter and snowstorm, nature seems to be sleeping. The poem “You are my fallen maple, icy maple” looks especially poignant. Yesenin identifies his native landscape with a place where “frozen aspens”, “frozen birches” reign, where “birches in white are crying through the forests”, there are no flowers on the linden trees, there is snow and frost on the “linden trees”, there you have to “honor the blizzard for blue pollen of May” “Maybe too late, maybe too early” S. Yesenin. Collection op. in 5 volumes Fiction. M. 1961 .. Yesenin’s lyrics “get colder”. She becomes almost hysterical. Summer is leaving it, instead of gold and blue, instead of eternal “blue” everything gradually becomes white, sometimes snowy. The birches are frozen, his favorite maple stands “icy”, and it’s not a maple anymore, but “just a shameful pole - they should hang it on it, or sell it for scrap” “Blizzard” by S. Yesenin. Collection op. in 5 volumes - M.: Fiction.. 1961.. Nature seems to freeze. Nature is here, it hasn’t gone anywhere, but it doesn’t have that violent movement, it doesn’t have the dynamics that it had before. Everything comes to an end. The description of nature resembles its own epitaph:
Snowy plain, white moon,
Our side is covered with a shroud.
And birches in white cry through the forests.
Who died here? Died? Isn't it me?
Yesenin's nature went through everything with him life cycles- spring, summer, autumn, forever stopping at the point of winter. The creative legacy of S. A. Yesenin is very close to today’s reviving ideas about the world and nature, where man is only a particle of living nature, not opposing it, but depending on it and living with it. The feeling of nature, the feeling of a person being in it, the unity of the world, this is Yesenin’s poetic testament. Finding ourselves in the world of his poetic images, we, willingly or unwillingly, can feel like brothers and sisters of the birch, maple, rowan bush, various “animals,” an endless field, the moon and the sun. Having borrowed from the people, in folk mythology and folklore, their loving, reverent view of nature, Yesenin developed it and was able to convey it to us, translated what our ancestors felt, understanding and feeling nature as themselves. His image of nature helps us feel more human and not lose our humanity.
(315 words) Sergei Yesenin is a man with a primordially Russian soul. He was born into a simple peasant family, in the small but picturesque village of Konstantinovo, where his boundless love for the Motherland was formed. Many of Yesenin’s poems are the result of the indestructible union of the poet and Russian nature as a living creature. That's why inner world the lyrical hero almost always resonates with her essence, her multifaceted soul. It is reflected in the eyes of a person contemplating all the incomprehensible beauty of Rus', and sounds like an intoxicating voice in his heart. Let us also plunge into this bewitching symphony created by the poetic genius of Yesenin.
Fast forward to Ryazan region, where the village of Konstantinovo stands on the right bank of the Oka. Evening. Here droplets of dew sparkle on the grass, somewhere far away you can hear the song of a nightingale - as if he is saying goodbye to the passing day. Moonlight pours onto the roof of the house, near which there are birch trees that look like “big candles”, this makes it warm and cozy. And somewhere across the river, a watchman with a “dead mallet” guards the peace of this serene region. This is how we see Konstantinovo through the eyes of a fifteen-year-old poet, who captured his native village in the poem “It’s already evening. Dew…”, and just two years after writing it, Yesenin actually leaves his father’s house forever. The work “Winter Sings and Calls...” dates back to the same period. The bright landscape of the coldest and most merciless time of the year comes to life in simple lines, giving birth to wonderful images in the head. We can even observe the struggle between the evil and harsh winter and the beautiful and smiling spring, which, in the end, invariably wins. Already, while in Moscow, Yesenin will write “I left my native home,” but now here the feeling of calm is replaced by boundless melancholy. The poet will never again find his “blue Rus'” the way it was in childhood. In this poem, the lyrical hero perceives the world and people through the prism of natural forms and phenomena. In addition, a comparative image appears here, reflecting the poet himself: “...Because that old maple / Head looks like me.”
It is easy to notice that the theme of nature in Yesenin’s lyrics is inextricably linked with the theme of his native land, which is the embodiment of all peasant Rus', painfully beloved by the poet.
Interesting? Save it on your wall!Sergey Yesenin - the most popular, most read poet in Russia.
The work of S. Yesenin belongs to the best pages not only of Russian, but also. world poetry, which he entered as a subtle, soulful lyricist.
Yesenin's poetry is distinguished by the extraordinary power of sincerity and spontaneity in the expression of feelings, and the intensity of moral searches. His poems are always a frank conversation with the reader and listener. “It seems to me that I write my poems only for my good friends,” the poet himself said.
At the same time, Yesenin is a deep and original thinker. The world of feelings, thoughts and passions of the lyrical hero of his works - a contemporary of an unprecedented era of tragic breakdown - is complex and contradictory. human relations. The poet himself also saw the contradictions of his work and explained them this way: “I sang when my land was sick.”
A faithful and ardent patriot of his Motherland, S. Yesenin was a poet, vitally connected with his native land, with the people, with his poetic creativity.
THE THEME OF NATURE IN YESENIN’S WORK
Nature is the all-encompassing, main element of the poet’s work, and the lyrical hero is connected with it innately and for life:
I was born with songs in a grass blanket.
The spring dawns twisted me into a rainbow"
(“Mother walked through the forest in her bathing suit...”, 1912);
"May you be blessed forever,
what came to flourish and die"
(“I don’t regret, I don’t call, I don’t cry...”, 1921).
The poetry of S. Yesenin (after N. Nekrasov and A. Blok) is the most significant stage in the formation of the national landscape, which, along with traditional motifs of sadness, desolation, and poverty, includes surprisingly bright, contrasting colors, as if taken from popular prints:
"Blue sky, colored arc,
<...>
My land! Beloved Rus' and Mordva!";
"Swamps and swamps,
Blue board of heaven.
Coniferous gilding
The forest is ringing";
"Oh Rus' - a raspberry field
And the blue that fell into the river..."
"blue sucks eyes"; “smells like apple and honey”; “Oh, my Rus', sweet homeland, Sweet rest in the silk of kupirs”; “Ring, ring, golden Rus'...”
This image of a bright and ringing Russia, with sweet smells, silky grasses, blue coolness, was introduced into the self-consciousness of the people by Yesenin.
More often than any other poet, Yesenin uses the very concepts of “land”, “Rus”, “homeland” (“Rus”, 1914; “Go you, Rus', my dear...”, 1914; “Beloved land! To the heart dreaming...", 1914; "The hewn horns began to sing...",<1916>; “Oh, I believe, I believe, there is happiness...”, 1917; "O land of rain and bad weather...",<1917>).
Yesenin portrays the heavenly and atmospheric phenomena- more picturesque, figurative, using zoomorphic and anthropomorphic comparisons. So, his wind is not cosmic, floating out of the astral heights, like Blok’s, but a living being: “a red, affectionate donkey,” “a youth,” “a schema-monk,” “thin-lipped,” “dancing trepak.” Month - “foal”, “raven”, “calf”, etc. Of the luminaries, in first place is the image of the moon-month, which is found in approximately every third work of Yesenin (in 41 out of 127 - a very high coefficient; cf. in the “star” Fet, out of 206 works, 29 include images of stars). Moreover, in the early poems up to about 1920, the “month” predominates (18 out of 20), and in the later ones - the moon (16 out of 21). The month emphasizes, first of all, the external form, figure, silhouette, convenient for all kinds of object associations - “horse face”, “lamb”, “horn”, “kolob”, “boat”; the moon is, first of all, light and the mood it evokes - “thin lemon moonlight”, “blue moonlight”, “the moon laughed like a clown”, “uncomfortable liquid lunarness”. A month closer to folklore, this fairy tale character, while the moon introduces elegiac, romance motifs.
Yesenin is the creator of a one-of-a-kind “tree novel”, the lyrical hero of which is a maple, and the heroines are birch and willow. Humanized images of trees are overgrown with “portrait” details: the birch has a “waist”, “hips”, “chest”, “leg”, “hairstyle”, “hem”; the maple has a “leg”, “head” (“You are a maple”) my fallen, icy maple..."; "I'm wandering through the first snow..."; "My path"; "Green hairstyle...", etc.). The birch tree, largely thanks to Yesenin, became the national poetic symbol of Russia. Other favorite plants are linden, rowan, and bird cherry.
More sympathetically and soulfully than in previous poetry, the images of animals are revealed, which become independent subjects of tragically colored experiences and with which the lyrical hero has a blood-related affinity, as with “lesser brothers” (“Song of the Dog”, “Kachalov’s Dog”, “Fox”, “Cow”, “Son of a bitch”, “I won’t deceive myself...”, etc.).
Yesenin’s landscape motifs are closely connected not only with the circulation of time in nature, but also with the age-related flow of human life - the feeling of aging and fading, sadness about past youth (“This sadness cannot be scattered now...”, 1924; “The golden grove dissuaded me. ..”, 1924; “What a night! I can’t...”, 1925). A favorite motif, renewed by Yesenin almost for the first time after E. Baratynsky, is separation from his father's house and return to his " small homeland": images of nature are colored by a feeling of nostalgia, refracted through the prism of memories ("I left my home...", 1918; "Confession of a hooligan", 1920; "This street is familiar to me...",<1923>; "Low house with blue shutters...",<1924>; “I’m walking through the valley. On the back of my head is a cap...”, 1925; "Anna Snegina", 1925).
For the first time with such acuteness - and again after Baratynsky - Yesenin posed the problem of the painful relationship between nature and the victorious civilization: “the steel chariot defeated the living horses”; "...they squeezed the village by the neck // Stone hands of the highway"; “like in a straitjacket, we take nature into concrete” (“Sorokoust”, 1920; “I am the last poet of the village...”, 1920; “The world is mysterious, my ancient world...”, 1921). However, in the later poems the poet seems to force himself to fall in love with “stone and steel”, to stop loving the “poverty of the fields” (“Uncomfortable liquid moonlight”,<1925>).
A significant place in Yesenin’s work is occupied by fantastic and cosmic landscapes, designed in the style of biblical prophecies, but acquiring a human-divine and god-fighting meaning:
"Now on the peaks of the stars
I’m shaking up the earth for you!”;
"Then I'll rattle my wheels
The sun and moon are like thunder..."
Yesenin’s poetry of nature, which expressed “love for all living things in the world and mercy” (M. Gorky), is also remarkable in that for the first time it consistently pursues the principle of likening nature to nature, revealing from within the wealth of its figurative possibilities: “The moon is like a golden frog // Spread out on calm water..."; “rye does not ring with a swan’s neck”; “Curly-haired lamb - month // Walking in the blue grass”, etc.
FOLK MOTIVES IN THE WORK OF S. YESENIN
Love for his native peasant land, for the Russian village, for nature with its forests and fields permeates all of Yesenin’s work. For the poet, the image of Russia is inseparable from the national element; big cities with their factories, scientific and technical progress, public and cultural life do not evoke a response in Yesenin’s soul. This, of course, does not mean that the poet was not at all concerned about the problems of our time or that he looks at life through rose-colored glasses. He sees all the ills of civilization in isolation from the land, from the origins of people's life. “Revived Rus'” is rural Rus'; The attributes of life for Yesenin are the “edge of bread” and the “shepherd’s horn”. It is no coincidence that the author so often turns to the form of folk songs, epics, ditties, riddles, and spells.
It is significant that in Yesenin’s poetry, man is an organic part of nature, he is dissolved in it, he is joyfully and recklessly ready to surrender to the power of the elements: “I would like to get lost in your hundred-ringed greenery,” “the spring dawns entwined me in a rainbow.”
Many images borrowed from Russian folklore begin to live their own lives in his poems. Natural phenomena appear in his images of animals, bearing the features of everyday village life. This animation of nature makes his poetry similar to the pagan worldview of the ancient Slavs. The poet compares autumn with a “red mare” who “scratches her mane”; his month is a sickle; Describing such an ordinary phenomenon as the light of the sun, the poet writes: “the oil of the sun is pouring on the green hills.” The tree, one of the central symbols of pagan mythology, becomes a favorite image of his poetry.
Yesenin's poetry, even clothed in traditional images of the Christian religion, does not cease to be pagan in its essence.
I’ll go in the bench, bright monk,
Steppe path to the monasteries.
This is how the poem begins and ends with the words:
With a smile of joyful happiness
I'm going to other shores,
Having tasted the ethereal sacrament
DEFENSE OF A LITERATURE PROJECT.
Slide 1
The project I worked on is called “Native nature in the lyrics of Sergei Yesenin”
Slide 2
The goal of my project: Understand the poet’s attitude to his native nature using the example of S. Yesenin’s poetry.
Tasks:
Study the biography of the poet
Choose poems about nature
Answer the question: How did the poet feel about his native nature?
The results of my project were:
Expressive poetry reading
Computer presentation
Why did I choose this particular topic? Because I like the poetry of S. Yesenin. I also really 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 all 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 the very beginning early years had a subtle and vulnerable soul and temperament. His mother and father lived in the village of Konstantinova, but his maternal grandfather was in charge of raising him. It is he, being prosperous and smart person, for those who love books, 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 and channeled his natural talent.
Yesenin himself different time calls different sources, which fed his creativity: songs, ditties, fairy tales, spiritual poems, poetry of Pushkin, Lermontov, Koltsov, Nikitin.
Slide 5
Many wonderful poems by S. Yesenin are dedicated to his native nature. They must be read carefully, trying to understand the main mood, get used to the rhythm, the music of the verse, in order to understand how the words fit into stanzas.
Slide 6
Birch
White birch
Below my window
Covered with snow
Exactly silver.
On fluffy branches
Snow border
The brushes have blossomed
White fringe.
And the birch tree stands
In sleepy silence,
And the snowflakes are burning
In golden fire.
And the dawn is lazy
Walking around
Sprinkles branches
New silver
Slide 7
The poem “Birch” was first 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 tree. It expresses Yesenin’s love for the nature of his native land.
Slide 8 (video)
The bird cherry tree is pouring snow,
Greenery in bloom and dew.
In the field, leaning towards escape,
Rooks walk in the strip.
Silk herbs will disappear,
It smells like resinous pine.
Oh, meadows and oak groves, -
I'm besotted with spring.
Rainbow secret news
Shine into my soul.
I'm thinking 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 tree is pouring snow...” is a poem dated 1910 and belonging to Yesenin’s early landscape lyrics. It reflected the young poet’s fresh look at the beauty of nature. The work is imbued with the joy caused by the coming spring - sometimes renewal, rebirth, love. The lyrical hero is besotted by her.
Slide 10
The themes of homeland and nature in Yesenin’s poetry are closely interrelated. A poet cannot be indifferent to its fields, meadows, and rivers; while describing nature, the poet thereby describes his 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 land
With a short name "Rus".
When preparing the project, I listened to many of Sergei Yesenin’s poems 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 near and dear to many peoples; his poems are heard in different languages.
The poet's merit is great.
His works touch on topics close to the people.
Yesenin's language is simple and accessible.
Poetry excites the heart and 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 more simply, 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.
Reading Yesenin's poems, I realized that nature has a soul, it is alive.
Ineffable, blue, tender...
My land is quiet after storms, after thunderstorms,
And my soul is a boundless field -
Breathes the scent of honey and roses.
S. Yesenin
S. Yesenin is a great Russian poet. His poems make an extraordinary impression - they are so light and natural. Yesenin's poems attract us with some special romance, lightness, and spirituality. S. Yesenin wrote many poems. He was called “the singer of birch chintz”, “the singer of love, sadness, sorrow” and even... “a mischievous Moscow reveler”. But the most important direction in his work is poems about nature.
Nature - forests, fields, rivers, seas, animals, birds and... And for S. Yesenin, nature is the eternal beauty and eternal harmony of the world.
In his poems about nature, S. Yesenin says that you can hear a stream speak, what songs birds sing, extraordinary in their beauty, and we read about his native Konstantinovsky sky in the poem “The sky is like a bell...”, and The month in the heavenly night blue becomes its sonorous language...
All the poet’s poems were written with great love for his native land.
Favorite region! I dream about my heart
Stacks of the sun in the waters of the bosom.
I would like to get lost
In your hundred-ringing greens.
Gently, without any external pressure, nature “heals human souls.” This is exactly how we perceive Yesenin’s poems about nature, this is exactly how, sublimely enlightened, they affect us.
The feather grass is sleeping. Plain dear,
And the leaden freshness of wormwood.
No other homeland
It will not pour my warmth into my chest.
In this poem, the poet seems to be telling us all that we need to look around us, at the world of earthly beauty that surrounds us, listen to the rustle of meadow grass, the song of the wind and...
All of Yesenin’s best works are connected with his father’s land and the beauty of nature. Yesenin rose to the heights of poetry from the depths of people's life. “The Ryazan fields, where the men mowed, where they sowed their grain,” were the country of his childhood. The world of folk poetic images surrounded him from the first days of his life.
I was born with songs in a grass blanket.
The spring dawns twisted me into a rainbow.
And then he grew up among the expanse of Central Russian nature, and she taught him to love “in this world everything that puts the soul into flesh.” Spending a lot of time among nature, the poet develops a special perception of the world, as if he feels like a part of this nature. You feel this when you read the poet’s poems.
The bird cherry tree is pouring snow,
Greenery in bloom and dew.
In the field, leaning towards escape,
Rooks walk in the strip.
Or “The fields are compressed...”
All the beauty of the native land was poured into poems full of people's love for the Russian land.
About Rus' - raspberry field
And the blue that fell into the river -
I love you to the point of joy and pain
Your lake melancholy.
“What a pure and what a Russian poet,” M. Gorky said about him.
Yesenin's poems touch on the most vital, the most fundamental, truly global problems our time. Whatever the most important aspects modern life, we have not touched upon today's reality, we are convinced that S. Yesenin thought and reflected on many of them.
Sweet, sweet, funny fool.
But where is he, where is he going?
Doesn't he really know that live horses
Did the steel cavalry win?
In this poem, S. Yesenin raised the acute problem of protecting the living beauty of nature - this most precious and holy gift of the Earth. Now it has become worldwide and concerns everyone. We can say that these are the poems of the century. They will concern not only our generation, but also the future. Yesenin’s poems not only teach to love and preserve the world of earthly beauty. They, like nature itself, contribute to the formation of the moral foundations of our character and, most importantly, our worldview. Yesenin's poems are imbued with love and tenderness for his native land. The poet loves “the light of the moon, mysterious and long,” and the cry of the willow, and the whisper of the poplars. Nothing can make him stop loving his “father’s fields.” S. Yesenin’s nature is multicolored, multicolored. It shimmers with all the colors of the rainbow. Like a person, she is born, grows, dies, is sad and rejoices. The poet masterfully shows this, for example, “a cloud knitted lace in the grove,” “the sleepy earth smiled at the sun.”
The theme of nature is the leitmotif in the work of S. Yesenin. I really like his poems. Today we say with alarm that in the pursuit of material things we are beginning to increasingly lose humanity and mercy. And here is Yesenin... He cleanses our souls, because real Russian literature has always been the conscience of the people, their soulfulness and moral support. Only a person whose soul is bright and pure, like a spring, and whose heart is full of inexhaustible love and mercy for all living things in the world, only a poet reveals all the beauty of his native land, a poet who firmly believes in the unchanging truth that “the world is beautiful” could do this feel, express yourself in your poems. The Yesenin Golden Grove, the land of Ryazan expanses - this is all dear and close to us, this is the living soul, the living beauty of Russia. Sergei Yesenin's poems are for centuries.