At the beginning of the 20th century, an amazing poet came to Russian literature, for whom the theme of nature became main theme creativity - Yesenin. It is often said that Yesenin, when depicting nature, resorted to the technique of personification - this is fundamentally incorrect. The originality of Yesenin’s approach to nature lay in the fact that the animation of nature in his poems, the likening of it to man, was not artistic device, but was an expression of a peculiar Yesenin worldview. He had no need to humanize nature - he already saw it as humanized, possessing the same soul as a person. The following images, for example, are not accidental in Yesenin’s poems: “After all, straw is also flesh” or “The field is freezing in long-eyed melancholy, / Choking on telegraph poles.” For the poet, all living things were essentially the same - a person, a dog, a cow, grass, trees, the sun, a month... That’s why Yesenin’s metaphors and comparisons are so natural, not deliberate, with the help of which he depicts nature: “As a tree quietly drops its leaves, / So I drop sad words”, “And outside the window the lingering wind is crying, / As if sensing the proximity of a funeral”, “The willows are crying, the poplars are whispering”, etc. Yesenin’s “Song of a Dog” has become a classic, in which, perhaps for the first time, the poet managed to convey a dog’s melancholy so simply and deeply - and all because for Yesenin this melancholy is essentially no different from human melancholy, and he doesn’t even need special efforts, to penetrate into the psychology of the beast. “Sergei 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,” M. Gorky wrote about the poet. “And the beast, like our smaller brothers, / Never hit us on the head,” Yesenin himself will say about himself.
And, of course, Yesenin’s nature is deeply national, it is the nature of the homeland, Russia, and these concepts - nature and homeland - are practically not shared by Yesenin. Even in the cycle “Persian Motifs,” the poet constantly recalls his native Russian nature: “No matter how beautiful Shiraz is, / It is no better than the expanses of Ryazan.” How many poets, starting with Pushkin and Lermontov, wrote about the Russian birch, and birches in the minds of the Russian reader are still “Yesenin’s”... Because no one, neither before nor after, was able to say about Russian nature such simple, understandable and sincere words. Because Yesenin did not “observe” nature, did not “contemplate” it, one cannot even truly say that he loved it - he lived by it, he himself was a part of nature. This determines the harmonious and peaceful structure that distinguishes Yesenin’s lyrics dedicated to nature.
However, in the post-revolutionary years, disharmonious motifs associated with the attack of the city on the countryside and, in particular, on nature, more and more persistently burst into Yesenin’s landscape lyrics. Yesenin perceived this conflict as a conflict between the living and the dead, wood and steel, and the fact that in this struggle the living must give in gave rise to the tragic pathos of such poems as “Sorokoust”, “I am the last poet of the village...”, “Song of Bread” and etc. The poem “Sorokoust” gives the most powerful and vivid image of the confrontation between nature and civilization - the opposition of the doomed “red-maned foal” to the triumphant iron, cast-iron train. Thus, the artistic world of such a harmonious poet as Yesenin is invaded complex problems, tragic motives.
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- how nature is depicted in Yesenin’s works
- essay on literature images of Russian nature based on Yesenin's poems
“My lyrics are alive with one great love - love for my homeland,” said Sergei Yesenin about his work. And the image of the homeland for him is inextricably linked with his native nature. Russian nature for Yesenin is the eternal beauty and eternal harmony of the world, healing human souls. This is exactly how we perceive the poet’s poems about our native land, this is exactly how, sublimely and enlightened, they act on us: Knitting lace over the forest In the yellow foam of the clouds. In a quiet slumber under the canopy I hear the whisper of the pine forest. The poet seems to be telling us: stop at least for a moment, look at the world of beauty around you, listen to the rustle of meadow grass, the song of the wind, the voice of a river wave, look at the morning dawn, heralding the birth of a new day, at the starry night sky. Living pictures of nature in the poems of Sergei Yesenin not only teach us to love the beauty of our native nature, they lay the moral foundations of our character, make us kinder and wiser. After all, a person who knows how to appreciate earthly beauty will no longer be able to oppose himself to it. The poet admires his native nature, filling his lines with tender awe, looking for bright, unexpected and at the same time very accurate comparisons:
Behind the dark strand of copses,
In the unshakable blue,
Curly lamb - month
Walking in the blue grass.
Often using the technique of personifying nature, characteristic of his lyrics, Yesenin creates his own unique world, making us see how “the moon, the sad rider, dropped the reins”, how “the dug-up road slumbered”, and “the thin birch tree... gazed at into the pond." Nature in his poems feels, laughs and is sad, is surprised and upset.
The poet himself feels at one with the trees, flowers, and fields. Yesenin’s childhood friend K. Tsybin recalled that Sergei perceived flowers as living beings, talked to them, confiding in them his joys and sorrows:
Aren't people flowers? Oh dear, feel that these are not empty words. Shaking the body like a stem, isn’t this head a golden rose for you? The poet’s emotional experiences and important events in his life are always inextricably linked with changes in nature:
Leaves are falling, leaves are falling,
The wind groans, long and dull.
Who will please your heart?
Who will calm him down, my friend?
In poems of the early period, Yesenin often uses Church Slavonic vocabulary. It represents the fusion of earth and sky, showing nature as the crown of their union. The poet embodies the state of his soul in pictures of nature, full of bright colors:
The scarlet light of dawn was woven on the lake.
On the forest, wood grouse are crying with ringing sounds.
An oriole is crying somewhere, burying itself in a hollow.
Only I don’t cry - my soul is light.
But the carefree youth is over. The colorful, light landscape is replaced by pictures of early withering. In Yesenin’s poems, human maturity often echoes autumn time. The colors have not faded, they even acquired new shades - crimson, gold, copper, but these are the last flashes before the long winter:
The golden grove dissuaded
Birch, cheerful language,
And the cranes, sadly flying,
They don't regret anything anymore.
And at the same time:
The smell of black burning is bitter,
Autumn set the groves on fire.
In the lyrics of an even later period, in Yesenin’s description of pictures of nature, there is a premonition of untimely death. The poems of this period are filled with longing for lost youth and tragedy.
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?
Perceiving nature as one with himself, the poet sees in it a source of inspiration. The native land endowed the poet with an amazing gift - folk wisdom, which was absorbed with all the originality of his native village, with those songs, beliefs, tales that he heard from childhood and which became the main source of his creativity. And even the exotic beauty of distant countries could not overshadow the modest charm of our native spaces. Wherever the poet was, wherever fate took him, he belonged to Russia with his heart and soul.
The theme of native nature in the lyrics of S. Yesenin
He said that his lyrics live by one great and pure love, love for the homeland. He did not share the concepts of his native land and Russia - for him they were one. He called Rus' “the country of birch chintz.” 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. Thus, the poem “Goy, you, Rus', 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 a fabulous and righteous Rus', in which “the huts are in the vestments of the image”, and in the churches - the “meek Savior”, that is, the celebration of the Orthodox Savior.
The concept of homeland for Yesenin is collected from many words, among which “people”, “faith” and “nature” are especially significant. How can one not admire the tenderness and care with which the images of landscapes close to the poet’s heart are created in this poem. This is a crumpled stitch, that is, a path, a path with trampled grass along which the lyrical hero will run, and the expanse of “green fields” - that is, where the “edges” are, the edges of a plowed field, field stripes. Finally, this is the endless Russian expanse, “no end in sight.”
The artistic and visual means with which the author managed to create such a piercing image of his native land deserve special attention. These are epithets (“green lechs”, “meek Savior”), and comparisons (“like earrings, a girl’s laughter will ring out”, “like a visiting pilgrim”), and metaphors (“huts - in the vestments of an 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 lyricist with the entire Russian land, and the green expanse of the field, and gold, visible both in the foliage of poplars anticipating autumn, which are “withering away ringingly,” and in the guessed gold of fresh honey that will be carried to Church on Honey Saved.
This poem once again proves to us that Yesenin’s Motherland and nature are inseparable, and he would never renounce the land dear to him.
We can also find an image of our native nature in the poet’s famous poem “Shagane, you are mine, Shagane...”. This work is imbued with admiration with which the poet speaks about his father’s land. Wanting to show the eastern girl Shagane how beautiful his homeland is, the poet finds the most accurate definitions to describe his native land:
Shagane, you are mine, Shagane!
Because I'm from the north or something
I'm ready to tell you, field,
About wavy rye under the moon.
The poet contrasts eastern landscapes with Russian ones:
No matter how beautiful Shiraz is,
It is no better than the Ryazan expanses...
“Ryazan expanse” is that part of the vast blue Rus' 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 development 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 native home...”. The work is filled with precise epithets (“blue Rus'”, “golden frog”), metaphors (“the moon // spread out like a golden frog”), comparisons (“Like an apple blossom, gray hair // ... spilled”), with the help of which the author creates the image of his relatives places
For Yesenin, the “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 were part of a landscape dear to the heart: “The three-star birch tree above the pond // Warms the old mother’s sadness...”, “like an apple blossom, gray hair // Shed in his father’s beard.”
The hero is sad that he will not return home soon, but, comparing himself to an old maple tree, he hopes that the village will retain its former features and will not lose its patriarchal foundations.
Having analyzed only some of Sergei Yesenin’s poems, we can conclude that the poet infinitely loved his homeland and native nature with the purest and most tender love.
9th grade student
MAOU secondary school No. 7
them. G.K. Zhukov, Armavir
Timoshinova Ekaterina
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 can do 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 kingdom of wonderful transformations and increasingly absorbs the “flood of feelings”: “In the garden there is a fire of red mountain ash burning, But it cannot warm anyone”; “And golden autumn. In the birch trees, decreasing the sap, For everyone he loved and abandoned, Cries into the sand with leaves.”
Yesenin's natural world includes the sky with the moon, sun and stars, dawns and sunsets, winds and snowstorms, dew and fog; it is inhabited by many “inhabitants” - from burdock and nettle to poplar and oak, from mouse and frog to cow and bear, from sparrow to eagle.
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 imagination is inexhaustible, and the month appears as a “red goose” , then “as a sad horseman,” then with his grandfather’s hat, then he “harnessed our sleigh like a foal,” then “the cloud is butted with a horn, bathed in blue dust,” then, “like a yellow raven, circling and hovering above the ground.”
Yesenin’s universe is a cosmic village, a giant peasant farm, where “the calving sky licks the red heifer,” and the blue twilight is like a flock of sheep, where the sun is “a golden bucket lowered into the world” and a two-horned sickle slides across the sky like a yoke, where the blizzard clicks with a whip, and “the rain cleans the willow droppings across the meadows with wet brooms.” And Yesenin’s “earthly” landscapes are mainly Central Russian nature in all its discreet, modest beauty: “gulls... stumps... slopes have saddened the Russian expanse.” Only in “Persian Motifs” and Caucasian poems is the nature southern, exotic (“a host of cypress trees”, “roses burn like lamps”, “the smell of the sea has a smoky-bitter taste”) and in “Poem about 36” the Siberian taiga rustles, “ the gray-haired Barguzin is scalding and “there are six thousand and one snowdrifts to the Yenisei places.”
The diversity in Yesenin’s landscapes is amazing flora: more than 20 tree species (birch, poplar, maple, spruce, linden, willow, bird cherry, willow, rowan, aspen, pine, oak, apple, cherry, willow, etc.), about 20 types of flowers (rose, cornflower, mignonette , bell, poppy, leftover, lily of the valley, chamomile, carnation, jasmine, lily, snowdrop, etc.), different types herbs and cereals. The poet does not like to talk about plants at all, faceless and abstract - for him, every tree and flower has its own appearance, its own character. “Like a blizzard, the bird cherry is waving its sleeve,” the birch trees drooping to the ground have sticky catkins, “the rose’s petals are splashed,” “wormwood is wafting with a sticky smell,” the maple squatted down to warm itself in front of the fire of dawn, “the rowan berries, having smashed their heads against the fence, are drenched in blood.” .
And yet the main feature of Yesenin’s nature is not diversity and diversity, not humanization and at the same time picturesqueness, but a rustic, peasant appearance. The plow of the sun cuts the blue water of the river, “the sky is like an udder, the stars are like teats,” the clouds neigh like a hundred mares, “under the plow of a storm the earth roars,” “on a branch of a cloud, like a plum, a ripe star is golden,” poplars are like heifers, buried their bare feet under the gate. Over the years, the peasant-everyday coloring of the landscapes will gradually fade, but the rustic coloring will remain forever.
Unlike other Russian poets - Pushkin and Nekrasov, Blok and Mayakovsky - Yesenin does not have city landscapes, except perhaps a 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 turns into another, another is reflected in the third, the third resembles the fourth... “The sun, like a cat, from the heavenly willow touches my hair with its golden paw” - the cosmos is likened to animals and plants and joins man. In turn, people are “fishers of the universe, scooping up the sky with a net of dawn,” and the poet compares himself to a tree, a flower, an animal, a month:
Golden leaves swirled
In the pinkish water of the pond.
Like a light flock of butterflies
Freezingly, he flies towards the star.
Breathe, midnight, moon jug
Scoop up the birch milk!
Give me (road) the dawn for firewood,
A willow branch for a bridle.
Understanding his concept of the world, Yesenin in the article “The Keys of Mary” refers to mythological views different nations 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 ineffability”, and the poet sees himself as an exponent and defender of this ineffability. For him there was nothing low and ugly in nature. The croaking of frogs seemed like music to him - “to the music of 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 shockingness 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 screaming in the rake.”
Yesenin’s animal world is also part of nature, living, animate, intelligent. His animals are not fabled allegories, not personifications of human vices and virtues. These are “our little brothers” who have their own thoughts and worries, their own sorrows and joys. Horses are frightened by their own shadow and thoughtfully listen to the shepherd's horn, a cow is fiddling with “straw sadness,” “an abandoned dog is quietly howling,” an old cat sits at the window and catches the moon with its paw, “owls are hiding with fearful cries,” “magpies” are calling for rain.
Among the Yesenin living creatures, the most numerous are birds - over 30 names (cranes and swans, crows and nightingales, rooks, owls, lapwing, sandpiper, etc.), and the most common domestic animals are horses, cows, dogs. The cow, the breadwinner of a peasant family, grows in Yesenin to become a symbol of Russia and the “village cosmos”: “heifer-Rus”, “moo the cow, roar the heifer of thunder”, “there are no more beautiful than your cow’s eyes”, “your east will calve”, “over clouds, like a cow, the dawn raised its tail,” “the invisible cow god swelled.” The horse is a worker in a peasant farm and is associated with images of unstoppable movement, passing youth: “our skinny and red mare was pulling out root crops with a plow,” “the world is rushing to a new shore with a whirlwind cavalry,” “as if I rode on a pink horse in the echoing early spring.”
Yesenin’s birds and animals behave naturally and authentically, the poet knows their voices, habits, habits: corncrakes whistle, an owl hoots, a tit shades, hens cluck, “the wedding of crows has covered the palisade,” “an old cat sneaks to the makhotka for fresh milk,” “ the little horse wags its skinny tail, looking into the unkind pond,” the fox anxiously raises its head, hearing the “ringing sound,” 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, these are not soulless creatures. Yes, they are dumb, but they are not sensitive and in the strength of their feelings they are not inferior to humans. 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 beasts) and the comparison with “ little brothers", And singular the words “head” are spoken of as a single living being, born, like man, by Mother Nature.
Yesenin treats animals not just tenderly, but respectfully and does not address them all at once, but each one individually - each cow, horse, dog. And not about patronage we're talking about, but about mutual treatment, important and necessary for both “interlocutors”: “In the alleys, every dog Knows my easy gait” - and “I’m ready to give every dog on the neck here my best tie”; “Every shabby horse nods its head towards me” - and “I wear a top hat not for women. It’s more comfortable in it, reducing your sadness. Give gold oats to the mare” (“I won’t deceive myself”); each cow can read the grass lines mowed by the poet, “giving payment with warm milk” (“I walk through the valley...”). This friendly reciprocity and affection dates back to distant childhood: “From childhood, I understood that males and steppe mares were liked.” And in my mature years - “I am a good friend for animals. Every verse of mine heals the soul of the beast.” And in turn, the poet feels gratitude to his friends and is convinced that “his native Russian mare brought him to glory.” Even the traditional Pegasus ceases to be a poetic convention and turns into a living horse: “Old, kind, worn-out Pegasus, do I need your soft trot?”
2. Image of the nature of the native land.
The depiction of the nature of his native land occupies a significant place in the poet’s poetic heritage. “Sergei was sociable and affectionate,” continues A. Yesenina. - Coming to the village, he gathered his neighbors, talked with them for a long time, and joked. He loved to chat with the poor, and with the crippled, and with any 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, and learns genuine folk speech.”
The poet divided his village time between walks, conversations with fellow villagers, fishing and work on poetry. In one of his letters in 1924, he reported: “The weather in the village is not good. It’s impossible to fish because of the wind, so I’m sitting in the hut and finishing the poem. Our nights are wonderful, moonlit and, oddly enough, with autumn approaching, dewless.” In fine weather, the poet spent whole days in the meadows or on the Oka, as happened, for example, in July 1925: he disappeared from home with the fishermen for two days and, returning, wrote:
Bless every work, good luck!
To the fisherman - so that there is a net with fish,
Plowman - so that his plow and nag
They got enough bread to last for years.
They drink water from mugs and glasses,
You can also drink from water lilies -
Where there is a pool of pink mists
The shore will not tire of gilding.
It's good to lie in the green grass
And, plunging into the ghostly surface,
Someone's gaze, jealous and in love,
On myself, tired, to remember.
The poems “Returning to the Homeland”, “The Golden Grove Dissuaded...”, “Low House with Blue Shutters...”, “Son of a Bitch”, “Apparently, it’s been this way forever...” were also written in the village. Many other poems of these years were inspired by rural impressions: “Soviet Rus'”, “This sadness cannot be scattered now...”, “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 walking through the valley. On the back of the head is a cap...", "Rash, talyanka, ringing, rash, talyanka, boldly...", poetic messages to mother, grandfather, sister.
All these works are permeated with a deep love for the fatherland, carried through all adversity:
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.
Know that we all have such a fate,
And, perhaps, ask everyone -
Rejoicing, raging and suffering,
Life is good in Rus'.
The light of the moon, mysterious and long,
The willows are crying, the poplars are whispering.
But no one listens to the crane's cry
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 listens with hope to the sounds of engines driving out into the arable field. This clash of the old with the new will later be reflected in Yesenin’s poems, but his attachment to his native land, his love for peasant labor will remain constant and unchanged.
The author's experiences in these poems are distinguished by amazing tenderness and purity. They express much of what could be considered intimate, personal, homely: filial feeling for the mother, brotherly affection for the sister, the joy of friendship, the melancholy of separation, regret for youth gone early. “He returned to the village and home,” recalls the poet’s friend, artist V. Chernyavsky, “in almost all our conversations before last year life. He spoke about this with a sudden surge of tenderness and dreaminess, as if brushing aside everything that was swirling and tangling around him in the haze of a restless sleep... This was the most soil-filled corner of his personal life. inner world, the most real point that determines his consciousness.”
Yesenin’s strength lies in the fact that he was able to express the most intimate corner of his inner world in ordinary, discreet words, but permeated with true trepidation of the soul and therefore completely captivating the reader’s heart. Let us remember his “Letter to his Mother,” affectionate and peaceful, full of bitter consciousness of guilt before his mother and hope for the generosity of a mother’s heart:
I'll be back when the branches spread out
Our white garden looks like spring.
Only you have me already at dawn
Don't be like eight years ago.
Don't wake up what was dreamed of
Don't worry about what didn't come true -
Too early loss and fatigue
I have had the opportunity to experience this in my life.
And don’t teach me to pray. No need!
There is no going back to the old ways anymore.
You alone are my help and joy,
You alone are an unspeakable light to me.
Yesenin's natural lyrics are autobiographical in the broadest sense of the word. There are traits of autobiography in the work of any artist; They are strongest in lyrical poetry. But only a few poets have so exposed the connections between the content of the lyrics, its poetic structure and the struggles of the soul through which the poet went through in his life.
“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 fiction writers.” “This figurative structure,” Yesenin continued, “lives in me organically, just like my passions and feelings.”
These feelings and perceptions affect various aspects of the lives of contemporaries. Lyrics are subjective in nature, but universally significant in essence. She is effective, mobile, active. Finding an echo in the reader’s heart, it inspires something in him, calls him somewhere. And Yesenin’s lyrics are not only a poetic monument of the time, but also a living force influencing the consciousness and feelings of people.
First of all, this is the lyricism of nature, enchanting us with its colors, exciting us with its music. From her youthful past, a bright and gentle birch girl returned to Yesenin’s poetry. This image is primarily associated with the poet’s return to his homeland, his meeting with his father’s land:
Tired of hanging around
On other people's borders,
I'm back
To the birthplace.
Green-haired,
In a white skirt
There is a birch tree over the pond.
("My way")
Then this image appears every time the poet turns his memory to his native places:
Birches!
Birch girls!
The only one who can not love them is
Who even in the affectionate teenager
The fetus cannot predict.
("Letter to my sister")
I am forever for fog and dew
I fell in love with the birch tree's camp.
And her golden braids,
And her canvas sundress.
(“You sing me that song from before...”)
Once again, poetic images are lined up in long garlands, spiritualizing nature: the aspen trees, spreading their branches, looked into the pink water, August quietly lay down against the fence, the poplars buried their bare feet in the ditches, the sunset sprinkled the gray fields with liquid gold, a white snowstorm roared under the windows - all this is so it is natural and organic, as in the best poems about nature dating back to the early years; There is no hint of deliberateness here, which was felt in the complicated metaphors of the poems of the Imagist period. Lyrical sketches appeared again, filled with “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 and lyricism that captivates the reader. Poems “Low house with blue shutters...”, “Blue May. Glowing warmth...”, “Golden foliage began to spin...”, “I left my dear home...”, “Answer”, distinguished by their extraordinary strength of feeling and “riot” of colors, become one of the masterpieces of Yesenin’s lyrics.
Enjoying nature, getting used to it, the poet rises to philosophical thoughts about the meaning of life, about the laws of existence. Among the examples of philosophical lyricism in our poetry (namely lyricism, and not speculative, scientific-like works on philosophical topics, which is often the case with poetry of this kind), one can without hesitation include Yesenin’s poems “We are now leaving little by little...”, “The golden grove dissuaded us. ..”, “Life is a deception with enchanting melancholy...”, “Flowers”, etc. In this area of creativity Yesenin is as original as in others; Abstract concepts in his work always receive material expression, images do not lose their plasticity, and the author’s voice clearly sounds in his poems. Time as a philosophical category is translated into a subject-metaphorical series (“time - a mill with a wing - lowers the month behind the village with a pendulum into the rye to pour invisible rain for hours”), and we easily grasp the course of the author’s thought.
The poet's philosophical reflections on life and death, on human fate, on the transitory and eternal in earthly existence are especially significant. In Yesenin's lyrics, pessimistic motives are often highlighted and emphasized. One of the critics of that time, recognizing the indisputable importance of Yesenin as a lyric poet, called him “the singer of the autumn slope... rowan berries, the crimson of autumn, rye fields, sadness and longing for the departing.”
What can you say about this? Of course, Yesenin has many works tinged with sadness, expressing the drama of his ruined fate. But there are also those where the craving for life, for human joy is expressed. “It’s as if I rode on a pink horse in the echoing early morning...” - 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 them: what the poet called “boiling water of the heart’s currents” (in the poem “Well, kiss me, kiss ...”, imbued with Bacchanalian motifs ), or what is said at the end of the poem “What a night! I can’t...”: “May my heart forever dream of May...”
We are not at all surprised by the jubilant intonations in the poem “Spring,” where the poet has regained the ability to see the delicate colors of nature: here is a sweet tit, and a beloved maple, and trees dressed in green, and the poet’s final exclamation: “So drink, my breast.” , spring! Get excited about the new poems!” It is not surprising that the industrial landscape is completely unusual for the poet, completely new, but with his usual emotionality and brilliance:
Oil on water
Like a Persian blanket
And evening across the sky
The star sack scattered.
But I'm ready to swear
With a pure heart
What are the lanterns
More beautiful than the stars in Baku.
The poet’s optimistic mood shines through even more clearly through the images of nature 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 have more fun!” Much in his work, as indicated above, confirms these words.
Bibliography
1. Belskaya L.L. Song word. The poetic mastery of Sergei Yesenin. – M.: Education, 1990.
2. Vereshchagina L.N. Materials for lessons on S. Yesenin’s lyrics // Literature at school. – 1998. - No. 7. – P. 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 study. – M.: Education, 1978.
6. Prokushev Yu. Sergei Yesenin: image-poems-epoch. – M.: Sovremennik, 1986.
7. Eventov I.S. Sergey Yesenin. – M.: Education, 1987.
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Yesenin's poetry is a wonderful and beautiful unique world! A world that is close and understandable to absolutely everyone without exception. Yesenin is a great poet of no less great Russia; a poet who rose to the heights of his skill from the depths of folk life. His homeland is the Ryazan land, which nourished and nourished him, taught him to love and understand what surrounds us all - nature! Here, on Ryazan soil, Sergei Yesenin first saw all the beauty of Russian nature, which he told us about in his poems. From the first days of his life, Yesenin was surrounded by the world of folk songs and legends:
I was born with songs in a grass blanket.
The spring dawns twisted me into a rainbow.
In the spiritual appearance in Yesenin’s poetry, the features of the people were clearly revealed - its “restless, daring strength”, scope, cordiality, spiritual restlessness, deep humanity. Yesenin’s whole life is closely connected with the people. Maybe that's why the main characters of all his poems are simple people, in every line one can feel the close connection of the poet and man Yesenin with the Russian peasants, which has not weakened over the years.
Sergei Yesenin was born into a peasant family. “As a child, I grew up breathing the atmosphere of folk life,” the poet recalled. Already by his contemporaries Yesenin was perceived as a poet of “great song power.” His poems are similar to smooth, calm folk songs. And the splash of the waves, and the silvery moon, and the rustle of the reeds, and the immense blue of the sky, and the blue surface of the lakes - all the beauty of the native land has been embodied over the years in poems full of love for the Russian land and its people:
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...
“My lyrics are alive with one great love,” said Yesenin, “love for the Motherland. The feeling of the homeland is the main thing in my work.” In Yesenin’s poems, not only “Rus' shines,” not only does the poet’s quiet declaration of love for her sound, but also faith in man, in his great deeds, in the great future of his native people is expressed. The poet warms every line of the poem with a feeling of boundless love for the Motherland.
From Yesenin’s poems emerges the image of a poet-thinker, vitally connected with his country. He was a worthy singer and a citizen of his homeland. In a good way, he envied those “who spent their lives in battle, who defended a great idea,” and wrote with sincere pain “about days wasted in vain”:
After all, I could give
Not what I gave
What was given to me for the sake of a joke.
Yesenin was a bright individual. According to R. Rozhdestvensky, he possessed “that rare human quality that is usually called the vague and indefinite word “charm”... Any interlocutor found in Yesenin something of his own, familiar and beloved - and this is the secret of such a powerful influence of his poems".
Since childhood, Sergei Yesenin perceived nature as a living being. Therefore, in his poetry one can sense an ancient, pagan attitude towards nature. The poet animates her:
The schema-monk-wind steps cautiously
Crumples leaves along road ledges
And kisses on the rowan bush
Red ulcers for the invisible Christ.
Few poets see and feel the beauty of their native nature as much as Sergei Yesenin. She is sweet and dear to the heart of the poet, who managed to convey in his poems the vastness and vastness of rural Rus':
No end in sight -
Only blue sucks his eyes.
Through images of his native nature, the poet perceives the events of a person’s life.
The poet brilliantly conveys his state of mind, using for this purpose simple to genius comparisons with the life of nature:
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.
Sergei Yesenin, albeit with bitterness, accepts the eternal laws of life and nature, realizing that “we are all perishable in this world,” and blesses the natural course of life:
May you be blessed forever,
What came to flourish and die.
In the poem “I don’t regret, I don’t call, I don’t cry...” the poet’s feelings and the state of nature merge. Man and nature are in complete harmony with Yesenin. The content of the poem “The golden grove dissuaded...” is also conveyed to us with the help of images of nature. Autumn is a time of summing up, peace and quiet (only “the cranes fly sadly”). Images of a golden grove, a departing wanderer, a burning but not warming fire convey to us the poet’s sad thoughts about the decline of life.
How many people warmed their souls around the miraculous fire of Yesenin’s poetry, how many enjoyed the sounds of his lyre. And how often they were inattentive to Yesenin the man. Maybe this was what ruined him. “We have lost a great Russian poet...” wrote M. Gorky, shocked by the tragic news.
I consider Sergei Yesenin’s poems close to every Russian person who truly loves his Motherland. In his work, the poet was able to show and convey in his lyrics those bright, beautiful feelings that pictures of our native nature evoke in us. And if we sometimes find it difficult to find the right words In order to express the depth of love for our native land, then we should definitely turn to the work of this great poet.
