Features of Yesenin's creative manner. The artistic originality of the work of Sergei Yesenin

He ran into life like a Ryazan simpleton, Blue-eyed, curly-haired, fair-haired, With a perky nose and a cheerful taste, To the delights of life, the sun attracted. But soon the rebellion threw its dirty ball into the radiance of the eyes. Poisoned by the bite of the Serpent of rebellion, he slandered Jesus, He tried to make friends with the tavern... In the circle of robbers and prostitutes, Languishing from blasphemous jokes, He realized that the tavern was disgusting to him... And again, repenting, he opened to God the canopy of his Furious soul Yesenin, Pious Russian hooligan...

Igor Severyanin

The work of Sergei Yesenin, uniquely bright and deep, is now firmly established in our literature and enjoys great success with numerous readers. The poet's poems are full of heartfelt warmth and sincerity, passionate love for the boundless expanses of native fields, the "inexhaustible sadness" of which he was able to convey so emotionally and so loudly.

Sergei Yesenin entered our literature as an outstanding lyricist. It is in the lyrics that everything that makes up the soul of Yesenin's creativity is expressed. It contains the full-blooded, sparkling joy of a young man rediscovering an amazing world, subtly feeling the fullness of earthly charms, and the deep tragedy of a person who has remained too long in the "narrow gap" of old feelings and views. And, if in the best poems of Sergei Yesenin there is a "flood" of the most intimate, most intimate human feelings, they are filled to the brim with the freshness of pictures of native nature, then in his other works - despair, decay, hopeless sadness. Sergei Yesenin is, first of all, a singer of Russia, and in his verses, sincere and frank in Russian, we feel the beating of a restless tender heart. They have a "Russian spirit", they "smell of Russia". They absorbed the great traditions of national poetry, the traditions of Pushkin, Nekrasov, Blok.

Even in Yesenin's love lyrics, the theme of love merges with the theme of the Motherland. The author of "Persian Motives" is convinced of the fragility of serene happiness away from his native land. And distant Russia becomes the main heroine of the cycle: "No matter how beautiful Shiraz is, it is no better than the expanses of Ryazan." Yesenin met the October Revolution with joy and ardent sympathy. Together with Blok, Mayakovsky, he took her side without hesitation. The works written by Yesenin at that time ("Transfiguration", "Inonia", "Heavenly Drummer") are imbued with rebellious moods. The poet is captured by the storm of the revolution, its greatness, and rushes to the new, to the future. In one of the works, Yesenin exclaimed: "My mother is the motherland, I am a Bolshevik!" But Yesenin, as he himself wrote, took the revolution in his own way, "with a peasant bias", "more spontaneously than consciously." This left a special imprint on the poet's work and largely predetermined his future path. Characteristic were the poet's ideas about the goal of the revolution, about the future, about socialism. In the poem "Inonia" he draws the future as a kind of idyllic kingdom of peasant prosperity, socialism seems to him a blissful "peasant's paradise." Such ideas also affected other works of Yesenin of that time:

I see you, green fields,

With a herd of brown horses.

With a shepherd's pipe in the willows

Apostle Andrew is wandering.

But the fantastic visions of the peasant Inonia, of course, were not destined to come true. The revolution was led by the proletariat, the village was led by the city. “After all, there is absolutely not the socialism that I thought about,” says Yesenin in one of the letters of that time. Yesenin begins to curse the "iron guest", bringing death to the patriarchal rural way of life, and mourn the old, outgoing "wooden Russia". This explains the inconsistency of Yesenin's poetry, who has gone through a difficult path from a singer of patriarchal, impoverished, destitute Russia to a singer of socialist Russia, Lenin's Russia. After Yesenin's trip abroad and to the Caucasus, a turning point occurs in the life and work of the poet and a new period is indicated. It makes him fall in love with his socialist fatherland more strongly and more strongly and evaluate everything that happens in it in a different way. "... I fell in love with communist construction even more," Yesenin wrote upon returning to his homeland in the essay "Iron Mirgorod". Already in the cycle "Love of a Hooligan", written immediately upon arrival from abroad, moods of loss and hopelessness are replaced by hope for happiness, faith in love and the future. The beautiful poem "A blue fire swept ...", full of self-condemnation, pure and tender love, gives a clear idea of the new motives in Yesenin's lyrics:

A blue fire swept

Forgotten relatives gave.

For the first time I sang about love,

For the first time I refuse to scandal.

I was all - like a neglected garden,

He was greedy for women and potion.

Enjoyed singing and dancing

And lose your life without looking back.

Yesenin's work is one of the brightest, deeply exciting pages in the history of Russian literature. Yesenin's era has passed away, but his poetry continues to live, awakening a feeling of love for his native land, for everything close and different. We are concerned about the sincerity and spirituality of the poet, for whom Russia was the most precious thing on the entire planet.

The originality of S. Yesenin's poetics.

The beauty and richness of Yesenin's lyrics.

Features of the artistic style.

Yesenin's lyrics are very beautiful and rich. The poet uses various artistic means and techniques. A large place in Yesenin's work is occupied by epithets, comparisons, repetitions, metaphors. They are used as a means of painting, they convey the variety of shades of nature, the richness of its colors, the external portrait features of the heroes ("scented bird cherry", "the red moon harnessed to our sleigh as a foal", "in the darkness the damp moon, like a yellow raven ... hovering over the earth "). An important role in Yesenin's poetry, as in folk songs, is played by repetitions. They are used to convey the state of mind of a person, to create a rhythmic pattern. Yesenin uses repetitions with a rearrangement of words:

My soul is in trouble,

Trouble has befallen my soul.

Yesenin's poetry is full of appeals, often these are appeals to nature:

Lovely birch thickets!

Using the stylistic features of folk lyrics, Yesenin, as it were, passes them through literary traditions and through his poetic worldview.

Most often he wrote about rural nature, which always looked it is simple and uncomplicated. This happened because Yesenin found epithets, comparisons, metaphors in folk speech:

Sparrows are playful

Like orphan children.

As well as for the people, Yesenin is characterized by the animation of nature, the attribution of human feelings to it, that is, the reception of personification:

You are my fallen maple,

frozen maple,

What are you standing leaning over

under a white blizzard?

Or what did you see?

Or what did you hear?

The moods and feelings of Yesenin, like the people, are in tune with nature, the poet seeks her salvation and comfort. Nature is compared with human experiences:

My ring was not found.

I went from longing to the meadow.

The river laughed after me:

"The cutie has a new friend."

Features of metaphor in Yesenin's poetry.

Metaphor (from Greek metaphora - transfer) is the figurative meaning of a word, when one phenomenon or object is likened to another, and both similarity and contrast can be used.

Metaphor is the most common means of generating new meanings.

Esenin's poetics is distinguished not by the attraction to abstractions, allusions, vague symbols of ambiguity, but to materiality and concreteness. The poet creates his epithets, metaphors, comparisons and images. But he creates them according to the folklore principle: he takes material for the image from the same rural world and from the world of nature and seeks to characterize one phenomenon or object by another. Epithets, comparisons, metaphors in Yesenin's lyrics do not exist on their own, for the sake of a beautiful form, but in order to more fully and deeply express their worldview.

Hence the desire for universal harmony, for the unity of everything that exists on earth. Therefore, one of the basic laws of Yesenin's world is universal metaphorism. People, animals, plants, elements and objects - all this, according to Sergei Alexandrovich, are the children of one mother - nature.

The system of comparisons, images, metaphors, all verbal means is taken from peasant life, dear and understandable.

I reach for the warmth, I breathe in the softness of the bread

And mentally biting cucumbers with a crunch,

Behind the smooth surface of the shuddering sky

Brings the cloud out of the stall by the bridle.

Here even the mill is a log bird

With a single wing, he stands with his eyes closed.

Poetic vocabulary.

E. S. Rogover, in one of his articles, argued that each poet has his own “calling card”, as it were: either this is a feature of poetic technique, or this is the richness and beauty of the lyrics, or the originality of vocabulary. All of the above, of course, applies to Yesenin, but I would like to note the features of the poet's vocabulary. [Ibid., p. 198.]

The concreteness and distinctness of poetic vision is expressed by the most everyday everyday vocabulary, the dictionary is simple, it lacks bookish and even more so abstract words and expressions. This language was used by fellow villagers and countrymen, and in it, without any religious overtones, there are religious words that the poet uses to express his purely secular ideas.

In the poem "Smoke floods ..." haystacks are compared with churches, and the mournful singing of a capercaillie with a call to the vigil.

Nevertheless, one should not see the religiosity of the poet in this. He is far from her and paints a picture of his native land, forgotten and abandoned, flooded with floods, cut off from the big world, left alone with the dull yellow moon, the dim light of which illuminates the haystacks, and they, like churches, surround the village by the spindles. But, unlike churches, the haystacks are silent, and for them the capercaillie, with mournful and sad singing, calls to the vigil in the silence of the marshes.

A grove is also visible, which “covers the bareness with blue darkness”. That's the whole discreet, joyless picture created by the poet, everything that he saw in his native flooded and covered with blue darkness land, devoid of the joy of people, for whom, right, it’s not a sin to pray.

And this motive of regret for the poverty and deprivation of the native land will pass through the early work of the poet, and the ways of expressing this deep social motive in pictures of nature, seemingly neutral to the social aspects of life, will be increasingly improved in parallel with the development of the poet's vocabulary.

In the poems “Imitation of a song”, “Under a wreath of forest chamomile”, “Tanyusha was good ...”, “Play, play, talyanochka ...”, the poet’s attraction to the form and motives of oral folk art is especially noticeable. Therefore, they contain a lot of traditional folklore expressions such as: “likhodeyskaya separation”, like “insidious mother-in-law”, “I will admire if I look”, “dark in the tower”, a scythe - “gas chamber-snake”, “blue-eyed guy”.

Poetic technique of S. Yesenin.

The lyrical talent of Sergei Yesenin is also noticeable in the design of lines, stanzas and individual poems, in the so-called poetic technique. First of all, we note the verbal originality of the poet: joy and sorrow, violence and sadness that fill his poems, he expresses verbosely, achieving expressiveness in every word, in every line. Therefore, the usual size of his best lyric poems rarely exceeds twenty lines, which is enough for him to embody sometimes complex and deep experiences or create a complete and vivid picture.

A few examples:

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.

The last two lines not only explain the first ones, the metonymic similitude they contain contains a whole picture that is characteristic of rural life. The skin on the stake is a sign of a committed murder that remains outside the boundaries of the poem.

A bit of a poet and to the colors available in the word itself or in a series of words. Cows speak with him “in a nodding language”, cabbage is “waved”. In the words, one hears the roll call of a nod - liv, waves - new, in - wa.

The sounds, as it were, pick up and support each other, preserving the given sound design of the line, its melody. This is especially noticeable in the harmony of vowels: your lake longing; in the dark tower, in the green forest.

A poet's stanza is usually four-line, in which each line is syntactically complete, a hyphen that interferes with melodiousness is an exception. Four - and two-line stanzas do not require a complex system of rhyming and do not provide its diversity. In terms of their grammatical composition, Yesenin's rhymes are not the same, but the poet's inclination towards precise rhyme is noticeable, which gives a special smoothness and sonority to the verse. P.F. Yushin. Poetry of Sergei Yesenin 1910-1923. M., 1966.- 317p.]

The moon butts the cloud with its horn,

Bathed in blue dust.

And the month behind the mound nodded to her,

Bathed in blue dust.

Moon in Yesenin's poetry.

Yesenin is perhaps the most lunar poet in Russian literature. The most common image of poetic paraphernalia is the moon, the month is mentioned in 351 of his works more than 140 times.

Yesenin's lunar spectrum is very diverse and can be divided into two groups.

First: white, silver, pearl, pale. The traditional colors of the moon are collected here, although poetry is exactly where it turns out, where the traditional is transformed into the unusual.

The second group, in addition to yellow, includes: scarlet, red, red, gold, lemon, amber, blue.

Most often, Yesenin's moon or month is yellow. Then they go: gold, white, red, silver, lemon, amber, scarlet, red, pale, blue. Pearl color is used only once:

Not the sister of the moon from the dark swamp

She threw the kokoshnik into the sky in pearls, -

Oh, how Martha went out the gate ...

A very characteristic technique for Yesenin - in the sense of his uncharacteristic: the poet uses pure, natural colors, traditional for ancient Russian painting.

Yesenin does not have a red moon at all. Maybe only in the "Poem of 36":

The month is wide and al…

Yesenin's moon is always in motion. This is not a lime ball, raised into the sky and hanging a sleepy stupor on the world, but always alive, spiritualized:

The road is pretty good.

Nice cold ring.

Moon with golden powder

Showered the distance of the villages.

Complex metaphor, which Yesenin does not avoid, cannot be attributed to some kind of poetic exoticism. “Our speech is the sand in which a small pearl was lost,” Yesenin wrote in the article “Father's Word”.

Esenin's diverse moon turns out to be rigidly subordinate to traditional folklore imagery, on which it is as dependent as its celestial counterpart is on the Earth. But at the same time: just as the real moon controls the tides of the earth's seas and oceans, so the study of Yesenin's lunar metaphor allows us to see in the seeming simplicity of folk images a concentrate of "very long and complex definitions of thought" (Yesenin).

But only from a month

Sparkling silver light

I get another blue

Another in the fog seems to be.

Yesenin often uses words with diminutive suffixes. He also uses old Russian words, fabulous names: howl, svey, etc.

Yesenin's color scheme is also interesting. He most often uses three colors: blue, gold and red. And these colors are also symbolic.

Blue is the desire for the sky, for the impossible, for the beautiful:

Blue evening, moonlit evening

I used to be handsome and young.

Golden is the original color from which everything appeared and in which everything disappears: "Ring, ring, golden Russia."

Red is the color of love, passion:

Oh, I believe, I believe, there is happiness!

The sun hasn't gone out yet.

Dawn prayer book red

Prophecy good news...

Often Yesenin, using the rich experience of folk poetry, resorts to the method of personification:

His bird cherry "sleeps in a white cloak," willows cry, poplars whisper, "the girls-spruce were saddened," "a pine tree is tied like a white scarf," "a blizzard is crying like a gypsy violin," etc.

Images of animals in the poetry of S. Yesenin.

Yesenin's poetry is figurative. But his images are also simple: "Autumn is a red mare." These images are again borrowed from folklore, for example, a lamb is an image of an innocent victim.

Images of animals have always been present in the literature of different times. They served as material for the emergence of the Aesopian language in animal tales, and later in fables. In the literature of the "new time", in the epic and in the lyrics, animals acquire equality with humans, becoming the object or subject of the narrative. Often a person is "tested for humanity" by the attitude towards the animal.

In the poetry of Sergei Yesenin, there is also the motive of "blood relationship" with the animal world, he calls them "smaller brothers".

Happy that I kissed women

Crumpled flowers, rolled on the grass

And the beast, like our smaller brothers

Never hit on the head. ("We are now leaving little by little", 1924)

In him, along with domestic animals, we find images of representatives of the wild.

Of the 339 poems examined, 123 mention animals, birds, insects, and fish. Horse (13), cow (8), raven, dog, nightingale (6), calves, cat, dove, crane (5), sheep, mare, dog (4), foal, swan, rooster, owl (3), sparrow, wolf, capercaillie, cuckoo, horse, frog, fox, mouse, titmouse (2), stork, ram, butterfly, camel, rook, goose, gorilla, toad, snake, oriole, sandpiper, chickens, corncrake, donkey, parrot , magpies, catfish, pig, cockroaches, lapwing, bumblebee, pike, lamb (1).

S. Yesenin most often refers to the image of a horse, a cow. He introduces these animals into the story of peasant life as an integral part of the life of a Russian peasant. Since ancient times, a horse, a cow, a dog and a cat have accompanied a person in his hard work, shared with him both joys and troubles.

The horse was an assistant when working in the field, in transporting goods, in military combat. The dog brought prey, guarded the house. The cow was the breadwinner in a peasant family, and the cat caught mice and simply personified home comfort. The image of a horse, as an integral part of everyday life, is found in the poems "Tabun" (1915), "Farewell, dear forest ..." (1916), "Now do not scatter this sadness ..." (1924). Pictures of village life are changing in connection with the events taking place in the country. And if in the first poem we see "herds of horses in the green hills", then in the following ones already:

Mowed hut,

Weeping sheep, and away in the wind

The little horse waving its scrawny tail,

Looking into the unkind pond.

(“This sadness cannot be scattered now…”, 1924)

The village fell into decay and the proud and majestic horse "turned" into a "horse", which personifies the plight of the peasantry in those years.

The innovation and originality of S. Yesenin, the poet, manifested itself in the fact that when drawing or mentioning animals in everyday space (field, river, village, yard, house, etc.), he is not an animal painter, that is, he does not aim to recreate the image of one or another animal. Animals, being part of the everyday space and environment, appear in his poetry as a source and means of artistic and philosophical understanding of the world around them, and allow revealing the content of a person's spiritual life.

Leading themes of poetry.

Whatever Yesenin writes about, he thinks in images taken from the natural world. Each of his poems, written on any topic, is always unusually colorful, close and understandable to everyone.

Village theme.

At the heart of Yesenin's early poetry is love for the native land. It is to the native land of the peasant land, and not to Russia with its cities, factories, factories, universities, theaters, political and social life. In essence, he did not know Russia in the sense that we understand it. For him, the homeland is his own village and those fields and forests in which she was lost. Russia is Russia, Russia is a village.

Very often, Yesenin in his works refers to Russia. At first, he glorifies the patriarchal principles in the life of his native village: he draws “huts - in robes of an image”, likens the Motherland to a “black nun” who “reads psalms for her sons”, idealizes joyful and happy “good fellows”. Such are the poems “Goy you, my dear Russia ...”, “You are my abandoned land ...”, “Dove”, “Rus”. True, sometimes the poet hears “warm sadness” and “cold sorrow” when he meets peasant poverty, sees the abandonment of his native land. But this only deepens and strengthens his boundless love for the yearning orphan land.

O Rus - raspberry field

And the blue that fell into the river -

I love to joy and pain

Your lake anguish.

Yesenin knows how to feel gaiety in the very anguish of his native side, in dormant Russia - the accumulation of heroic forces. His heart responds to the girls' laughter, to the dance around the fires, the children's talyanka. You can, of course, stare into the “potholes”, “bumps and hollows” of your native village, or you can see “how the skies turn blue all around”. Yesenin assimilates a bright, optimistic view of the fate of his Fatherland. Therefore, so often in his poems there are lyrical confessions addressed to Russia:

But I love you, meek homeland!

And I can't figure out why.

…………………………….

Oh you, my Russia, dear homeland,

Sweet rest in the crack of kupyrs.

……………………………..

I'm here again, in my own family,

My land, thoughtful and gentle!

For the inhabitant of this Russia, the whole feat of life is peasant labor. The peasant is downtrodden, poor, goalless. His land is just as miserable:

Willows are listening

Wind whistle…

You are my forgotten edge,

You are my native land.

It is possible to restore his early peasant-religious tendencies from Yesenin's poems. It turns out that the mission of the peasant is divine, for the peasant, as it were, participates in the creativeness of God. God is a father. Earth is mother. The son is the harvest.

Russia for Yesenin is Russia, that fertile land, the homeland where his great-grandfathers worked and now his grandfather and father are working. Hence the simplest identification: if the earth is a cow, then the signs of this concept can be transferred to the concept of homeland. Khodasevich. Necropolis: Memoirs.- M .: Soviet writer, 1991.- 192s ..]

It is impossible to imagine the image of Yesenin’s country without such familiar signs as “blue board of heaven”, “saline melancholy”, “lime of bell towers” and “birch - a candle”, and in mature years - “red mountain ash fire” and “low house” , “in the dashing steppe acceleration, the bell laughs to tears.” It is difficult to imagine Yesenin's Russia without such a picture:

Blue sky, colored arc.

Quietly steppe shores run,

The smoke stretches, near the raspberry villages

The wedding of the crows covered the palisade.

The theme of the motherland in Yesenin's lyrics.

Yesenin was an inspired singer in Russia. All the loftiest ideas and innermost feelings of his were connected with her. “My lyrics are alive with one great love - love for the Motherland,” the poet admitted. - the feeling of the Motherland is the main thing in my work”.

The poeticization of the native nature of central Russia, so constant in Yesenin's poetry, was an expression of a feeling of love for the native land. When you read such early poems as “Bird cherry snows…”, “Beloved land! Dreams of the heart…” when, as if in reality, you see the fields with their “raspberry expanse”, the blue of lakes and rivers, the “hairy forest” cradles with its “pine forest ringing”, the “village path” with “roadside herbs”, tender Russian birch trees with their joyful hello, involuntarily, the heart, like that of the author, “shines with cornflowers”, and “turquoise burns in it”. You begin to love this “dear land”, “the country of birch chintz” in a special way.

In turbulent revolutionary times, the poet already speaks of “resurrected Russia”, a formidable country. Yesenin now sees her as a huge bird, preparing for a further flight (“Oh Russia, flap your wings”), acquiring a “different support”, cleaning off the old black tar from itself. The image of Christ that appears in the poet symbolizes both the image of insight, and at the same time new torment and suffering. Yesenin writes in despair: “After all, the socialism that I thought about is completely different.” And the poet painfully experiences the collapse of his illusions. However, in Confessions of a Hooligan he repeats again:

I love the Motherland.

I love my country very much!

In the poem “Russia is leaving,” Yesenin is already definitely talking about the old that is dying and inevitably remains in the past. The poet sees people who believe in the future. Albeit timidly and cautiously, but "they are talking about a new life." The author peers into the boiling of a changed life, into the “new light” that burns “of another generation at the huts”. The poet is not only surprised, but also wants to absorb this novelty into his heart. True, even now he makes a reservation in the poems:

I will accept everything.

I accept everything as it is.

Ready to follow the beaten tracks.

I'll give my whole soul to October and May,

But I won't give you my sweet lyre.

And yet Yesenin holds out his hand to a new generation, a young, unfamiliar tribe. The idea of the inseparability of one's fate from the fate of Russia is expressed by the poet in the poem “The feather grass is sleeping. Dear plain…” and “Unspeakable, blue, tender…”

Theme of love.

Yesenin began to write about love in the late period of his work (until that time he rarely wrote on this topic). Yesenin's love lyrics are very emotional, expressive, melodic, in the center of it are the complex vicissitudes of love relationships and the unforgettable image of a woman. The poet managed to overcome the touch of naturalism and bohemianism that was characteristic of him in the Imagist period, freed himself from vulgarism and swear words, which sometimes sounded dissonant in his love poems, sharply reduced the gap between rough reality and the ideal that was felt in individual lyrical works.

Yesenin's outstanding creation in the field of love lyrics was the cycle "Persian Motives", which the poet himself considered the best of all that he had created.

The poems included in this cycle largely contradict those lines about love that sounded in the collection “Moscow Tavern”. This is evidenced by the first poem of this cycle - "My former wound has subsided." In “Persian Motifs” an ideal world of beauty and harmony is depicted, which, for all its obvious patriarchy, is devoid of rough prose and catastrophism. Therefore, to reflect this beautiful realm of dreams, peace and love, the lyrical hero of this cycle is touching and soft.

Conclusion.

A. N. Tolstoy.

The words of A. N. Tolstoy about Yesenin can be put as an epigraph to the work of the outstanding Russian poet of the twentieth century. And Yesenin himself admitted that he would like to "spill his whole soul into words." The “flood of feelings” that flooded his poetry cannot but cause reciprocal emotional excitement and empathy.

The originality of S. Yesenin's poetics.

The beauty and richness of Yesenin's lyrics.

Features of the artistic style.

Yesenin's lyrics are very beautiful and rich. The poet uses various artistic means and techniques. A large place in Yesenin's work is occupied by epithets, comparisons, repetitions, metaphors. They are used as a means of painting, they convey the variety of shades of nature, the richness of its colors, the external portrait features of the heroes (“the fragrant bird cherry”, “the red moon harnessed to our sleigh like a colt”, “in the darkness the damp moon, like a yellow raven hovering above the ground”) . An important role in Yesenin's poetry, as in folk songs, is played by repetitions. They are used to convey the state of mind of a person, to create a rhythmic pattern. Yesenin uses repetitions with a rearrangement of words:

My soul is in trouble,

Trouble has befallen my soul.

Yesenin's poetry is full of appeals, often these are appeals to nature:

Lovely birch thickets!

Using the stylistic features of folk lyrics, Yesenin, as it were, passes them through literary traditions and through his poetic worldview.

Most often he wrote about rural nature, which always looked it is simple and uncomplicated. This happened because Yesenin found epithets, comparisons, metaphors in folk speech:

Like orphan children.

As well as for the people, Yesenin is characterized by the animation of nature, the attribution of human feelings to it, that is, the reception of personification:

You are my fallen maple,

What are you standing leaning over

under a white blizzard?

Or what did you hear?

The moods and feelings of Yesenin, like the people, are in tune with nature, the poet seeks her salvation and comfort. Nature is compared with human experiences:

My ring was not found.

I went from longing to the meadow.

The river laughed after me:

"The cutie has a new friend."

Features of metaphor in Yesenin's poetry.

Metaphor (from Greek metaphora - transfer) is the figurative meaning of a word, when one phenomenon or object is likened to another, and both similarity and contrast can be used.

Metaphor is the most common means of generating new meanings.

The system of comparisons, images, metaphors, all verbal means is taken from peasant life, dear and understandable.

I reach for the warmth, I breathe in the softness of the bread

And mentally biting cucumbers with a crunch,

Behind the smooth surface of the shuddering sky

Brings the cloud out of the stall by the bridle.

Here even the mill is a log bird

With a single wing, he stands with his eyes closed.

In the poem "Smoke floods ..." haystacks are compared with churches, and the mournful singing of a capercaillie with a call to the vigil.

In the poems “Imitation of a song”, “Under a wreath of forest chamomile”, “Tanyusha was good ...”, “Play, play, talyanochka ...”, the poet’s attraction to the form and motives of oral folk art is especially noticeable. Therefore, they contain a lot of traditional folklore expressions such as: “likhodeyskaya separation”, like “insidious mother-in-law”, “I’ll admire if I look”, “dark in the tower”, scythe - “gas chamber-snake”, “blue-eyed guy”.

Poetic technique of S. Yesenin.

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.

A bit of a poet and to the colors available in the word itself or in a series of words. Cows speak with him “in a nodding language”, cabbage is “waved”. In the words one hears the roll call kiv - liv, wave - new, in - va.

A poet's stanza is usually four-line, in which each line is syntactically complete, a hyphenation that interferes with melodiousness is an exception. Four- and two-line stanzas do not require a complex rhyming system and do not provide its diversity. In terms of their grammatical composition, Yesenin's rhymes are not the same, but the poet's inclination towards precise rhyme is noticeable, which gives a special smoothness and sonority to the verse. P.F. Yushin. Poetry of Sergei Yesenin 1910-1923. M., 1966.- 317p.]

The moon butts the cloud with its horn,

Bathed in blue dust.

And the month behind the mound nodded to her,

Bathed in blue dust.

Moon in Yesenin's poetry.

Yesenin is perhaps the most lunar poet in Russian literature. The most common image of poetic paraphernalia is the moon, the month is mentioned in 351 of his works more than 140 times.

Yesenin's lunar spectrum is very diverse and can be divided into two groups.

First: white, silver, pearl, pale. The traditional colors of the moon are collected here, although poetry is exactly where it turns out, where the traditional is transformed into the unusual.

The second group, in addition to yellow, includes: scarlet, red, red, gold, lemon, amber, blue.

Most often, Yesenin's moon or month is yellow. Then they go: gold, white, red, silver, lemon, amber, scarlet, red, pale, blue. Pearl color is used only once:

Not the sister of the moon from the dark swamp

She threw the kokoshnik into the sky in pearls, -

Oh, how Martha went out the gate ...

A very characteristic technique for Yesenin - in the sense of his uncharacteristic: the poet uses pure, natural colors, traditional for ancient Russian painting.

Yesenin does not have a red moon at all. Maybe only in the "Poem of 36":

The month is wide and al…

Yesenin's moon is always in motion. This is not a lime ball, raised into the sky and hanging a sleepy stupor on the world, but always alive, spiritualized:

The road is pretty good.

Nice cold ring.

Moon with golden powder

Showered the distance of the villages.

Complex metaphor, which Yesenin does not avoid, cannot be attributed to some kind of poetic exoticism. “Our speech is the sand in which a small pearl has been lost,” Yesenin wrote in the article “Father's Word”.

Yesenin's diverse moon turns out to be rigidly subordinate to traditional folklore imagery, on which it is as dependent as its celestial counterpart is on the Earth. But at the same time: just as the real moon controls the tides of the earth's seas and oceans, so the study of Yesenin's lunar metaphor allows us to see in the seeming simplicity of folk images a concentrate of "very long and complex definitions of thought" (Yesenin).

But only from a month

Sparkling silver light

I get another blue

Another in the fog seems to be.

Yesenin often uses words with diminutive suffixes. He also uses old Russian words, fabulous names: howl, svey, etc.

Yesenin's color scheme is also interesting. He most often uses three colors: blue, gold and red. And these colors are also symbolic.

Blue - the desire for the sky, for the impossible, for the beautiful:

Blue evening, moonlit evening

I used to be handsome and young.

Gold is the original color from which everything appeared and in which everything disappears: "Ring, ring, golden Russia."

Red is the color of love, passion:

Oh, I believe, I believe, there is happiness!

The sun hasn't gone out yet.

Dawn prayer book red

Prophecies good news.

Often Yesenin, using the rich experience of folk poetry, resorts to the method of personification:

His bird cherry “sleeps in a white cloak”, willows cry, poplars whisper, “spruce-girls are sad”, “a pine tree is tied like a white scarf”, “a blizzard is crying like a gypsy violin”, etc.

Images of animals in the poetry of S. Yesenin.

Yesenin's poetry is figurative. But his images are also simple: "Autumn is a red mare." These images are again borrowed from folklore, for example, a lamb is an image of an innocent victim.

Images of animals have always been present in the literature of different times. They served as material for the emergence of the Aesopian language in animal tales, and later in fables. In the literature of the "new time", in the epic and in the lyrics, animals acquire equality with humans, becoming the object or subject of the story. Often a person is “tested for humanity” by his attitude towards an animal.

In the poetry of Sergei Yesenin, there is also the motive of "blood relationship" with the animal world, he calls them "smaller brothers".

Happy that I kissed women

Crumpled flowers, rolled on the grass

And the beast, like our smaller brothers

I never hit him on the head. ("We are now leaving little by little", 1924)

In him, along with domestic animals, we find images of representatives of the wild.

The horse was an assistant when working in the field, in transporting goods, in military combat. The dog brought prey, guarded the house. The cow was the breadwinner in a peasant family, and the cat caught mice and simply personified home comfort. The image of a horse, as an integral part of everyday life, is found in the poems “Tabun” (1915), “Farewell, dear forest ...” (1916), “Now this sadness cannot be scattered ...” (1924). Pictures of village life are changing in connection with the events taking place in the country. And if in the first poem we see “herds of horses in the green hills”, then in the following already:

Weeping sheep, and away in the wind

The little horse waving its scrawny tail,

Looking into the unkind pond.

(“This sadness cannot be scattered now ...”, 1924)

The village fell into decay and the proud and majestic horse "turned" into a "horse", which personifies the plight of the peasantry in those years.

Leading themes of poetry.

Whatever Yesenin writes about, he thinks in images taken from the natural world. Each of his poems, written on any topic, is always unusually colorful, close and understandable to everyone.

At the heart of Yesenin's early poetry is love for the native land. It is to the native land of the peasant land, and not to Russia with its cities, factories, factories, universities, theaters, political and social life. In essence, he did not know Russia in the sense that we understand it. For him, his homeland is his own village and those fields and forests in which it is lost. Russia is Russia, Russia is a village.

Very often, Yesenin in his works refers to Russia. At first, he glorifies the patriarchal principles in the life of his native village: he draws “huts in the robes of an image”, likens the Motherland to a “black nun” who “reads psalms for her sons”, idealizes joyful and happy “good fellows”. Such are the poems “Goy you, my dear Russia ...”, “You are my abandoned land ...”, “Dove”, “Rus”. True, sometimes the poet hears “warm sadness” and “cold sorrow” when he meets peasant poverty, sees the abandonment of his native land. But this only deepens and strengthens his boundless love for the yearning orphan land.

O Russia - raspberry field

And the blue that fell into the river -

I love to joy and pain

Your lake anguish.

But I love you, meek homeland!

And I can't figure out why.

Oh you, my Russia, dear homeland,

Sweet rest in the crack of kupyrs.

I'm here again, in my own family,

My land, thoughtful and gentle!

For the inhabitant of this Russia, the whole feat of life is peasant labor. The peasant is downtrodden, poor, goalless. His land is just as miserable:

You are my forgotten edge,

You are my native land.

It is possible, according to Yesenin's poems, to restore his early peasant-religious tendencies. It turns out that the mission of the peasant is divine, for the peasant, as it were, participates in the creativeness of God. God is a father. The earth is mother. The son is the harvest.

It is impossible to imagine the image of Yesenin's country without such familiar signs as “the blue board of heaven”, “saline melancholy”, “lime of bell towers” and “birch - a candle”, and in mature years - “red rowan bonfire” and “low house” , “in the dashing steppe acceleration, the bell laughs to tears.” It is difficult to imagine Yesenin's Russia without such a picture:

Blue sky, colored arc.

Quietly steppe shores run,

The smoke stretches, near the raspberry villages

The wedding of the crows covered the palisade.

The theme of the motherland in Yesenin's lyrics.

Yesenin was an inspired singer in Russia. All the loftiest ideas and innermost feelings of his were connected with her. “My lyrics are alive with one great love - love for the Motherland,” the poet admitted. “The feeling of the Motherland is the main thing in my work.”

I love my country very much!

I accept everything as it is.

Ready to follow the beaten tracks.

I'll give my whole soul to October and May,

But I won't give you my sweet lyre.

Yesenin's outstanding creation in the field of love lyrics was the cycle "Persian Motives", which the poet himself considered the best of all that he had created.

The poems included in this cycle largely contradict those lines about love that sounded in the collection “Moscow Tavern”. This is already evidenced by the first poem of this cycle - "My former wound has subsided." In “Persian Motifs” an ideal world of beauty and harmony is depicted, which, for all its obvious patriarchy, is devoid of rough prose and catastrophism. Therefore, to reflect this beautiful realm of dreams, peace and love, the lyrical hero of this cycle is touching and soft.

Sergei Yesenin (1895-1925) is a great creator, whose heartfelt poems about the Russian soul and the “voice of the people” have long become classics of the early twentieth century. It is not without reason that he is called the “subtle lyricist” and the “master of landscape” - you can be convinced of this by reading any of his works. But the work of the "peasant poet" is so multifaceted that two words are not enough to describe it. It is necessary to evaluate all the motives, themes and stages of his path in order to understand the sincerity and depth of each line.

On September 21, 1895, Russian poet Sergei Alexandrovich Yesenin was born in the village of Konstantinovo in the Ryazan region (province). The parents of the "yellow-haired" boy "with blue eyes" - Tatyana Fedorovna and Alexander Nikitich - were of peasant origin. Among them, it was customary to give young girls in marriage against their will, and such marriages usually broke up. This is what happened in the family of Sergei, who had 2 sisters - Ekaterina (1905-1977) and Alexandra (1911-1981).

Almost immediately after the wedding, Yesenin's father, Alexander, returned to Moscow to earn money: there he worked in a butcher's shop, while his wife, Tatyana, returned to her "father's house", it was there that little Sergei spent most of his childhood. There was not enough money in the family, despite the work of his father, and Yesenin's mother left for Ryazan. It was then that grandparents took up the upbringing of the child. Titov Fedor Andreevich - Sergei's grandfather - was a connoisseur of church books, while the grandmother of the future poet - Natalya Evtikhievna - knew many folk songs and poems. Such a “family tandem” pushed young Seryozha to write his first future prose works, because already at the age of 5 Yesenin learned to read, and at 8 he tried to write his first poems.

In 1904, Yesenin went to the Konstantinovsky Zemstvo School, where, after receiving a “letter” with honors (1909), he decided to enter the second-class parochial teacher's school. The young man, missing his family, came to Konstantinovo only during the holidays. It was then that he began to write his first poems: "The Coming of Spring", "Winter" and "Autumn" - the approximate date of creation is 1910. After 2 years, in 1912, Yesenin receives a diploma in the specialty "literacy teacher" and decides to leave home for Moscow.

Work in Krylov's butcher shop, of course, was not the subject of the young Yesenin's dream, so after a quarrel with his father, under whom he worked, he decides to go to work in the printing house of I.D. Sytin. Why did this position become one of the most important "stepping stones" on the way to the fulfillment of his desires? It was there that he met his first common-law wife, Anna Izryadova, and opened himself access to a literary and musical circle.

Having entered the Moscow City People's University named after Shanyavsky at the Faculty of History and Philosophy in 1913, Yesenin soon left the institute and devoted himself entirely to writing poems. A year later, he began to publish in the journal "Mirok" ("Birch" (1914)), and a few months later the Bolshevik newspaper "The Way of Truth" published several more of his poems. The year 1915 became especially significant in the judge of the Russian poet - he met A. Blok, S. Gorodetsky and N. Gumilyov. In October of the same year, the Protalinka magazine published Mother's Prayer, dedicated to the First World War.

Sergei Yesenin was called up for war, but thanks to his influential friends, he was assigned to the Tsarskoye Selo military hospital train No. 143 of Her Imperial Majesty Empress Alexandra Feodorovna - it was there that he began to devote himself even more to the "spirit of the times" and attend literary circles. Subsequently, the first literary article "Yaroslavna cry" was published in the journal "Women's Life".

Omitting the details of the life of the great poet in Moscow, one can also say that his “revolutionary mood” and his attempt to fight for “Russian truth” played a cruel joke on him. Yesenin wrote several small poems - "Jordanian Dove", "Inonia", "Heavenly Drummer" - which were completely imbued with a sense of a change in life, but this was far from changing his status and made him famous. His freedom-loving impulses only attracted the gendarmes to his performances. Significantly, his fate was influenced by a completely different circumstance - acquaintance with Anatoly Mariengof and flirting with new modernist trends. Yesenin's Imagism is a description of the patriarchal way of life of "poor peasants" who have lost the ability to fight for their own independence ("Keys of Mary" 1919). However, the outrageous village boy in a shirt, belted with a red sash, begins to annoy the public. And a year later, in his work, the image of a drunkard, a hooligan and a brawler, who is surrounded by "rabble" ("Confession of a Hooligan"), appears. This motive was met by the inhabitants of the capital with approval and enthusiasm. The poet understood where the keys to success lie, and began to actively develop his new image.

Yesenin's further "success story" was based on his scandalous behavior, stormy romances, high-profile breaks, poetry of self-destruction and persecution of Soviet power. The outcome is clear - a murder staged as a suicide on December 28, 1925.

Poetry collections

The first collection of poetry by Sergei Yesenin was published in 1916. "Radunitsa" has become a kind of personification of the relationship of sweat to the homeland. Critics said that "his entire collection bears the stamp of captivating youthful spontaneity ... He sings his sonorous songs easily, simply, like a lark sings." The main image is the peasant soul, which, despite its “thoughtfulness”, is endowed with “rainbow light”. A feature is also the fact that Imagism is present here in the role of searching for new lyricism and fundamentally new forms of versification. Yesenin conceived a new "literary style". Next came:

"Dove" 1920
"Poems of a brawler" 1926
"Moscow tavern" 1924
"The Love of a Hooligan" 1924
"Persian motives" 1925

Each collection of poetry by Sergei Yesenin differs from the previous one in mood, motives, muses and main themes, but they all make up one concept of creativity. The focus is on the open Russian soul, undergoing changes in the process of changing places and times. At first she is pure, pure, young and natural, then spoiled by the city, intoxicated and unrestrained, and in the finale she is disappointed, ruined and lonely.

Art world

Yesenin's world consists of many overlapping concepts: nature, love, happiness, pain, friendship and, of course, the Motherland. In order to understand the artistic world of the poet, it is enough to turn to the lyrical content of his poems.

Main topics

Themes of Yesenin's lyrics:

Happiness(search, essence, loss of happiness). In 1918, Sergei Yesenin published the poem "Here it is stupid happiness." In it, he recalls his carefree childhood, where happiness seemed to him something distant, but at the same time close. “Stupid, sweet happiness, fresh rosy cheeks,” the author writes, thinking about the long gone irretrievable days that he spent in his native and beloved village. However, do not forget that this topic was not always associated with the native land, it was also the personification of love. So, for example, in the poem “Shagane you are mine, Shagane! ..” he speaks of his love for a young girl who gives him harmony.
Women(love, separation, loneliness, passion, satiety, fascination with the muse). He thinks about parting, and about longing, and even about joy, consonant with his own sadness. Despite the fact that Yesenin was popular with the opposite sex, this did not prevent him from adding a share of tragedy to his lyrical lines. For example, it will be enough to take the collection "Moscow Tavern", which included such a cycle as "The Love of a Hooligan", where the Beautiful Lady is not happiness, but misfortune. Her eyes are a "golden pool". His love poems are a cry for help from a person who needs real feelings, and not a semblance of sensuality and passion. That is why "Yesenin's love" is more of a pain than a flight. Here's another .
motherland(admiration for beauty, devotion, the fate of the country, the historical path). For Yesenin, the native land is the best embodiment of love. For example, in the work "Rus" he confesses to her his lofty feelings, as if he had a lady of the heart in front of him, and not an abstract image of the fatherland.
Nature(the beauty of the landscape, the description of the seasons). For example, in the poem "White Birch ..." both the tree itself and its white color are described in detail, which is associated with instability, as well as with the symbolic meaning of death. Examples of Yesenin's poems about nature are listed.
Village. For example, in the poem “The Village”, the hut is something metaphysical: it is both prosperity and a “well-fed world”, but only in comparison with peasant huts, which differ from the above in their “musty” forms - this is a clear allegory between the authorities and the common people.
Revolution, war, new power. It is enough to turn to one of the best works of the poet - the poem "" (1925): here are the events of 1917, and Yesenin's personal attitude to this tragic time, which develops into a kind of warning to the "coming future." The author compares the fate of the country with the fate of the people, while they undoubtedly affect each person individually - that is why the poet so vividly describes each character with his "common vocabulary". He miraculously foresaw the tragedy of 1933, when the "farmer" turned into a famine.

Main motives

The main motives of Yesenin's lyrics are passion, self-destruction, remorse and worries for the fate of the fatherland. In the latest collections, more and more often, elevated feelings are replaced by a drunken frenzy, disappointment and an end to the unfulfilled. The author becomes an inveterate drunkard, beats his wives and loses them, gets even more upset, and plunges even deeper into the darkness of his own soul, where vices are hidden. Therefore, in his work one can catch Baudelaire motifs: the beauty of death and the poetry of spiritual and physical degradation. Love, which was present in almost every work, was embodied in different meanings - suffering, despair, longing, attraction, etc.

Although not a long, but eventful life of the “last poet of the village” embraced a change of ideals in Russia - this, for example, can be traced in the poem “Return to the Motherland”: “And now the sister breeds, opening, like the Bible, pot-bellied “Capital”.

Language and style

If Yesenin's style is a little chaotic and isolated from the notion of "poetic composition" familiar to readers, then the language is understandable and quite simple. As a measure, the author chose dolniki - the oldest form that existed even before the advent of the syllabo-tonic system of versification. The poet's vocabulary is colored with dialectisms, vernaculars, archaisms and typical colloquial fragments of speech like interjections. Widely known.

The vernacular that Sergei Yesenin uses in his poems is rather a feature of his artistic design and, of course, a sign of respect for his origin. Do not forget that Yesenin's childhood took place in Konstantinovo, and the future poet believed that it was the dialect of the "common people" that was the soul and heart of all of Russia.

The image of Yesenin in the lyrics

Sergei Yesenin lived in a very difficult time: then the revolutionary events of 1905-1917 broke out, the civil war began. These factors undoubtedly had a huge impact on the entire work of the poet, as well as on his "lyrical hero".

The image of Yesenin is the best qualities of the poet, displayed in his poems. For example, his patriotism is indicative in the poem "Poet":

That poet, who destroys enemies,
Whose native truth is the mother,
Who loves people like brothers
And I'm ready to suffer for them.

In addition, he has a special "love purity", which can be traced in the "Love of a Hooligan" cycle. There he confesses his lofty feelings to his muses, speaks of the diverse palette of human emotions. In the lyrics, Yesenin often appears as a gentle and underestimated admirer, to whom love is cruel. The lyrical hero describes the woman with enthusiastic remarks, flowery epithets and subtle comparisons. He is often guilty and theatrically downplays the effect he has had on the lady. Insulting himself, he is at the same time proud of his drunken prowess, broken fate and strong nature. Humiliating himself, he sought to give the impression of a gentleman misunderstood and deceived in the best of feelings. However, in life, he himself brought his passions to a complete break, beating, cheating and getting drunk. He often initiated the breakup, but the lyrics mentioned only that he was cruelly deceived in his expectations and upset. An example is the famous "". In a word, the poet clearly idealized himself and even mystified his biography, attributing mature works to the early period of creativity, so that everyone would think that he was phenomenally gifted from childhood. You can find other equally interesting facts about the poet.

If at first Yesenin accepted the revolution, given his peasant origin, then later he rejected the "New Russia". In the RSFSR, he felt like a foreigner. In the countryside, with the advent of the Bolsheviks, it only got worse, strict censorship appeared, and more and more often the authorities began to regulate the interests of art. Therefore, the lyrical hero eventually acquires sarcastic intonations and bile notes.

Author's epithets, metaphors, comparisons

Yesenin's words are a special artistic composition, where the main role is played by the presence of the author's metaphors, personifications and phraseological units, which give the poems a special stylistic coloring.

So, for example, in the poem “Quietly in the juniper thicket”, Yesenin uses a metaphorical statement:

Quietly in the thicket of juniper along the cliff,
Autumn - a red mare - scratches her mane.

In the well-known work “Letter to a Woman”, he presented to the public a detailed metaphor the length of a poem. Russia becomes a ship, revolutionary moods become a pitcher, a hold becomes a tavern, the Bolshevik Party becomes a helmsman. The poet himself compares himself to a horse driven in soap and spurred by a brave rider - a time that was rapidly changing and demanded the impossible from the creator. In the same place, he predicts for himself the role of a fellow traveler of the new government.

Features of poetry

Yesenin's features as a poet lie in the close connection of his poetry with folklore and folk traditions. The author was not shy in expressions, actively used elements of colloquial speech, showing the city the exotic outskirts, where the capital's writers did not even look. With this coloring, he conquered the captious public, which found national identity in his work.

Yesenin stood apart, never joining any of the modernist movements. His passion for Imagism was brief, he soon found his own way, thanks to which he was remembered by people. If only a few lovers of belles-lettres have heard about some kind of "Imagism", then Sergei Yesenin is still known from school.

The songs of his authorship have become truly popular, many famous performers still sing them, and these compositions become hits. The secret of their popularity and relevance is that the poet himself was the owner of a broad and controversial Russian soul, which he sang in a clear and sonorous word.

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In the history of the development of the national literary language in the 20th century, Yesenin's role as an innovator was undeniable. The Russian classic, a native of the peasantry, continuing the great work of Pushkin, Gogol, Tolstoy, even further in poetry "pushed the boundaries" of the folk language. The figurative-speech beginning in Yesenin, his ornamental style, “the feeling of the Motherland” determined the essence of his work. The discoveries that took place in the literary language in the 20th century are directly related to the innovative achievements of Yesenin. This is especially evident in his style.

Having absorbed the traditions of folk culture, he passed on this experience, developing and enriching it, to new generations. Yesenin's lyrics, in his own words, "are alive with one great love - love for the motherland" and bring up the purest, highest moral and patriotic feelings. The intimate and all-consuming “feeling of the Motherland” from the first steps of the creative path of Sergei Yesenin determined for him his attitude to the world, man and literature. forms. The system of values in the poetry of S. Yesenin is one and indivisible, all its components are interconnected and, interacting, form a single, integral picture of a lyrical work.

To convey the state of mind of the lyrical hero, his character, describe the pictures of nature of the “Beloved Motherland”, as well as to convey his feelings and thoughts, the poet uses the pictorial, expressive, aesthetic possibilities of the artistic style. Yesenin's first collection of poems came out when the poet was only 20 years old. In the early poems of S. Yesenin, we find many such sketches, which can be called small lyrical sketches or pictures of village life. The strength 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 concretely, in visible images, in pictures of native nature. Often the landscape is not inspiring. The poet exclaims with pain:

You are my abandoned land, you are my land, a wasteland. But Yesenin saw not only a sad landscape, bleak pictures; he saw the Motherland and the other: in joyful spring attire, with fragrant flowers and herbs, with the bottomless blue of the sky. Already in Yesenin's early poems, declarations of love for Russia are heard. So, one of his most famous works is “Goy you, my dear Russia ...”. One of Yesenin’s earliest stylistic devices was writing poetry in a language that gravitated towards Old Russian speech (for example, “The Song of Evpaty Kolovrat”). The poet uses ancient Russian names to build images, he uses such ancient words as a pictorial tool. to man, to life), the beauty of being in general.

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Poetry collections

Art world

Main topics

Main motives

Language and style

The image of Yesenin in the lyrics

Author's epithets, metaphors, comparisons

Features of poetry

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