Sergei Yesenin lived short life(1895-1925), but is alive in the memory and consciousness of the people. His poetry has become an integral part of the spiritual culture of the nation.
Yesenin belongs to those artists whose works are characterized by great simplicity. They are clear to any reader. The poet's poems enter the soul, merge with a feeling of love for the motherland. Perhaps it is this feeling of indissoluble connection with native land and is the essence of Yesenin's poetic world.
Beloved edge! Dreaming of the heart
Stacks of the sun in the waters of the womb,
I would like to get lost
In the greens of your bells.
Russia is in the heart of the poet, and that is why this declaration of love for his native land is so piercing and loud! One of the successors of the Yesenin tradition in modern poetry, Nikolai Rubtsov, in precise and expressive lines conveyed this quality of Yesenin's work:
Versts of all the shaken earth,
All earthly shrines and bonds
As if nervous system entered
In the waywardness of Yesenin's muse!
Yesenin was born in the Ryazan region, in the village of Konstantinovo, freely spread among wide fields on the steep bank of the Oka. But from Ryazan village the poet left quite young, then lived in Moscow, and in St. Petersburg, and abroad, came to his native village from time to time as a guest.
The memory of childhood - "I was born with songs in a grassy blanket" - nourished the roots of his poetry and life itself. In one of his autobiographies, the poet notes that he had “a childhood like that of all rural children”1. It left an indelible mark on his work.
How good
that I saved you
All the feelings of childhood.
Yesenin was destined to spend most of his life in the city, only he visited endlessly expensive places where they spent their childhood and youth.
The soul remains forever attached to father's house, native family, beloved Ryazan expanses. Russian nature, peasant way of life, folk art, great Russian literature - these are the true sources of his poetry.
It was the separation from his native land that gave his poems about her that warmth of memories that distinguishes them. In the very descriptions of nature, the poet has that measure of detachment, which allows this beauty to be seen and felt more sharply.
For a poet, his native village in Russia is one thing, his homeland, especially in early work- this is, first of all, a native land, a native village, something that later, already at the end of the 20th century, literary critics defined as the concept of " small homeland". With the lyrical tendency inherent in S. Yesenin to animate all living things, everything around him, he also addresses Russia as a person close to him:
Oh you, Russia, my meek homeland,
Only for you I save love ...
Sometimes the poet's poems take on a note of aching sadness, a feeling of restlessness arises in them, their lyrical hero is a wanderer who left his native hut, rejected and forgotten by everyone. And the only thing that stays the same is that it keeps eternal value- this is nature and Russia:
And the month will swim and swim,
Dropping oars across the lakes...
And Russia will also live,
Dance and cry at the fence.
It is the folk ideas about beauty and goodness that are embodied in creativity.
Yesenin. In his poems, poetry accompanies a person in everything - in a difficult peasant labor and in merry village festivities.
Oh arable land, arable land, arable land,
Kolomna sadness,
Yesterday in my heart
And Russia shines in the heart.
Nature itself is the center of beauty. Yesenin drew poetry from this pantry. And it is difficult to name another poet whose poetic perception would be so directly and deeply connected with the world of native nature:
I wander through the first snow,
In the heart are lilies of the valley of flashing forces.
Evening blue candle star
He lit up my road.
Man and nature are merged in the attitude of the poet. They have common life and common lot. Nature in Yesenin's lyrics is really alive, endowed with reason and feeling, capable of responding to the pains and joys of a person.
Yesenin's poetic vision is concrete, therefore his poems are so visible, sonorous and multicolored. The poet creates a harmonious world where everything is coordinated and has its place:
Quietly, squatting, in the patches of dawn
They listen to the tale of the old mower...
Such vivid imagery can only be born from a deep and true feeling. Yesenin searched and found unexpected images, his amazing comparisons and metaphors came, as a rule, from everyday life. peasant life: "evening frosty, like a wolf, dark storm"; “birch milk is pouring across the plain”; "dawn with a dewy hand of coolness knocks down the apples of dawn."
The image was never an end in itself for him. Reflecting on the poets who sinned with form-creation, he accurately identified the source of their delusions: “My brethren do not have a sense of homeland in the entire broad sense of the word, therefore everything is inconsistent with them.”
Yesenin was endowed, as noted by almost all who wrote about him, with an exceptional, phenomenal impressionability. He discovered the beautiful in the usual, spiritualized the everyday with his word:
Weaved out on the lake the scarlet light of dawn.
Capercaillie are crying in the forest with bells.
And this same increased impressionability did not allow him to pass by someone else's grief, endowed his Muse with responsiveness, which really extended to all living things:
They did not give the mother a son, The first joy is not for the future. And on a stake under an aspen
The breeze fluttered the skin.
Sometimes his poetic revelations, the accuracy of his vision, seem like a miracle born not of man, but of nature itself. It is no coincidence that M. Gorky in his essay on Yesenin emphasized precisely this idea: “Yesenin is not so much a person as an organ created by nature exclusively for poetry, to express the inexhaustible“ sadness of the fields ”, love for all living things in the world and mercy, which is more everything else is deserved by man.
Yes, natural gift the poet is huge. But it would not be entirely fair to assume
Yesenin as a kind of carefree village shepherd singing on the flute, Lelem.
By the way, the poet himself has always been uncomfortable with such an interpretation of his work.
Behind each of his poetic insights stood a serious literary work.
Yesenin did not come to the city as a naive "natural person". He knew well classic literature, led his poetic pedigree from A. Koltsov. And in the final autobiography (October 1925) he emphasized great value Pushkin for him: “In the sense of formal development, now I am drawn more and more to
Pushkin. Interest in Russian classics woke up in Yesenin while still studying at the Spas-Klepikovskaya teacher's school. And later in Moscow in the classroom in People's University Shanyavsky, he continued its in-depth study.
The poet especially loved Gogol. And just like the author of Evenings on a Farm near
Dikanki”, Yesenin not only organically felt and remembered the fairy tales, songs, ditties he heard in childhood, but also thoughtfully studied oral folk art. The poet studied with the people, in folklore he saw the “nodal ties” of the figurative expression of the world.
It is known that Yesenin collected and recorded four thousand ditties. Already it was a peculiar, but, undoubtedly, a living and serious poetic school. In your interest in this form folk art Yesenin was not alone. At that time, the ditty was actively included in the works of Blok, Mayakovsky, D.
Poor. In 1918, 107 ditties recorded by Yesenin appeared on the pages of the Moscow newspaper Voice of the Working Peasantry. And in 1920 he published the book "Keys of Mary" - an interpretation of the worldview and creativity of the people.
Already in the first youthful poems that appeared in print in January 1914,
Yesenin is an outstanding poet, his poetic feeling is so rich and fresh, his figurative vision is so precise and expressive! But his life in great Russian literature began, perhaps, on March 9, 1915, after a significant meeting with A. Blok. Yesenin, an aspiring poet, did not accidentally come to
Blok. He knew well the work of his older contemporary and felt a certain poetic affinity with him. Subsequently, comprehending his path in art, Yesenin accurately outlined the range of his interests and poetic origins: “Of the contemporary poets, I liked Blok, Bely and
Klyuev. Bely gave me a lot in terms of form, while Blok and Klyuev taught me lyricism.” Blok instantly felt the original sonorous gift of the “young Ryazan guy” and spoke to him as to a fellow writer. He did not teach and instruct, but invited Yesenin to think about creativity, as if foreseeing a difficult poetic fate. young poet: "...I think the way
You, perhaps, will not have a short one, and in order not to stray from it, you must not rush, not be nervous. Sooner or later, you will have to give an answer for your every step, and it is difficult to walk now, in literature, perhaps, the most difficult thing. Block does for Yesenin, perhaps, the most necessary thing for him at that moment: it helps to strengthen the sense of self-confidence and brings closer, through letters of recommendation in magazines, a meeting of Yesenin's poems with his reader.
Readers of Petrograd magazines, in which Yesenin's poems began to appear one after another, were literally stunned by the sincerity of his poetry. Impulse for people, closeness to nature, love for the Motherland, poeticization of simple human feelings- these moods and thoughts, sounded in Yesenin's poems, conquered contemporaries. Before the revolution, only one book of the poet was published - "Radunitsa" (1916), but Yesenin's fame was enormous.
Contemporaries were waiting for his new poems, they treated them as an unparalleled document of life, addressed and addressed directly to each reader. The poet rapidly reduced the distance between the author, the lyrical hero and the reader. Giving himself entirely to the reader's judgment, sharing his innermost feelings, he with good reason could write later: "... as for the rest of the biographical information, they are in my poems."
The poetry of Sergei Yesenin is deeply patriotic. Already in the first verses, with merciless sincerity, he sang the high civic love for the Motherland:
If the holy army shouts:
"Throw you Russia, live in paradise!"
I will say: “There is no need for paradise,
Give me my country."
Motherland, in essence, is the main human and creative theme poet. With all the inevitability, Yesenin's filial love for the world around him turns into a great love for the Motherland, its past and present. Poetic perception
The poet's homeland is as concrete and direct as his depiction of nature. First of all, this is peasant Russia, the width of the Ryazan fields, fellow villagers, relatives. The joy of communicating with your beloved land does not obscure the pictures of the difficult peasant life.
The drought drowned out the sowing,
Rye dries, and oats do not sprout,
At a prayer service with banners girls
Stripes dragged in butts.
Thorough knowledge peasant life, the aspirations of rural workers makes Yesenin a singer of the people, Russia. With all his heart, he wants the life of the peasants to become more joyful and happy. AT pre-revolutionary Russia the poet cannot but see the desolate downtroddenness and deprivation of the village (“You are my abandoned land, you are my wasteland”). The poet angrily does not accept the First World War, which brings new troubles to the people. But, perhaps, the feeling of hopelessness of what is happening depresses the compassionate soul most of all:
And Russia will still live,
Dance and cry at the fence.
A sharp social vision allows Yesenin to perceive the February Revolution in an expanded historical perspective. He calls for a further and deeper renewal of the country in his very first poetic response after February 1917:
O Russia, flap your wings, Put up a different support!
With special enthusiasm in the "Heavenly Drummer" the poet will express his attitude to the transforming power October revolution. Her authentic folk character, scale social change cannot fail to attract to her the rebellious soul of the poet. Even his theomachic poems of those years, "Transfiguration", "Jordan Dove", "Inonia", permeated with a vague understanding of the revolution, a naive idea of the coming "peasant's paradise", were still a tangible blow to the old world. The voice of Yesenin, singing the revolution, sounds in unison with the poetic anthem of the revolution in Blok's poem "The Twelve", with the revolutionary poems of Mayakovsky and D. Poor. A truly new one is being born - Soviet poetry.
And, nevertheless, it is pointless, and it is not necessary to deny the complexity and inconsistency of the poet's perception of a radical break in the patriarchal way of life. Yesenin noted in his autobiography: “During the years of the revolution he was entirely on the side of October, but he accepted everything in his own way, with a peasant bias.”
Reflections on the fate of the modern peasantry lead Yesenin to history. He turns to the peasant war of the 18th century and creates a poignant dramatic poem about the outstanding leader of the peasant masses.
Emelyan Pugachev. Element popular revolt splashed powerfully in the lines
"Pugacheva". He draws the hero of the poem as a great sympathizer of national disasters, but at the same time a historically doomed political figure.
During the period civil war and first post-war years the country is undergoing colossal changes, the village is being transformed before our eyes. The unheard-of depth of perestroika at times frightens the poet. These fluctuations are especially significant in
1919-1920. The village seems to him to be sacrificed to an alien city.
The poet's lines in Sorokoust sound poignant:
Dear, dear, funny fool
Well, where is he, where is he chasing?
Doesn't he know that living horses
Did the steel cavalry win?
And yet the new inevitably captures the soul of the poet. He feels that patriarchal foundations can no longer be perceived as the unconditional and the only ideal principle. Time gives birth to other values.
A trip with his wife, the famous American dancer Isadora Duncan, around Europe and the United States helps to fully understand the legitimacy and prospects of the social reorganization of the country.
America (1922-1923). A true patriot, Yesenin cannot see without pain the irrefutable evidence of Russia's technical backwardness. At the same time, he keenly felt the wretchedness of the spiritual life of the West, the all-consuming power of money. Pride is born in the heart for the grandeur of the revolutionary transformations taking place in the Motherland. There is a turning point in the mood of the poet, there is a steady desire to discover, as it were, anew his own country:
Nice publisher! In this book
I indulge in new feelings
Learning to comprehend in every moment
Commune rearing Russia.
Sergei Yesenin is the son of Russia. Her new social choice most of the people become native to him. The poet clearly understands “what the peasants gossip about”, he fully shares the decision of his fellow villagers: “With Soviet power live for us." Farewell to old village inevitably:
Field Russia! Enough
Drag along the fields.
It hurts to see your poverty
And birches and poplars.
How palpable in these lines is the pain for Russia, the spiritual continuity of Yesenin's work to the Russian classics!
The selfless feeling of love for the Motherland leads Yesenin to a revolutionary theme. An amazing revolutionary epic “Song of the Great Campaign” appears, written in the form of a ditty. He pays tribute to the heroes of the revolution
(“The Ballad of Twenty-Six”, “Captain of the Earth”, etc.), bowing to the selfless fighters for great idea, before the people who opened new horizons for Russia. Their life for the poet is an example of civic service to the Motherland:
I envy that
Who spent his life in battle
Who defended the great idea...
Making sense of the revolution and social transformation in the country reaches true historicism in the poem "Anna Onegin" (1925). And in the development of this topic
Yesenin is again on a par with Mayakovsky and D. Poor. In "Anna Snegina" sounded surprisingly accurate and expressive words about Lenin as a truly popular leader:
Trembling, swaying steps
Under the ringing of the head:
Who is Lenin?
I answered quietly:
"He is you"...
The revolutionary theme in Yesenin's poetry objectively introduced the poet into a common circle with the people, gave a life perspective. However, finding a place in the new reality turned out to be very difficult for him. That new, which with such artistic power was embodied in his art, was hardly affirmed in his own destiny. The new is accepted and sung, but somewhere in the recesses of the soul, longing is hidden, the poet is burdened by a feeling of spiritual fatigue:
I'm not new!
What to hide?
I stayed in the past with one foot,
In an effort to catch up with the steel army,
I slide and fall another.
Personal life is also difficult. Always surrounded by admirers and friends, Yesenin is essentially lonely. A bitter line breaks out of him -
“I don’t find shelter in anyone’s eyes,” but how much he needs a “friendly smile”!
All his life, Yesenin dreamed of a family, of "his own home." The family didn't work out.
Long years his life is disorderly. Such a way of life is alien to the nature of the poet. “With unprecedented cruelty to himself” (P. Oreshin), Yesenin exposes his delusions and doubts in the “Moscow Tavern” cycle. Not the ecstasy of revelry in these verses, but painful philosophical reflections on the meaning of life, on one's own destiny.
He sought salvation from "dark forces, tormenting and destroying" in the images of his native nature, in appealing to people dear to him - mother, sister, beloved women, friends. Yesenin's messages of recent years open up new possibilities for the epistolary poetic genre, traditional in Russian literature. This poetic form of confidential appeal is filled with a special lyrical confession and patriotic sound. Behind the image of a woman dear to him stands the "iconic and strict face" of the Motherland, his beloved sister is compared with a birch tree, "that stands behind the birth window." Tense confession
Yesenin, in many verses addressed to a specific addressee, turns out to be generally significant. From the personal experience grows the universal. The fusion of personal and public in Yesenin's poetry leads to the fact that in lyrics he acts as a poet "with a big epic theme", and in poems, especially in
“Anna Snegina,” his lyrical voice sounds fully.
The famous lines of "Letters to a Woman" speak not only about the complexity of the poet's fate, but also about the drama of history:
You didn't know
That I'm in solid smoke
In a life torn apart by a storm
That's why I suffer that I do not understand -
Where the rock of events takes us.
Indeed, in every image, in every line, we feel the naked Yesenin "I". Such sincerity requires wisdom and courage.
Yesenin rushed to people, immersion in himself, “desert and breakaway” were a dead end for him, creative and human (this is one of his latest works - tragic poem"The Black Man", completed November 14
1925). The poet hoped to find a new creative life:
And let another life of the village
Will fill me
New strength.
Like before
Led to fame
Native Russian mare.
The poets of the circle of S. Yesenin of that time are N. Klyuev, P. Oreshin, S. Klychkov.
These hopes are expressed in the words of N. Klyuev - close friend and poetic mentor S. Yesenin: "The land of the peasants is now, / And the church will not hire the state." In Yesenin's poetry in 1917, a new sensation appears
Russia: "Already washed away, erased the tar / Resurrected Russia." The feelings and moods of the poet of this time are very complex and contradictory - these are both hopes and expectations of the bright and new, but this is also anxiety for fate. native land, philosophical reflections on eternal topics. One of them - the theme of the collision of nature and the human mind, invading it and destroying its harmony - sounds in S. Yesenin's poem "Sorokoust". In it, the competition between the foal and the train, which acquires a deeply symbolic meaning, becomes central. At the same time, the foal, as it were, embodies all the beauty of nature, its touching defenselessness.
The locomotive takes on the features of an ominous monster. In Yesenin
"Sorokouste" eternal theme opposition of nature and reason, technical progress merges with reflections on the fate of Russia. In the post-revolutionary poetry of S. Yesenin, the theme of the motherland is saturated with difficult thoughts about the poet's place in a new life, he is painfully experiencing alienation from his native land, it is difficult for him to find mutual language with the new generation, for which the calendar Lenin on the wall replaces the icon, and the "pot-bellied" Capital "- the Bible. Especially bitter for the poet is the realization that the new generation sings new songs: "Agitation sings
Poor Demyan". This is all the more sad that S. Yesenin rightly remarks: "I am a poet! And not like some Demyan there."
Therefore, his lines sound so sad: "My poetry is no longer needed here, / Yes, and, perhaps, I myself am not needed here either." But even the desire to merge with new life does not force S. Yesenin to abandon his vocation as a Russian poet; he writes: "I will give my whole soul to October and May, / But I will not give only my dear lyre."
Today, it is difficult for us, living in Russia, to fully understand the meaning of these lines, and yet they were written in 1924, when the very name - Rus - was almost forbidden, and citizens were supposed to live in "Resefeser". S. Yesenin's understanding of his poetic mission, his position is connected with the theme of the motherland " last singer village", the keeper of her precepts, her memory. One of the programmatic, important for understanding the theme of the motherland, the poet has become the poem "The feather grass is sleeping":
The feather grass is sleeping.
Plain dear
And the lead freshness of wormwood!
No other homeland
Do not pour my warmth into my chest.
Know that we all have such a fate,
And, perhaps, ask everyone -
Rejoicing, raging and tormented,
Life is good in Russia.
The light of the moon, mysterious and long,
Willows are crying, poplars are whispering,
But no one under the cry of the cranes
He will not stop loving his father's fields.
And now that behold the new light
And my life touched fate,
I still remain a poet
Golden log cabin.
At night, clinging to the headboard,
I see a strong enemy
How someone else's youth splashes with new
To my glades and meadows.
But still cramped by the new,
I can sing heartily:
Give me in the homeland of my beloved,
Loving everything, die in peace."
This poem is dated 1925, refers to the mature lyrics of the poet. It expresses his innermost thoughts. In the line "rejoicing, raging and tormented" difficult historical experience, which fell to the lot of the Yesenin generation. The poem is built on traditionally poetic images: feather grass as a symbol of the Russian landscape and at the same time a symbol of longing, wormwood with its rich symbolism and a crane cry as a sign of separation.
The traditional landscape, in which the no less traditional "light of the moon" is the personification of poetry, is opposed by " New World", rather abstract, inanimate, devoid of poetry. And in contrast to it, the recognition sounds lyrical hero Yesenin's poem in adherence to the age-old rural way of life. The poet's epithet "golden" is especially significant: "I will still remain a poet / of the Golden Log Cabin."
It is one of the most common in the lyrics of S. Yesenin, but usually it is associated with a color concept: golden - that is, yellow, but certainly with a touch highest value: "golden grove", " golden frog moon". In this poem, the shade of value prevails: gold is not only the color of the hut, but a symbol of its enduring value as a symbol of the way of life village life with its inherent beauty, harmony. The village hut is the whole world, its destruction is not redeemed for the poet by any enticing news. The finale of the poem sounds somewhat rhetorical, but in the general context of poetry
S. Yesenin, he is perceived as a deep and sincere recognition of the author.
AT last years life comes to the poet human and creative maturity. The years 1924-1925 are perhaps the most significant in terms of what he created. From September 1924 to August 1925, Yesenin made three rather long trips to Georgia and Azerbaijan. As a result of these trips, in particular, an amazing cycle of poems was born. Persian motifs».
The Georgian poet Titian Tabidze noted that “... the Caucasus, as once for
Pushkin, and for Yesenin turned out to be a new source of inspiration. In the distance, the poet had to rethink a lot ... He felt the influx of new topics ... ".
The scale of the poet's vision is enlarged. His civic feeling is able to glorify not only his native Ryazan corner, but the entire "sixth of the earth" - a large
Homeland:
I will chant
With the whole being in the poet
sixth of the earth
With a short name "Rus".
Yesenin's poetry lives in time, appeals to empathy. His poems breathe love for everything, "that clothes the soul in flesh." The earthly simplicity of the subject of the image turns into high poetry:
Bless each work, good luck!
To a fisherman - so that a net with fish.
Plowman - so that his plow and nag
They got bread for a year.
The poet strove for the fullness of being, hence this life-loving line was born:
“Oh, I believe, I believe, there is happiness!” And even the picturesqueness of many of his works, especially in his early work, is due to this thirst to include all the diversity of the surrounding life in his poetic world. Yesenin comprehends the deep laws of human life and nature and wisely blesses everything that
"It has come to flourish and die." In his heartfelt “I am happy that I breathed and lived” - a generous gratitude to the world that filled the soul with inexhaustible impressions.
Sergei Yesenin always lived and wrote on the extreme strain of mental strength.
That is his nature. Filled with love for the Motherland, for man, nature,
Yesenin did not spare only himself. He did not know another way for the artist:
Being a poet means the same
If the truth of life is not violated,
Scarring your soft skin
To caress other people's souls with the blood of feelings.
The reader, feeling this generous dedication of the poet, submits to the emotional power of Yesenin's poems.
Today Yesenin's poetry is well known and loved in all the republics of our country, in many foreign countries. Such a deeply Russian, glorifying native nature with great lyrical power, home country She was truly international. And that is why the words of the Lithuanian writer Justinas Marcinkevičius about the Russian poet are so organic: “Yesenin is a miracle of poetry. And like any miracle, it's hard to talk about it. A miracle must be experienced. And you have to believe in him ... "
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Composition on the theme "Russian nature in the lyrics of Sergei Yesenin"
Yesenin's poetry is a wonderful and wonderful unique world! A world that is close and understandable to absolutely everyone without exception. Yesenin is a great poet no less great Russia; a poet who rose to the heights of his skill from the depths folk life. His homeland is the Ryazan land, which fed and watered him, taught him to love and understand what surrounds us all - nature! Here, on Ryazan land, for the first time Sergei Yesenin saw all the beauty of Russian nature, which he told us about in his poems. Yesenin from the first days of his life was surrounded by the world folk songs and legends:
I was born with songs in a grass blanket.
Spring dawns twisted me into a rainbow.
In the spiritual form 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 each line one can feel the close, not weakening over the years, connection between the poet and the man Yesenin with the Russian peasants.
Sergei Yesenin was born into a peasant family. "As a child, I grew up breathing the atmosphere of folk life," the poet recalled. Yesenin was already perceived by his contemporaries as a poet of "great song power". His poems are like smooth, calm folk songs. And the splashing of the wave, and the silvery moon, and the rustle of the reeds, and the immense blue of the sky, and the blue expanse of the lakes - all the beauty of the native land was embodied over the years in verses, full of love to the Russian land and its people:
O Rus - raspberry field
And the blue that fell into the river -
I love to joy and pain
Your lake longing...
"My lyrics are alive alone big love- said Yesenin, - love for the Motherland. The feeling of the motherland is the main thing in my work. "In Yesenin's poems, not only" Russia shines ", not only does the poet's quiet confession of love for her sound, but also expresses faith in a person, in his great deeds, in a great future native people. The poet warms every line of the poem with a feeling of boundless love for the Motherland.
From Yesenin's poems, the image of a poet-thinker, who is vitally connected with his country, arises. 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":
'Cause I could give
Not what he gave
What was given to me for the sake of a joke.
Yesenin was a bright personality. According to R. Rozhdestvensky, he possessed "that rare human property, which 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 impact of his poems.
From childhood, Sergei Yesenin perceived nature as creature. Therefore, in his poetry, an ancient, pagan attitude to nature is felt. The poet animates her:
Schemnik-wind with a cautious step
Creasing leaves on road ledges
And kisses on the rowan bush
Red ulcers to the invisible Christ.
Few poets see and feel the beauty of their native nature like Sergei Yesenin. She is sweet and dear to the heart of the poet, who managed to convey in his poems the breadth and boundlessness of rural Russia:
See no end and edge -
Only blue sucks eyes.
Through the images of native nature, the poet perceives the events of a person's life.
The poet brilliantly conveys his state of mind, drawing 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.
Withering gold embraced,
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 has come to flourish and die.
In the poem "I do not regret, I do not call, I do not cry ..." the poet's feelings and the state of nature merge. Man and nature are in perfect harmony with Yesenin. The content of the poem "The golden grove dissuaded ..." is also transmitted to us with the help of images of nature. Autumn is a time for summing up, peace and quiet (only "the cranes sadly fly by"). The 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 at 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 that's what killed him. "We have lost a great Russian poet ..." - wrote M. Gorky, shocked by the tragic news.
I consider the poems of Sergei Yesenin close to every Russian person who really loves his homeland. In his work, the poet was able to show and convey in his lyrics those bright, beautiful feelings that evoke in us pictures of our native nature. And if we sometimes find it difficult to find the right words to express the depth of love for our native land, then we should definitely turn to the work of this great poet.
Oh Motherland! How many feelings, emotions, images and memories are associated with each of us with this short word. Each person puts something of his own into the word "motherland", and therefore this topic is multifaceted and inexhaustible for the poet.
Motherland, native land, its nature is one of the main themes in the work of the "last singer of the village" - Sergei Yesenin. It is him, like no one else, who is associated, first of all, with the village, with his native Ryazan region. The poet left the Ryazan village of Konstantinovo quite young. He then lived in Moscow, and in St. Petersburg, and abroad, and came to his native village from time to time as a guest. It was this early separation from his stepfather's home, his native land that gave his poems about the Motherland a special meaning.
“My lyrics are alive with one big love, love for the motherland. The feeling of the motherland is the main thing in my work, ”Sergey Yesenin said about himself. Indeed, rereading the poems of the poet again and again, you are fully convinced of the truth of his words.
For early poetry the author is characterized by harmony, there are no contradictions that will appear in his lyrics with the advent of a new, revolutionary power. Bright, bright images Sergei Yesenin draws before us, the first heartfelt experiences, the feeling of near and dear that surrounded the young poet - all this we find in early work. He loved everything dearly. Can't you see it in his work? In the following lines, there is an infinite attachment to the native land, a thread running through all his works:
Lovely birch thickets!
You earth! And you, plains sands!
Before this host of departing
I can't hide my anguish.
The poet sings of all the discreet beauty of central Russia: the expanses of fields, the expanse of lakes and rivers, blue native sky, “swamps and swamps”, “weeping willows” - in all this seemingly familiar splendor, Yesenin saw the uniqueness of his native land. AT landscape lyrics the poet uses many figurative and expressive means: here are colorful epithets: "diabolically beautiful", "silver feather", "poppy color of dawn"; and personifications:
Winter sings - calls out,
Shaggy forest cradles
The call of a pine forest.
Nature comes to life: she breathes, laughs, speaks and cries. The method of comparison is also used. For example, a young birch tree, slender and "curly", is associated by Sergei Yesenin with a young girl:
Meet me like earrings
A girlish laugh will ring out.
Or another comparison:
Sparrows are playful
Like orphan children
Huddled at the window.
And all these means are so skillfully used by the poet, with the aim of conveying all the beauty and splendor of his native land! But with all this beauty of nature, the poet does not escape reality, does not draw " heavenly life". With precision, as if he himself lives in a dilapidated hut, he describes peasant Russia eve of the October Revolution. The plight of the common people was reflected in the following lines:
You are my abandoned land,
You are my land, wasteland,
hay uncut,
Forest and monastery.
An aching feeling of sadness, sadness for the "small" Motherland, as Yesenin himself called it ... Yes, she is miserable, abandoned, poor. But, after all, they do not love their home, the land on which they grew up and on which they walked. The poet loves her and the way she is - without embellishment. He loves and mourns the backwardness, savagery, poverty that exists in Russia.
Yesenin very skillfully combines color with sound in one image, getting a three-dimensional picture:
...Sounding marble of white stairs...
The forest rings with coniferous gilding...
And even speaking laconicly, using two or three words per line, Yesenin still achieves expressiveness in each word:
Through the meadow with a creak
The convoy is stretching -
Dryish linden
Pulls from wheels.
Just a few words, but how much is captured: the action, the image, the sound, and the smell...
Sergei Yesenin always sincerely worried about his homeland, wished her prosperity and well-being. Whatever the poet wrote about, he primarily wrote about Russia; all his personal feelings, joys and sadness, together denoted this word - Motherland. His poems, in my opinion, teach us to love Russia, reveal to us its simple, but at the same time, many-sided beauty. Yesenin's "Russianness", proximity to the people, the land for years will force us to return to the work of this poet.
“My lyrics are alive with one great love - love for the motherland,” said Sergei Yesenin about his work. And the image of the motherland for him is inextricably linked with native nature. Russian nature for Yesenin is the eternal beauty and eternal harmony of the world, healing human souls. This is how we perceive the poet's poems about our native land, this is how, sublimely and enlightened, they act on us: They knit lace over the forest In the yellow foam of the cloud. In a quiet slumber under a canopy I hear the whisper of a pine forest. The poet, as it were, tells us: stop at least for a moment, look at the world of beauty around you, listen to the rustle of meadow grasses, the song of the wind, the voice river wave, look at the 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, 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 unshakable blue
Curly lamb - a month
Walking in the blue grass.
Often using the personification of nature, characteristic of his lyrics, Yesenin creates his own unique world, forcing us to see how “the moon, the sad rider, dropped the reins”, how “the blown up road is dozing”, and “thin birch ... looked into into the pond." Nature in his poems feels, laughs and mourns, is surprised and upset.
The poet himself feels himself one with the trees, flowers, fields. Yesenin's childhood friend K. Tsybin recalled that Sergei perceived flowers as living beings, talked to them, trusting them with his joys and sorrows:
Aren't people flowers? Oh dear, feel you, These are not empty words. Like a stem shaking its body, Isn't this head a golden rose for You? The emotional experiences of the poet, important events in his life are always inextricably linked with changes in nature:
Leaves are falling, leaves are falling
The wind is moaning, Long and deaf.
Who will please the heart?
Who will comfort him, my friend?
In poems early period Yesenin often uses Church Slavonic vocabulary. He represents the merging 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:
Weaved out on the lake the scarlet light of dawn.
Capercaillie are crying in the forest with bells.
An oriole is crying somewhere, hiding in a hollow.
Only I don’t cry - my heart is light.
But carefree youth is over. A colorful, light landscape is replaced by pictures of early withering. In Yesenin's poems, the maturity of a person often echoes with autumn sometimes. The colors have not faded, they have even acquired new shades - crimson, gold, copper, but this recent outbreaks before the long winter
The golden grove dissuaded
Birch, cheerful language,
And the cranes, sadly flying,
No more regrets.
And at the same time:
The bitter smell of black burning,
Autumn groves set on fire.
In the lyrics even more late period in Yesenin's description of pictures of nature, there is a premonition of untimely death. The poems of this period are full of longing for lost youth, tragedy.
Snowy plain, white moon,
Our side is covered with a shroud.
And birches in white cry through the forests:
Who died here? Died?
Am I myself?
Perceiving nature as a whole 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 work. And even the exotic beauty of distant lands could not overshadow the modest charm of their native expanses. Wherever the poet was, wherever his fate brought him, he belonged to Russia in heart and soul.
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 for living soul, forcing to experience deep feelings, similar to exciting love experiences.
And how not to love all the beauty and charm that surrounds us: White snow, the fresh greenery of vast forests and meadows, the dark depths of lakes and rivers, the pure gold of falling leaves, which from childhood delight the eye with their multicolor, overflowing with seething emotions the excited heart of any person, especially a poet. Such as the wonderful poet Sergei Alexandrovich Yesenin, who in his sincere lyrics left a special place in the 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 in one of the long winter evenings these magic lines:
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 skill makes you imagine so vividly a blizzard, a winter forest, and the sound of hooves on a snow crust that you no longer need to see the real picture: 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 him to appeal to authentic life images, perhaps never truly seen yet, 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 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.
Read - and enjoy the simplicity poetic skill Sergei Yesenin, who is not without reason put in one of the first places among the great Russian poets.
Yesenin claimed that he, " last poet villages" 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.
Whatever the phrase is 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.
