Artistic world of sergey yesenin - presentation. Essays on a free topic

Yesenin himself (unlike, for example, Blok) was not inclined to divide his creative path into any stages. And partly we can agree with this. Yesenin's poetry is distinguished by its extraordinary integrity, for everything in it is about Russia. “My lyrics are alive with one big love, love for the motherland. The feeling of the motherland is the main thing in my work.” In a 1914 poem, “Goy you, my dear ...” Yesenin argued: “If the holy army shouts: /“ Throw Rus, live in paradise! but even 10 years later, in Soviet Russia, he stands his ground: “I will sing / With my whole being in a poet / A sixth of the earth / With a short name “Rus”. (Recall that our state in those years was called the USSR, and the country that Yesenin was going to sing about did not officially exist.)

In the same poem - "Soviet Russia" - "about other young men singing other songs, it is said:" It's not a village, but the whole earth is their mother. The blood connection with the earth that gave birth to him was the main condition thanks to which Yesenin was able to bring Russian nature into poetry with all its distances and colors - "amazing in their beauty." The second important condition was the ability to see the unusual in the world around him of everyday peasant life. In Yesenin's poems, everything turns into the gold of poetry: soot over the damper, and clucking chickens, and curly puppies (the poem "In the hut"). And the poet sees the low-key Central Russian landscape as follows:

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.

Goy you, Russia, my dear,

Huts - in the robes of the image ...

See no end and edge -

Only blue sucks eyes.

He is the main nerve of Yesenin's first collections - "Radunitsa" (1916, Petrograd) and "Dove" (1918, ibid.). The very titles of both books are proof. Radunitsa is a day of commemoration of the dead, usually the first Monday after Easter. The word itself means "brilliant", "enlightened". So called and the first spring days. Blue, blue - constant epithets of Yesenin's Russia:

Again in front of me is a blue field.

The puddles of the sun sway the ruddy face.

Unsteady water freezes the blue in the eyes ...

"The charm and mystery of Yesenin's Russia - in the quietly radiant absence" (L. Annensky). Key images- ringing and sleep (dream, fog, haze). Yesenin's Russia is the heavenly city of Kitezh. She quietly dozes to the sound of bells "on the foggy shore":

Milky smoke shakes the wind of the village,

But there is no wind, there is only a slight ringing.

And Russia slumbers in its merry anguish,

Clutching your hands in the yellow steep slope.

And even though your fog drives away

The stream of winds blowing with wings,

But all of you are myrrh and Lebanese

Magi, secretly sorcerers.

Of course, Yesenin's Russia, like the Russia of Tyutchev, Nekrasov, Blok, is just a poetic myth, "a beautiful Hypothesis of Russia" (E. Vinokurov). Remarkable is the fact that Yesenin's Russia - Native sister block Russia. Both poets, next to "Russia-mystery", "bright wife" - the other - "googly mother Russia", walking, impoverished and homeless:

Is it my side, side,

Hot stripe.

Only the forest, yes salting,

Yes, the river scythe ...

Puddle shines like tin

Sad song, you are Russian pain.

But in spite of everything: “I’m weaving a wreath for you alone, / I’m strewing a gray stitch with flowers” ​​and “... not to love you, not to believe - / I can’t learn.”

Lyrical hero Yesenin. In the poem "Beyond the Dark Strand of Woods..." the lyrical hero directly identifies himself with the poet:

And you, like me, in a sad need,

Forgetting who is your friend and enemy,

You miss the pink sky

And dove clouds.

These are very revealing lines. Two Russias - "earthly" and "heavenly" - coexist in the soul of the poet, although his longing is for blue Russia, the heavenly city of Kitezh. Yesenin's lyrical hero is "an ever-wandering wanderer", "leaving into the azure". And the homeland is loved by mortal love because it is abandoned. The motive of the abandoned father's house is the leading one in Yesenin's lyrics.

As specific features of the lyrical hero, the following can be distinguished:

2. Naturalness and confessional openness of the spiritual world (“poems - a letter from Yesenin” (Yu. Tynyanov)).

3. The feeling of a blood, mortal connection with all living things in the world (“I understand the earth”).

4. Openness to the world, its grateful acceptance, and at the same time - longing for "foreign fields" and for "the one that is not in this world."

Post-October lyrics. Despite the extraordinary integrity of Yesenin's lyrics, throughout creative way"the style of his verbal gait" was changing. “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” (“On Myself”, 1925). The “peasant deviation” consisted in the fact that Yesenin, like other “new peasant poets” (N. Klyuev, P. Oreshin, P. Karpov, S. Klychkov), expected the liberation of the peasants from the revolution, the transformation of Russia into a great peasant republic - a country bread and milk. In 1917-1919. Yesenin, almost ceasing to write lyrics, creates a cycle of revolutionary poems: “Jordanian Dove”, “Heavenly Drummer”, “Inonia”, etc. - “ New Testament new male era. However, it soon became clear that expectations were not met. In the spring of 1920 in Konstantinov, usually "fruitful" for lyrics, Yesenin wrote a single poem - "I am the last poet of the village":

I am the last poet of the village

The boardwalk bridge is modest in songs.

Behind the farewell mass

Birch trees stinging with leaves.

If we did not know for sure that the poem was written in early spring, when a leaf on the trees barely pecks, if it were not known for certain that it was written in Konstantinov, where there are no bridges, it could well be mistaken for a full-scale sketch. But this is not a landscape, but an image of FAREWELL, created by means of landscape painting, with both the dying - wooden - village, and with its last poet - still alive, but already feeling that his time has passed:

Not alive, alien palms,

These songs will not live with you!

Only there will be ears-horses

About the owner of the old grieve.

The wind will suck their neighing

Funeral dance.

Soon, soon wooden clock

My twelfth hour will wheeze!

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  To the end to share the fate of their Motherland, to partake of the word of its great literature (“And I stand, as before communion ...” - Yesenin

Yesenin's idea of ​​the world is two-part: "peace", alien and dangerous, and "home" as its positive equivalent, dear and warm. The antinomy of the world-home is characteristic of the entire work of the poet. However, already in early works, “home” is placed in the context of loss, longing, guilt and remorse. The motives of leaving and returning become leading. But if the departure is real, then the return is in the future, in dreams, in desires, but is it really possible? The feeling of the Christian linear flow of history makes itself felt more and more strongly, the lyrical hero clearly understands his involvement in the life of the “world”. In the poems of 1917-1918, creating an original utopia, Yesenin depicts "the earth that reflected the sky", although the poet-prophet still leaves the sky for himself, a look at Inonia is a look from the outside:

I walk through the clouds, as I walk through the field,

Hanging head down.

I hear the splash of blue rain

And a thin-billed whistle shone.

Reflected in blue backwaters

My distant lakes.

I see you, Inonia,

With golden caps.

For Yesenin of this period, the house is an analogue of cosmic orderliness, a man-made model of the cosmos, and he connects the program of reorganization of the world alien to the lyrical hero with the idea of ​​a cosmos-home. “Though across the heavenly country sends me to foreign countries,” Kozma Indikoplov answers those who ask why he is leaving Russia,” the poet notes in the article “Father’s Word”. The same "tuga" drives the lyrical hero in the poems of 1917-1918.

How will the new home-world be arranged? First of all, he will be free from death. Search earthly paradise should not be associated with the idea of ​​the need for earthly suffering in order to achieve the "Kingdom of Heaven". Therefore, Yesenin refuses to atone for original sin by the sacrifice of Jesus Christ. Faith for him does not require an intermediary between man and God. In the poem "The Coming" Jesus is powerless and helpless:

... From the sight of Russia

He carries his cross.

But before the secret of the island

Beginningless words

There are no apostles behind him,

There are no students.

Renunciation of the pains of the cross, of the path of Christ is a condition for breaking out of the cycle of life, conditioned by the mortality of a person, the finiteness of his being.

Torments are repeated again and again, and there is no way out for Christ either:

Again his war

whipping

And they hit their heads

Oh ledges of darkness.

The path outlined by Christ separated man from God, therefore “the ladder to your garden without steps”, the kingdom of God is unattainable:

How will I ascend, how will I climb it

With blood on fathers and brothers?

The earth is pulling me

Enclosed the sands

On your rivers Sokhnu.

Yesenin is acutely experiencing the duality of man: for him, the animal principle is as relevant as the spiritual one. And if the Christian tradition is based on the idea of ​​the ascension of the son of God (vertically upwards), then Yesenin's direction of movement changes here too - vertically downwards.

In poems of 1917-1918. the call-prayer “come down, come down to earth, O God” is formulated:

The hills sing of a miracle

The sand rings about paradise.

Oh, I believe, I believe - it will be

Your east is calving.

N. Fedorov believed that by the beginning of the twentieth century, humanity had chosen zoomorphic ideals for itself, set itself a model of bestiality, apparently they had some influence on Yesenin. Therefore, “calving” is what the lyrical hero expects in the works of the poet of this period. Of course, it cannot be argued that he completely renounces the spiritual principle, but he wants spirituality to cease to be the prerogative of heaven, and the earth to be spiritualized here and now.

In his concept of the universe-home, the poet tries to combine pagan cosmocentrism with Christian anthropocentrism, placing man at the center of cosmogonic processes. Yesenin does not accept only Christ with his sacrifice and voluntarily accepted suffering, which entails death:

My time has come

I'm not afraid of the clang of the whip.

Body, body of Christ,

I spit out my mouth.

I don't want to accept salvation

Through his torment and the cross:

I learned a different doctrine

Stars that pierce eternity.

The desire to restore the connection between man and God permeates the poems of 1917-1918. The prophecy of the appearance of the new world also refers to the mythological tradition:

I don't want to skillfully frown

On the lakes of the dawn face.

Today I laid down like a chicken

Golden word egg.

The lyrical hero feels like a creator involved in the process of updating the universe, but this process also flows in the opposite direction to the course of world history - this is an attempt to return to the beginning of creation and recreate a world where gods and people are equal. The golden egg is a symbol of the mystery of the creation of the world among many peoples. It gives form to chaos, precedes the emergence of life in the original void. In Indian mythology, one of the plots tells that Brahma produces a golden egg, from which the world tree sprouts. Having repeated the path of the creator, the lyrical hero becomes involved in the process of peacemaking.

Yesenin occupies a special place in the universe with the image of the Mother of God: this is the Virgin Mary, and Russia, and the Great Mother, and the earthly old mother. In the image of the Virgin Mary, the poet is attracted by her “trampling” of death. Unlike Christ, her “entrance into the temple” is not only a spiritual Resurrection: after the “dormition”, the separation of Mary’s soul from the body, their miraculous reunion and departure of the resurrected body into Heaven follow. Mother occupies a central place in the newly created world - Inonia, the earthly paradise. But it is in the earth.

The poem is based on the division of two worlds - male and female. For men - the sky, solar symbols are inherent in them. Even the appearance of a new prophet is portrayed as a breakthrough through the earthly to the heavenly. The lyrical hero can descend to the ground, move freely up and down the vertical, but still his destiny is the sky.

For a mother woman - the earth, the wonderful Inonia, reflecting the sky, which is also confirmed by color symbolism. Here blue color and its shades prevail. To denote "earthly paradise" the poet uses lunar symbols It's not for nothing that mother's time is evening, the night when the stars light up. The star is a multi-valued symbol, it is both constancy and protection, and a sign of the virginity of Mary, and a symbol of the Messiah. Therefore, they appear in poems about the coming of the new Savior and the "vision" of the earthly paradise. Stars are grains and bees, which is why they are also associated with the symbolism of the Virgin Mary, and not only fertility, but also rebirth, reincarnation, the divine gift of life, continuing even after apparent death, is important in the symbolism of grain and bees for the poet. These symbols introduce into the poems the motif of eternal rebirth and personal immortality. The descent into the earth is only a step towards new incarnations, and the earth-mother is ready for constant childbearing. The birth of a new life in the darkness of the mother's womb takes on plastic forms, making human immortality really achievable when the earth is preparing for a new birth - "in a different way, above our arch, the invisible cow god swelled." Mother's destiny is earthly fertility, the birth of a son, who is destined for heaven. Therefore, her world is a place of rest, harmony and peace. That very “man-made space” is a home, desirable and unattainable for a lyrical hero, for which one can yearn, but which is difficult to return to.

M. Yu. Zhilina

The image of paradise: from myth to utopia. Series “Symposium”, issue 31.

St. Petersburg: St. Petersburg Philosophical Society, 2003. P.212-214

On the heavenly blue dish of yellow clouds there is honey smoke. Dreaming of the night. People fell asleep, Only I am tormented by longing. S. Yesenin The works of Sergei Alexandrovich Yesenin are his truthful poetic diary, in which the author is extremely honest with himself and his readers. On the pages of this diary are not dry facts and biography of the artist, but his doubts, experiences, mistakes and overcoming adversity, the whole artistic and philosophical world of the poet. At the beginning - the serene life of the hinterland, complete harmony with surrounding nature and admiration for its beauty and infinity. Quietly flows the silvery river In the realm of evening green spring. The sun sets behind the wooded mountains, The golden horn emerges from the moon. The West was covered with a pink ribbon, The plowman returned to the hut from the fields, And beyond the road, in the thicket of birch, the nightingale sang the song of love. But already in the early poems of the poet, pain, sadness and anxiety for a number of living compatriots creep in - their worries, work, joys become the theme of his poetry. Black crows croaked: Terrible misfortunes wide scope. The whirlwind of the forest twists in all directions, The foam from the lakes waves its shroud. Under the windows, the Sotskys ordered the Militiamen to go to war, The women of the suburbs zagygykali, Crying cut through the silence around. The vast and mysterious world beckons the poet, makes him leave his native places, seek his destiny in the city. But the freedom-loving soul of the poet is alien to this world with its planned development, the bustle of the surrounding life. Yesenin languishes in these "stone wells". In my soul it was so echoing In diapers of stone and flint. On every strip of the alley The cow-like roar of the shadows groaned. The drogs squealed like glass, The distance threatened with a whip in the face, And the sky frowned and faded, Like a woman's worn-out shawl. The poet sees salvation in returning home, only in nature, in the vast native fields, can he find peace of mind, sedation. But now the village is also stirred up, cardinal changes have come, and Yesenin inquisitively peers into the faces of his fellow countrymen, listens to their simple speeches. Here I see: Sunday villagers At the volost, as in a church, gathered. With clumsy, unwashed speeches They discuss their "zhis". A lame Red Army soldier with a sleepy face, Wrinkling his forehead in memories, Tells importantly about Budyonny, About how the Reds recaptured Perekop. Painfully familiar places, but they are changing, albeit not as fast as we would like, but the pace of time cannot be stopped. The poet is frightened and at the same time welcomes the coming changes. This reality becomes the main feature of Yesenin's mature poetry. It’s enough to rot and whine, And glorify the take-off, I bend, - Already washed away, erased the tar Resurrected Russia. Already led the wings of Her dumb support! With different names Another steppe rises. Life goes on despite all the losses, blood and misfortunes. At times, the poet is horrified by the tribute that the people have to pay, but nothing appears by itself. Any progress has a price of blood. The poet speaks very poetically and figuratively about himself and his condition in the poem “Departing Russia”: I am not a new person! What to hide? j I stayed in the past with one foot, Striving to catch up with the steel army, I slide and fall with the other. I'm listening to. I look in my memory, What the peasants gossip about: “From Soviet power we live to the core ... Now it would be chintz ... Yes, a few nails ... ”Yesenin’s merit is that he is trying to understand the surrounding changes, come to terms with the new reality. If this “life” suits the people, then the poet will try to understand and accept the new reality. He is happy that ... He avoided falling from the steep. Now in the Soviet side I am the most furious fellow traveler. He sings about Russia, about love, doubts have passed and painful thoughts. The poet is in the thick of things and full of creative plans. Having gone to the Caucasus, Yesenin found himself in an extraordinary poetic world. Everything here is kind to the heart. It is very easy to work, I want to accomplish a lot. My love! sorry Sorry. I didn't bypass anything. But I'm more comfortable on the way. Which is unique to me. You and I are unique. If we die, others will come for us. But it's still not like - I'm not yours, you're not mine. The poet dreams of embracing the whole world, but he himself understands that his life is mortal, somehow in a special way he feels the approach of either maturity or the end. Yesenin has his own feeling for autumn - it still has the brightness of colors, a riot of colors, and a “flood of feelings”, but the end is already near - winter is inevitable. I do not feel sorry for the years wasted in vain, I do not feel sorry for the lilac blossom of the soul. A fire of red rowan is burning in the garden. But he cannot warm anyone. Rowan tassels will not burn, Grass will not disappear from yellowness, As a tree quietly drops its leaves, So I drop sad words. The poet feels himself a part of the universe. He blesses his coming to earth, but he also understands the pattern of departure. All of us, all of us in this world are perishable. Quietly pouring from maple leaves copper ... May you be blessed forever, That you had to flourish and die. In classical Russian literature, Yesenin's poetry was not lost, but found its voice and its proper place.

1. New!

   The feeling of the motherland is the main thing in my work. S. Yesenin The difficult time of the beginning of the 20th century gave Russian (and world) literature many wonderful poets, among whom it was impossible not to notice S. Yesenin. “His poetry is like scattering...

I am not a new person, what to hide, I remained in the past with one foot, In an effort to catch up with the "steel army", I slide and fall with the other. Yesenin "My entire autobiography is in verse," Yesenin wrote. The larger the artist, the larger his work, the more original ...

If the holy army shouts: “Throw Russia, live in paradise!” - I will say: "There is no need for paradise, Give me my homeland." S. Yesenin Sergei Alexandrovich Yesenin is an original and truly Russian poet. He came to classical literature from the depths folk life and always proud...

Yesenin "" The origins of Yesenin's creativity, his themes arose from folk life, the life of nature itself - village life. And the people, like nature, does not tolerate a dead form. And faith for him must be alive. Christianity was no exception....

One of the modern pedagogical technologies is the method of projects. Despite many positive traits, it is rather slowly being introduced into active pedagogical practice, since the teacher faces the problem of how to combine the project method with the class-lesson system. I offer my experience of studying the topic “Sergey Yesenin's Lyrics” in the 11th grade using a variant of the project method proposed by the Intel “Training for the Future” program.

“Business card” of the educational project

Theme of the project: “The Artistic World of Sergei Yesenin”

Project typology: informational

Project duration: 7 academic hours; with the inclusion of independent homework - 2 academic weeks

Subject area: literature

Study topic: “The Lyrics of Sergei Yesenin”

Key concepts: the artistic world of the poet, the main motifs of the poet's lyrics, style features, the image of the lyrical hero, the evolution of the poet's views, the stages of the creative path.

Educational goals:

• identify the features of the artistic world of Sergei Yesenin
• recreate the character of the lyrical hero Sergei Yesenin

Developing goals: to promote the formation of an information culture

Educational goals: to promote the formation of a communicative culture.

Lesson system

Lesson 1

Based on the students' knowledge of the features of the artistic world of A. Blok and V. Mayakovsky and the existing impression of S. Yesenin's poems, students are invited to determine the essential distinguishing feature lyrics by S. Yesenin. In the course of a free discussion, attention is drawn to how many of the poet's poems have become songs that are perceived as folk, that something Russian is heard in his poetry. The fundamental question of the project is formulated (I think that in the 11th grade this stage it is possible to conduct together with students, since at this age there is an active formation of a worldview and most students have an interest in philosophical issues). The underlying question is a broad, all-encompassing question that cannot be answered in one sentence without research.

So, the fundamental question of our project:

Why Sergei Yesenin is “the most Russian” of poets silver age? (11 class “A”).

Is Sergei Yesenin the “most Russian” of the Silver Age poets? (Grade 11 "B").

I give variants of the fundamental question by class, which show the degree of independence of the work of students and their involvement in the work.

At the very first lesson, problematic issues are also identified, i.e. related to a specific topic of the curriculum, to which students are looking for an answer as a result of participation in the project. The answer to each of the problematic questions makes it possible to approach the solution of the fundamental question. The topics of independent research are formulated with the help of leading questions within the framework of each problematic issue. By the end of the lesson, each student should have a table in their notebook (the teacher draws it on the board during the discussion).

11 class "A"

Problematic issues	Research topics
	Folklore motifs in the lyrics of Sergei Yesenin. The motive of "hooliganism" in the lyrics of Sergei Yesenin. Love and tragedy of the lyrical hero Sergei Yesenin. The attitude of the lyrical hero Sergei Yesenin to life and death. Love for native nature.
	Yesenin and the Revolution. Changing attitudes towards Russia in the post-revolutionary period.

11 class "B"

Problematic issues	Research topics
What factors influenced the formation of the Russian character of the poet Sergei Yesenin?	The origins of the Russian national in the character of Sergei Yesenin.
What are the features of the Russian national in the character of the lyrical hero Sergei Yesenin?	Folklore motifs in the lyrics of Sergei Yesenin. Love for "smaller brothers" in the lyrics of Sergei Yesenin. The motive of "hooliganism" in the lyrics of Sergei Yesenin. Love lyrics by Sergei Yesenin. Love for native nature.
What is the attitude of Sergei Yesenin towards Russia?	The image of the Motherland in the lyrics of Sergei Yesenin. Changing attitudes towards Russia in the post-revolutionary period

Lesson 2. Guided discussion, the method of leading questions.

Formation of groups of students for research. Individual work is also possible. Determination of the form of presentation of results. Presentation form selected. The teacher introduces the requirements for educational presentations, indicates what their purpose is (a visual representation of the result of independent activity), what can be the content of the presentation, analyzes possible errors using examples.

Discussion of the work plan of students individually or in a group. Students determine for themselves a “chain” of questions and answers that need to be proved in the study, think over ways to conduct their research. The teacher offers to draw up a preliminary script for the presentation, provides advisory assistance.

Discussion with students of possible sources of information, issues of copyright protection, reliability of information sources.

Homework: collecting material on the research topic.

Lesson 3, 4. Brainstorming.

Each group presents the collected material. During the discussion, it is necessary to find out whether the presented material answers the fundamental question of the project. Students of the class give advice, offer to exclude any information, or expand the study, consider additional aspects. The teacher guides the discussion with leading questions. At the end of the discussion of working materials, the teacher reports that each study should have its own purpose, its presence will help to select the necessary information and choose the sequence of presentation. On the example of student projects of past years, training is conducted to determine the purpose of the study and formulate it.

Homework: finalize the research, make adjustments taking into account the comments made, formulate the purpose of the research.

Lesson 5. Individual consultations. Independent work in groups.

The role of the teacher is to advise, help, direct the activities of students in the methodologically necessary direction.

Homework: preparation of a presentation on the report on the work done (report for 5-6 minutes, which should be accompanied by a computer presentation, reading and analysis of poems of the students' choice).

Lessons 6, 7. Protection of the obtained results and conclusions.

Each group is given up to 6 minutes to present their results. Then a discussion is held, which is organized in the form of a game of “black and white” opposition. Each student is given a group number. The number on dark paper is “black” opposition, on light paper it is “white”. The “black” opponent should ask a question that reveals the lack of work, the “white” asks a question that highlights the merits of the work. The task of speakers is to use questions in order to be able to tell what is left beyond the scope of the speech. For example, with the help of a “white” question, expand an interesting part of your work, and with the help of a “black” one, fill in the gap. Answering questions can make the presentation more vivid, interesting, and memorable. Therefore, the answer is better to start with such speech formulas like: “Thank you for noticing…”, “Thank you very much for the interesting question”. “You are right, but we believe…” and the like. Thus, each group answers 2 questions. Student work is organized. They are involved in activities. The teacher introduces the rules of the game at the beginning of the lesson before the defense.

In addition, students are invited to keep a summary of the lesson using the table compiled in the 2nd lesson: the research topic is written in the left column, the abstracts of the speech are written in the right column. Thus, by the end of the lesson, students should write down the abstracts of the topic “The Artistic World of Sergei Yesenin” in their notebooks. The teacher warns that the notes will be evaluated by him.

Lessons conducted using the project method aroused great interest among students who showed activity and initiative. I also liked the lesson-protection of works, the result of which is an assessment for each student (some received 2 marks each). However, the main result is the realization that prepared presentations can be used in other lessons in other classes.

I bring to your attention several student presentations, which have a different quality, both in content and in design. But their main advantage is that they are independent creative and research work of students.

One presentation is printed in full, the rest are in in full presented on electronic media, and selective slides printed (see.

Features of the attitude of the poet S. Yesenin

1. Sources of inspiration and figurative concept of man and the world. S.A. Yesenin was born in Ryazan peasant family. Village life and folklore was one of the most important sources of his inspiration. But the artistic world and the lyrical "I" of the poet cannot be reduced only to rural themes. In his works, the poet solves the problem of personality and its connection with the world, the relationship between man, society and nature. Yesenin creates in his poems a figurative concept of man and the world. Undoubtedly, it reflected and love relationship poet to patriarchal Russia and folklore motifs and symbols, and the poet's perception of the new time.

2. The specific religiosity of Yesenin's poetry. Yesenin's poetry is characterized by a specific religiosity. In a number of poems, biblical, gospel, church life, folklore, and also pagan motifs are mixed. The main components of the poet's artistic world are the images of earth and sky. The artistic and philosophical unity of the two worlds can be explained by the myth of the marriage of earth with heaven. That is why the earthly inhabitants of Yesenin freely communicate with the heavenly: Mikola "from the earth speaks with God / In a white cloud-beard." Martha Posadnitsa is in correspondence with the Almighty, the lyrical hero is talking with the Mother of God, etc.

In the poetic world of Yesenin there is also a heavenly dwelling - a hut in heaven. This is a "gilded hut", "God's" (or "paradise") tower. On the heavenly throne ("golden cloud") - Hosts, Christ and mother of God(poems "Mikola", "The Legend of Evpatiy Kolovrat", etc.). In 1914 - 1919, both spheres of Yesenin's world - earthly and heavenly - interact, influence each other and even merge: the divine world acquires the features of the earthly, and the earthly one is deified. That is why the sky in the artistic world of the poet is "blue grass", "blue dust", "blue ("heavenly") sand", trees grow there, "animals" graze (moon, stars, clouds, clouds, etc.), and water on earth is heavenly "blue that has fallen into the river."

Yesenin’s nature is a divine temple: in it there is an “iconostasis of the night skies”, stars are “celestial lamps”, “huts are in the robes of an image”, trees are “nuns”, the wind is a “schema” ... The life of the natural world unfolds like a solemn action , where, for example, "at the forest lectern, a sparrow reads a psalter." The lyrical hero "feels the Rainbow of God, it seems to him that" the schemer-wind ... kisses on the rowan bush / Red ulcers to the invisible Christ "(" Autumn ").

Heaven and earth of Yesenin's artistic world are connected by the World Tree. This mythological image, which exists among many peoples, is ambiguous in Yesenin's poetry. A tree growing from earth to heaven is the center of the world, and paradise, and family, and man; an eternal tree with various fruits. Various "fruits" grow on the branches of this tree: the sun, moon and stars, days, nights, thoughts, images and words. From that folklore eternal tree originate the most important, the most permanent themes Yesenin's lyrics. The image of a girl is constantly associated with a birch (“Green hair, girlish breasts! Oh thin birch, what did you look into the pond?”). The image of the soul is constantly correlated with spring flowering or autumn flowering, the image of a lyrical hero with a maple or other tree.

3. The unity of the natural and human world. The world in Yesenin's view is something like a universal republic, where everyone is equal before eternity - people, animals, plants, air, water, etc. Yesenin is close to the genre of landscape miniatures. From direct contemplation of nature, the poet moves on to philosophical reflections on "eternal" topics, and images of nature often metaphorically convey the emotional experiences of the lyrical hero. The world of animals and plants in Yesenin, as a rule, is anthropomorphic, in this world one can "kiss a birch tree like a stranger's wife", feel a kindred closeness to a horse, dog or cow. The cow can "burst", the dogs recognize the poet by his gait ("I'm a Moscow mischievous reveler ..."), he complains to them about his spiritual dramas ("Kochalov's Dog") and sympathizes with their experiences ("Son of a bitch").

4. Attitude to patriarchal Russia. Russia for Yesenin is, first of all, ancient patriarchal Russia. The "Iron Guest" in the fields is an ominous symbol of the invasion of civilization into the age-old life of old Russia, bringing death. ("I am the last poet of the village..."). In one of the poems of the Sorokoust cycle, an expressive metaphor is used that conveys the dramatic collision of the city and the village, as the poet saw it at that time (this metaphor has become a textbook: a steam locomotive flying on rails and a foal not keeping up with it: "Dear, dear, funny fool , // Well, where is he, where is he chasing? // Doesn't he really know that the steel cavalry defeated the living horses?"). Although "poor, impoverished Russia" causes pain for the lyrical hero, he is not opposed to something new that will help and make life easier for the peasant. "Field Russia! It's enough to drag the plow through the fields," the poet writes in one of his poems.

5. Contradictory attitude towards Soviet Russia. Initially, the poet accepted the October Revolution ("Inonia", "Heavenly Drummer", "Jordanian Dove", etc.). But since the revolution of the Bolsheviks was predominantly proletarian and industrial, and in fact had little in common with the utopia of a "muzhik's paradise", longing for "Russia leaving" eventually gained the upper hand in Yesenin's mind ("Soviet Russia", "Rus homeless", "Rus leaving", "The feather grass is sleeping. The plain is dear…").

The theme of the Motherland in the lyrics of S. Yesenin

Whatever Yesenin writes about, the image of his native land, the theme of the Motherland is always invisibly present in his poems. Even in early youthful poems, in the poem “Goy you, Russia, my dear ...”, written in the style of a Russian folk dashing song, the poet shouts to the whole country:

If the holy army shouts:

"Throw you Russia, live in paradise!"

I will say: “There is no need for paradise.

Give me my motherland."

Of course, his ideas about his native land at that time were still very childish. The homeland for young Yesenin is the village of Konstantinovo, where he was born, the immediate vicinity of the village. “The Ryazan fields were my country,” he later recalled. In his soul there is still no idea of ​​the Fatherland as a social, political, cultural environment. The feeling of the Motherland finds expression in him so far only in love for his native nature.

On the pages of Yesenin's early lyrics, we are presented with a modest, but beautiful, majestic and dear to the poet's heart landscape of the Central Russian strip: compressed fields, a red-yellow bonfire of an autumn grove, a mirror-like surface of lakes. The poet feels himself a part of his native nature and is ready to merge with it forever: "I would like to get lost in the greenery of your bells."

In his poetry, this visible, all filled with birch light, standing next to the huts along the Oka, the space is a huge, without end and edge, Russia:

Goy you, Russia, my dear,

Huts - in the robes of the image ...

See no end and end

Only blue blinds the eyes.

Yesenin with frank warmth sings of the unique beauty of his native land. He is in love with endless fields, forests, his Ryazan sky, wild flowers. He is immensely happy, because the whole world is for him. Herbs bloom for him, the mischievous eyes of lakes laugh at him, and even the stars shine for him. And involuntarily from the heart the words are torn to freedom:

O Rus - Raspberry Field

And the blue that fell into the river -

I love to joy and pain

Your lake longing.

What boundless love for nature! But even then, he does not see the Motherland as an idyllic "transcendental paradise." The poet loves real, peasant Russia on the eve of October. In his poems there are such expressive details of a heavy peasant life as “worried huts”, “skinny fields”, “black howl, smelling of sweat” ...

Elements of sociality are increasingly manifested in the poet's lyrics during the First World War: her heroes are a child asking for a piece of bread, plowmen going to war, a girl waiting from the front for her beloved. “Sad song, you are Russian pain!” exclaims the poet.

The poet greeted the revolutionary October with enthusiasm. “I rejoice in the song of your death,” he throws to the old world. However new world the poet did not immediately understand. Yesenin expected from the revolution an idyllic "earthly paradise" for the peasants (poem "Jordanian dove"). Needless to say, these hopes of the poet did not come true? And Yesenin is going through a period of spiritual crisis, but cannot understand "where the fate of events is leading us."

The renewal of the village appears to the poet as an invasion of a hostile “bad”, “iron guest”, before whom the nature opposed to him is defenseless. And Yesenin feels like "the last poet of the village." He believes that a person, transforming the earth, necessarily destroys its beauty. A peculiar expression of this view on new life became a foal, (St. "Sorokoust") vainly trying to overtake the locomotive:

Dear, dear, funny fool

Well, where is he, where is he chasing?

Doesn't he know that living horses

Did the steel cavalry win?

Over time, Yesenin's view of life, the world has become wider. If earlier one village was his homeland, now he becomes a citizen of the world, alien to any national narrow-mindedness. “I am your blood brother,” Yesenin addresses Georgian poets. He dreams of the times when tribal enmity will take place all over the planet, when there will be one language on earth, and only “a historian, writing a work, remembering our strife, will smile” ... But becoming a fiery internationalist, Yesenin did not lose the natural feeling for everyone “of the place where he was born.” He claims: "No other homeland will pour my warmth into my chest." Admiring the "blue homeland of Firdousi", he never for a moment forgets that "no matter how beautiful Shiraz is, / It is not better than the expanses of Ryazan."

Admiration for the beauty of the native land, the image of the hard life of the people, the dream of a "peasant's paradise", the rejection of urban civilization and the desire to comprehend "Soviet Russia", a sense of internationalist unity with every inhabitant of the planet and the "love for native land"- such is the evolution of the theme of the native land in Yesenin's lyrics.

Great Russia, the sixth part of the earth, he sang joyfully, selflessly, sublimely and purely:

I will chant

With the whole being in the poet

sixth of the earth

With a short name "Rus".

The poet's lyrics are still alive today with his great love - love for the Motherland.

Poet of peasant Russia

Wherever Yesenin was, no matter what peak of glory he climbed, he always saw peasant Russia, lived in her hopes and proudly called himself a "peasant's son" and "a citizen of the village."

….. Over time, S. Yesenin, who so joyfully met the revolution as a symbol of the final peasant liberation from the oppression of the landowner, began to think about what the transformations actually gave the people. The whirlpool of social change frightens the poet. AT poem "Russia leaving”, revealing his philosophy of life, the poet clearly states:

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.

Then he writes that he expected a greater improvement in the lives of the peasants. The common people rejoice even in small things: if there were chintz and nails, they would grow bread and potatoes themselves. In this poem, there is a mood of sadness, dissatisfaction. Behind the outward consent "lift up your pants, run after the Komsomol" is visible undisguised irony. She was instantly felt in official circles. That is why in the thirties S. Yesenin will long time prohibited. His books will be removed from libraries, and negative reviews will appear in criticism.

In an everyday way, the peasant question, painful for S. Yesenin, is specifically raised in the poem "Letter from mother»:

Now sheer sadness

We live in darkness.

We don't have a horse.

But if you were in the house

That would be everything

And with your mind

Post of chairman

In the executive committee.

Then life would be bolder

No one would pull us...

As you can see, the peasant lot remains painful. The family of grandfather S. Yesenin was considered quite prosperous before the revolution. The nationalization of property and the construction of collective farms were indeed perceived as a real robbery.

A cluster of contradictions and clashes in the countryside of the Yesenin era is connected primarily with the question of land. The poet saw with his own eyes not only satisfied peasants who received free land, but also people who lost their lands and estates, were expelled from their native land and tragically experienced this exile. S. Yesenin understood that such a redistribution was paid for in blood. These events were reflected in the poem "Anna Snegina", which, with documentary thoroughness of a historical sketch, showed them through the eyes of a person from the people's environment, a hero who grew up in the village and knew her from childhood.

The lyrical hero does not understand many changes.

My poetry is no longer needed here

And, perhaps, I myself am not needed here, -

says the poet in the poem "Soviet Russia". In the poem “I am the last poet of the village”, he identifies with the death of the old way of life own death, feeling their poems and songs unnecessary, outdated, realizing the inevitability of change.

However, by 1925 the mood of the poet was changing somewhat. Perhaps this was due to trips abroad, in which Yesenin saw how his beloved Russia was hopelessly behind in technically from Europe and America. In a poem "Uncomfortable liquid moonlight" an ambivalent attitude appears: while continuing to love his homeland, the poet at the same time curses its agricultural and industrial backwardness:

Now I like something else.

And in the consumptive moonlight

Through stone and steel

I see the power of my native side.

The conversation about the village gets the most tragic sound in the poem “The feather grass is sleeping. The plain is expensive .. " .

Poem “The feather grass is sleeping. The plain is expensive…” opens with a picture of peacefully sleeping nature:

The feather grass is sleeping. Dear plain,

And the lead weight of wormwood.

The poem contrasts the light of the moon (as a symbol of the traditionalist beginning) and New World(symbol new era). Feather grass is a typical image of a wide steppe landscape. The bitter steppe grass wormwood is an image that brings melancholy. Cranes symbolize separation. The epithet "golden" in relation to the hut emphasizes the importance of the village way of life for the poet. “Lead” in the expression “lead freshness of wormwood”, on the contrary, appears in this poem only as a color epithet, since fresh lead after melting has a brilliant silvery hue.

In the second stanza of the work, the typical features of the Russian national character were clearly manifested: firstly, the painful search for the meaning of existence, and secondly, wherever a Russian person is, his soul always rushes home:

Know that we all have such a fate,

And, perhaps, ask everyone -

Rejoicing, raging and tormented,

Is it good to live in Russia?

With deep sincerity, the lyrical hero reflects on a life in which each person must occupy a place destined by fate. For a Russian peasant, such a place has traditionally been a hut - the embodiment of a traditional measured way of life, focused on harmony with nature and the folk calendar.

“All the same, I remained a poet of a golden log hut,” the author claims in the poem.

In the work “The feather grass is sleeping. The plain is dear ... "S. Yesenin directly states that progress carries a destructive beginning:

At night, clinging to the headboard,

I see a strong enemy

How someone else's youth splashes with new

Here is frank dissatisfaction with the "novye", and immense fatigue, the desire to isolate oneself from problems and stay to live in one's usual world of rural nature and spiritual harmony. Yesenin's cry sounds piercingly loud in it:

Give me in the homeland of my beloved,

All loving, die in peace!

“I am the last poet of the village,” writes S. Yesenin in the poem of the same name. And in this categorical statement, there is a deep awareness of the importance of one's social mission as a kind of duty to fellow countrymen. The patriarchal village of Yesenin's childhood is opposed to the confident and inevitable steps of soulless technological progress:

On the blue field path

Iron guest coming soon.

S. Yesenin had the opportunity to leave Russia, get rid of all problems and live a prosperous and carefree life abroad. But he preferred to die, because he could not live far from his forests and fields, from the beautiful Russian birch trees and from everything that is called homeland.