Artistic features of S. Yesenin's lyrics

The originality of the poetics of S. Yesenin.

The beauty and richness of Yesenin's lyrics.

Features of the art style.

Yesenin's lyrics are very beautiful and rich. The poet uses various artistic means and techniques. An important place in Yesenin's work is occupied by epithets, comparisons, repetitions, metaphors. They are used as a means of painting, convey the diversity of shades of nature, the richness of its colors, the external portrait features of the heroes ("fragrant bird cherry", "a red month like a foal harnessed to our sleigh", "in the gloom of a damp month, like a yellow raven ... hovering over the ground "). Repetitions play an important role in Yesenin's poetry, as well as in folk songs. They are used to convey the state of mind of a person, to create a rhythmic pattern. Yesenin uses repetitions with permutation of words:

Trouble has befallen my soul

Trouble befell 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 seems to pass them through literary traditions and through his poetic worldview.

Often he wrote about rustic nature, which always looked he has a simple and uncomplicated. This happened because Yesenin found epithets, comparisons, metaphors in folk speech:

Sparrows are playful

Like lonely children.

As well as for the people, it is characteristic for Yesenin to animate nature, ascribing human feelings to it, that is, the method of personification:

Maple you are my fallen,

icy maple,

What are you bending over

under a white blizzard?

Or what did you see?

Or what did you hear?

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

My ring was not found.

I went from longing to the meadow.

The river laughed in pursuit of me:

"The cutie has a new friend."

Features of metaphor in Yesenin's poetry.

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

Metaphor is the most common means of generating new meanings.

Yesenin's poetics is distinguished not by a gravitation towards abstractions, hints, vague symbols of ambiguity, but towards materiality and concreteness. The poet creates his own 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 natural world and seeks to characterize one phenomenon or object with 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 deeper express their perception of the world.

Hence the striving for universal harmony, for the unity of all that exists on earth. Therefore, one of the basic laws of Yesenin's world is universal metaphorism. People, animals, plants, elements and objects - all these, 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.

Reaching out for the warmth, breathing in the softness of bread

And with a crunch mentally biting cucumbers,

Behind a flat surface, the trembling sky

Leads the cloud out of the stall by the bridle.

Even the mill is a log bird

With a single wing - standing, eyes closed.

Poetic vocabulary.

ES Rogover in one of his articles asserted that each poet has his own “visiting card”: either it is a feature of poetic technique, or it is the richness and beauty of lyrics, or the originality of vocabulary. All of the above, of course, also applies to Yesenin, but I would like to note the peculiarities of the poet's vocabulary. [Ibid., P. 198.]

The concreteness and distinctness of the poetic vision is expressed in the most everyday everyday vocabulary, the dictionary is simple, it lacks bookish and even more abstract words and expressions. This language was used by fellow villagers and fellow countrymen, and in it, outside of any religious connotation, there are religious words that the poet uses to express his purely secular ideas.

In the poem "Smoke in the flood ..." haystacks are compared with churches, and the mournful singing of a capercaillie with the call to all-night vigil.

And nevertheless, one should not see the poet's religiosity 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 a dull yellow month, the dim light of which illuminates the haystacks, and they, like churches, surround the village by the sprinkles. But, unlike churches, haystacks are silent, and for them the capercaillie, with mournful and gloomy singing, calls for all-night vigil in the silence of the swamps.

The grove is also visible, which “covers the wood with a blue gloom”. That is the whole low-key, unhappy picture created by the poet, everything that he saw in his native flooded and darkened land, devoid of the joy of people, for whom, truly, it is not a sin to pray.

And this motive of regret about 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 the wreath of a forest chamomile", "Tanyusha was good ...", "Play, play, talyanochka ...", the poet's gravitation towards the form and motives of oral folk art is especially noticeable. Therefore, there are a lot of traditional folklore expressions in them like: "dastardly separation", like "insidious mother-in-law", "I will admire if I look at it", "in the dark tower", the 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. Let us first of all note the verbal originality of the poet: he expresses the joy and sorrow, riot and sadness that fill his poems in a verbose manner, 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 feelings 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, the metonymic assimilation they contain contains a whole picture characteristic of rural life. A skin on a stake is a sign of a committed murder that remains outside the poem.

A bit poet and to the colors available in the word itself or in a number of words. The cows speak in his "nodding tongue", the cabbage is "wave". In the words one can hear the roll call of a nod - liv, waves - nov, vo - va.

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 melancholy; into the dark tower, into the green forest.

The poet's stanza is usually four-line, in which each line is syntactically finished, a hyphenation that interferes with melodiousness is an exception. Four - and two - line stanzas do not require a complex rhyme system and do not give its variety. According to their grammatical composition, Yesenin's rhymes are not the same, however, the poet's gravitation 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.- 317s ..]

The moon butts the cloud with a horn,

Dust bathes in blue.

And nodded her month behind the mound,

Dust bathes in blue.

The 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 subdivided 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 there are: gold, white, red, silver, lemon, amber, scarlet, red, pale, blue. Pearl color is used only once:

Not the sister of the month 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 its uncharacteristic: the poet uses pure, natural colors, traditional for Old Russian painting.

Yesenin does not have a red moon at all. Perhaps only in Poem about 36:

The month is wide and scarlet ...

The Yesenin moon is always in motion. This is not a limestone ball, ascended into the sky and hanging a sleepy stupor on the world, but necessarily alive, spiritualized:

The road is pretty good

Nice cold link.

Moon of gold powder

Showered the distant villages.

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

Yesenin's varied moon turns out to be rigidly subordinate to the traditional - folklore imagery, on which it depends as much as its celestial counterpart on the Earth. But at the same time: 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 seemingly repetitive simplicity of folk images a concentrate of “very long and complex definitions of thought” (Yesenin).

But only from a month

Silver light will sprinkle

Another turns blue for me,

The other seems to be in the fog.

Yesenin often uses words with diminutive suffixes. He also uses old Russian words, fabulous names: howl, svei, 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 - striving for the sky, for the impossible, for the beautiful:

In the blue evening, moonlit evening

I was once handsome and young.

Gold is the original color from which everything appeared and in which everything disappears: “Links, links, golden Russia”.

Red is the color of love, passion:

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

The sun has not gone out yet.

Dawn with a red prayer book

Prophesies the good news ...

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

His bird cherry "sleeps in a white cape," the willows cry, the poplars whisper, "the girls ate," "like a pine tree tied with a white kerchief," "a snowstorm 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 - the image of an innocent victim.

In the literature of different times, images of animals have always been present. 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 man, becoming the object or subject of the story. Often a person is "tested for humanity" by his attitude to an animal.

In the poetry of Sergei Yesenin there is also a 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 a little"., 1924)

Along with pets, we find images of representatives of the wild with him.

Of the 339 considered poems, 123 mention animals, birds, insects, fish. Horse (13), cow (8), raven, dog, nightingale (6), calves, cat, pigeon, crane (5), sheep, mare, dog (4), foal, swan, rooster, owl (3), sparrow, wolf, wood grouse, cuckoo, horse, frog, fox, mouse, tit (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).

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 the comfort of home. The image of a horse, as an integral part of everyday life, is found in the poems "The Herd" (1915), "Farewell, dear Pushcha ..." (1916), "This sadness can not be scattered now ..." (1924). The pictures of village life change 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:

The mowed hut

Crying sheep, and in the distance in the wind

A horse is waving its skinny tail,

Looking into an unkind pond.

("This sadness can not be scattered now ...", 1924)

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

The innovation and originality of S. Yesenin - the poet manifested itself in the fact that while drawing or mentioning animals in everyday space (field, river, village, yard, house, etc.), he is not an animalist, that is, he does not set the goal of recreating the image of this or that animal. Animals, being part of the everyday space and environment, appear in his poetry as a source and means of artistic and philosophical comprehension of the surrounding world, 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.

The early Yesenin poetry is based on 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, and political and social life. Russia in the sense that we understand it, he essentially did not know. For him, his homeland is his own village and those fields and forests in which she is lost. Russia is Russia, Russia is a village.

Very often Yesenin turns to Russia in his works. At first, he glorifies the patriarchal principles in the life of his native village: he draws “huts - in the vestments of the image”, likens the Motherland to a “black nun” who “reads psalms for her sons”, idealizes joyful and happy “good fellows”. These are the poems "Goy you, my dear Russia ...", "You are my abandoned land ...", "Dove", "Russia". True, sometimes the poet can hear “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 lonely land.

About Russia - a crimson field

And the blue that fell into the river -

I love to joy and pain

Your lake melancholy

Yesenin knows how to feel in the very melancholy of the native side of gaiety, in slumbering Russia - the accumulation of heroic forces. His heart responds to the girlish laughter, to the dance around the fires, to the children’s talianka. You can, of course, stare at the "bumps", "hummocks and depressions" of your native village, or you can see "how the skies are turning blue all around." Yesenin assimilates a bright, optimistic view of the fate of his Fatherland. That is why so often lyrical confessions addressed to Russia are heard in his poems:

But I love you, meek homeland!

And for what I can not guess.

…………………………….

Oh you, my Rus, dear homeland,

Sweet rest in the clink of kupyr.

……………………………..

I am here again, in my own family,

My land, brooding and tender!

For the inhabitant of this Rus', the whole feat of life is peasant labor. The peasant is hammered, beggar, naked. His land is also wretched:

Hearing rakitas

Wind whistle ...

You are my forgotten land

You are my dear land.

You can use Yesenin's poems to restore his early peasant - religious tendencies. It turns out that the mission of the peasant is divine, for the peasant is, as it were, involved in the creativity of God. God is the father. The earth is mother. The son is the harvest.

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

The image of Yesenin's country cannot be imagined without such familiar signs as “blue plate of heaven”, “saline melancholy”, “limestone” and “birch - 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, color arc.

The banks of the steppe run quietly,

Smoke stretches, near the crimson villages

The wedding of the crows encircled the palisade.

Homeland theme in Yesenin's lyrics.

Yesenin was an inspired Russian singer. All the most lofty ideas and innermost feelings were associated with her. “My lyrics are alive with one great love - love for the Motherland,” the poet confessed. - 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 his native land. When you read such early poems as “Spreads the bird cherry with snow…”, “Beloved land! The heart is dreaming ... ", when, as if in reality, you see fields with their" crimson breadth ", the blue of lakes and rivers, the lulling" shaggy forest "with its" pine forest "," the path of villages "with" roadside herbs ", tender Russian birches with their joyful hello, involuntarily, the heart, like the author's, “glows with cornflowers”, and “turquoise burns in it”. You begin to love this “dear land”, “the country of birch calico” in a special way.

In turbulent revolutionary times, the poet already speaks of “revived Rus”, a formidable country. Yesenin now sees it as a huge bird, prepared for further flight (“O Rus, flap your wings”), gaining “another support”, stripping off the old black tar. The image of Christ appearing in the poet symbolizes both the image of insight and, at the same time, new torment and suffering. Yesenin writes in despair: "After all, this is not the kind of socialism that I thought about." And the poet painfully experiences the collapse of his illusions. However, in Confessions of a Hooligan, he reiterates:

I love my homeland.

I love my Motherland very much!

In the poem "Departing Russia" Yesenin already definitely speaks of the old that dies and inevitably remains in the past. The poet sees people who believe in the future. Let it be timid and apprehensive, but "they are talking about a new life." The author peers into the seething of the changed life, into the “new light” that is burning “of another generation near the huts”. The poet is not only surprised, but also wants to take this new thing into his heart. True, even now he introduces a reservation in his poems:

I will accept everything.

I accept everything as it is.

I am ready to follow the beaten tracks.

I will give my whole soul to October and May,

But I will not give up the sweet lyre.

And yet Yesenin extends his hand to a new generation, a young, unfamiliar tribe. The idea of the inseparability of one's own fate from the fate of Russia is expressed by the poet in the poem “The feather grass is asleep. Plain dear ... "and" Untold, blue, gentle ... "

Love theme.

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 that touch of naturalism and bohemianism that was characteristic of him in the Imagist period, freed himself from vulgarisms and abusive vocabulary, which sometimes sounded dissonant in his poems about love, and sharply reduced the gap between gross reality and the ideal that was felt in individual lyric 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, in many respects, contradict those lines about love that sounded in the collection "Moscow tavern". This is evidenced by the very first poem of this cycle - “My old wound has settled down”. In "Persian motives" an ideal world of beauty and harmony is drawn, which, for all its obvious patriarchy, is devoid of rough prose and catastrophicness. Therefore, to reflect this beautiful realm of dreams, peace and love, the lyric hero of this cycle is touching and gentle.

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 “pour out my whole soul into words”. The “flood of feelings” that flooded his poetry cannot but evoke a reciprocal emotional excitement and empathy.

I.A. Nesterova Features of Yesenin's creativity // Encyclopedia of the Nesterovs

Sergei Yesenin is a great Russian poet, a man with a capital letter and a suffering genius. The poet infinitely loved his native land and the Russian people. His poems are one long ode to the Motherland and the Russian countryside.

The work of Sergei Yesenin reveals an extraordinary sensual world of nature, love and the acuteness of the suffering of the soul, which rushes from its own weaknesses to the extraordinary strength of feelings. The poet's work is largely autobiographical. It reflects and experiences for the fate of the country in difficult times for it, and longing for the past, and pain for the people suffering from dramatic changes. At all stages of his work, Yesenin wrote a lot about nature and village life.

Each feature of the work of Sergei Yesenin should be considered in detail, highlighting the artistic originality of his poetry. You should start with a special place of village life and nature. No wonder he was considered a representative of the new peasant poetry and lyrics. Later, the work of Sergei Yesenin belongs to Imagism.

In the poet's lyrics, nature is the focus of beauty. In his poems, she is seen as if for the first time, with a fresh childish gaze.

On fluffy branches
With a snowy border
Brushes blossomed
White fringe.

Yesenin's nature is endowed with such beauty that when reading his poems, his breath stops. Delightful epithets, metaphors and comparisons create a picture that you don't want to tear yourself away from.

White birch
Under my window
Covered with snow
Like silver.

Yesenin widely uses in the lyrics about the nature of personification. So, in the already mentioned poem "Birch", the dawn is endowed with human features, it "bypasses" and "showered", and the birch itself "covered up". Each line in the poet's poems is saturated with artistic means, but, at the same time, it is not at all overloaded with them. So in the poem "Evening black eyebrows raised ..." the name itself contains personification and metaphor. In the poem "The Golden Grove Dissuaded" the grove is a living being. She breathes, she says.

Yesenin's nature and man are closely related. Nature is not comparable to man, but man is a part of nature, living, spiritualized. Natural phenomena often have a rustic, peasant appearance, likened to the subject of rural life and animals. In Yesenin's work, it is as if nature participates in divine services, where stars or birches, candles, groves "burn with dew", etc.

An important feature of Sergei Yesenin's lyrics is a person. Yesenin often has a description of village festivities and holidays. The image of beggars, cripples, recruits sometimes brings sad notes that do not darken the overall picture. In many of the poet's poems, his "I" is clearly visible. The image of the poet in the lyrics is a reflection of the main features of Yesenin himself, his angels and demons. Separately, the poem "Poet" should be highlighted. It is a reflection of the depth of Yesenin's patriotism.

He will do everything freely,
That others couldn't.
He is a poet, a folk poet,
He is a poet of his native land!

Yesenin as a patriot manifests himself in early lyrics. An example is the verse "Goy, you Rus, my dear!"

If the saint's host cries out:
"Throw you Rus, live in paradise!"
I will say: "There is no need for paradise,
Give me my homeland. "

This work is a reflection of youth, naivety and youthful enthusiasm for the Motherland, which is still limited by the poet's native land, namely the village of Konstantinovo, where he was born. “Ryazan Fields was my country,” he later recalled. The poet's perception of the Motherland as a social and political environment will appear later. Yesenin is in love with peasant life. For him, she is the only truth in complete harmony with nature. However, after the October Revolution, the tone of the patriotic poems changed. Yesenin is still a patriot of his country, but bitterness and concern for the Russian people were added to his youthful enthusiasm. The poet was very worried about the changes in the way of life of the village. He feared that the village would lose its identity.

And behind him
On the big grass
Like a holiday of desperate racing
Throwing thin legs to the head,
Is the red-faced foal galloping?
Darling, darling, funny fool
Where is he, where is he chasing?
Doesn't he know that there are live horses
Has the steel cavalry won?

A feature of Yesenin's work can be safely called the presence of a lyric hero in a number of poems. Yesenin's lyric hero is a wanderer, a traveler, a seeker, a spiritual person. The lyrical hero Yesenin, in harmony with people and the world, feels peace of mind. Yesenin "humanizes" all objects around the lyrical hero. This technique is called "anthropomorphism" in the literature. In Yesenin's later lyrics, anthropomorphism becomes more and more obvious.

Blizzard now
Though the devil howl
Knock naked as a drowned man,
I'm with a sober head
The comrade is cheerful and cheerful.

Sergei Yesenin was very fond of animals. Many verses are dedicated to them. They are all touching and, for the most part, sad. For Yesenin, animals are part of nature, living, intelligent. Great love and compassion for our smaller brothers permeates the poet's work. Everyone is familiar with the poems "Song of the Dog" and "Herd".

Herds of horses in the green hills
They blow off the golden plaque from the days with the nostrils.
From a high hillock to a blue bay
The pitch of the swaying manes fell.
Their heads tremble above the quiet water,
And the moon catches them with a silver bridle.
Snoring in fright at my own shadow
They are waiting for a new day to be covered with manes.

Through all the lyrics of Sergei Yesenin, love for a woman passes. Be it a mother or a loved one. The woman in Yesenin's poems is like nature. She is sensual, beautiful, but harsh. It is obvious from the poet's poems that woman and nature are inseparable in his perception. So feminine features are endowed, birch, dawn, spring and blizzard. Sergei Yesenin's poem "A Letter to a Woman" looks like a confession. Admiration for a woman, her fatigue is intertwined in it. The poet despises himself for his character, for his vices and for the pain he brought to his beloved.

The poet's image of the mother differs from the image of the beloved woman. Everyone knows his poem "A Letter to Mother". It became probably the strongest expression of love for mom in all Russian poetry. From the very first lines, one can feel the poet's tenderness and sadness.

Are you still alive, my old lady?
I am also alive. Hello to you, hello!
Let it flow over your hut
That evening unspeakable light.

The use of colors to express emotions and create a certain atmosphere in poetry is typical for all periods of Sergei Yesenin's work. It was through contrasting colors - white and black - that Yesenin once vividly expressed his thoughts about his life. This was during the period of "Moscow tavern", when he painfully felt the contradictions between the environment in which he found himself and the poetic inspiration dictated by the romanticism of feelings. Yesenin's early lyrics are filled with delicate colors: blue, gold, turquoise. The further, the darker the world of the poet. Colors become darker. The last poems of the poet are gloomy and gloomy. Feels tired and doomed.

Literature

Sergey Yesenin. Complete collection of lyrics in 1 volume - M .: EKSMO, 2017
Russian writers of the XX century from Bunin to Shukshin / Edited by N.N. Belyakova and M.M. Glushkova. - M .: Flinta, 2012

He ran into life as a Ryazan simpleton, Blue-eyed, curly, fair-haired, With a perky nose and cheerful taste, Attracted to the delights of life by the sun. But soon the riot threw his dirty lump Into the radiance of his eyes. Poisoned by the bite of the Serpent of the rebellion, he cursed Jesus, He tried to make friends with the tavern ... In the circle of robbers and prostitutes, languishing with blasphemous jokes, He realized that the tavern was rotten to him ... Pious Russian bully ...

Igor Severyanin

The creativity of Sergei Yesenin, uniquely bright and deep, has now firmly entered our literature and enjoys great success with a large reader. The poet's poems are full of heartfelt warmth and sincerity, passionate love for the boundless expanses of his 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 charm, and the deep tragedy of a person who has remained for too long in the "narrow interval" 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 poems, sincere and frank in Russian, we feel the beating of a restless tender heart. They have a "Russian spirit" in them, they have a "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 far from his native land. And distant Russia becomes the main heroine of the cycle: "No matter how beautiful Shiraz is, he is no better than Ryazan's expanse." Yesenin greeted the October Revolution with joy and warm sympathy. Together with Blok, Mayakovsky, he sided with her 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 strives for a new, for the future. In one of his works, Yesenin exclaimed: "My mother is my homeland, I am a Bolshevik!" But Yesenin, as he himself wrote, perceived 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. The poet's ideas about the goal of the revolution, about the future, about socialism were characteristic. In the poem "Inonia" he portrays the future as a kind of idyllic kingdom of peasant prosperity, socialism seems to him a blissful "peasant's paradise". Such ideas were reflected in other works of Yesenin of that time:

I see you, vicious fields,

With a herd of dun horses.

With a shepherd's pipe in the willows

Apostle Andrew wanders.

But the fantastic visions of the peasant Inonia, naturally, were not destined to come true. The revolution was led by the proletariat, the village was led by the city. "After all, this is absolutely not the kind of socialism that I thought about," - says Yesenin in one of the letters of that time. Yesenin begins to curse the "iron guest" who brings death to the patriarchal rural way of life, and to mourn the old, leaving "wooden Russia". This explains the contradictory nature of Yesenin's poetry, who has traveled 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 designated. It makes him fall in love with his socialist homeland more and more strongly and appreciate everything that happens in it in a different way. "... I fell even more in love with communist construction," Yesenin wrote upon his return to his homeland in his essay "Iron Mirgorod". Already in the cycle "The Love of a Hooligan", written immediately upon arrival from abroad, the mood of lost and hopelessness is replaced by hope for happiness, faith in love and the future. The beautiful poem "A blue fire swept around ...", full of self-condemnation, pure and tender love, gives a clear idea of the new motives in Yesenin's lyrics:

A blue fire swept around

Forgotten birthplaces.

The first time I sang about love

For the first time I renounce making a row.

I was all - like a neglected garden,

He was greedy for women and potions.

I didn't like to sing and dance

And lose your life without looking back.

Yesenin's work is one of the brightest, deeply moving pages in the history of Russian literature. The era of Yesenin has receded into the past, but his poetry continues to live, awakening a feeling of love for his native land, for everything close and different. We are worried about the sincerity and spirituality of the poet, for whom Russia was the most dear on the entire planet.

Solovieva Elena

As a result of the research, it was concluded that the main themes of creativity; S. Yesenin were the theme of the village, homeland and love.; It was determined that the poetry of Sergei Yesenin and folklore have a very close connection, and it should also be said about the powerful influence on Yesenin of ancient Russian literature and icon painting. The practical orientation is seen in the possibility of using literature in lessons.

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Research

"The artistic originality of poetry
S. Yesenin "

11th grade student of Solovieva Elena

Supervisor: teacher of Russian language and literature

MOU Mikhailovskaya secondary school Yablokova S.V.

1. Introduction. page 2

2. The originality of the poetics of S. Yesenin.

2.1.1. Features of the art style. p. 3

2.1.2. Features of metaphor in Yesenin's poetry. p. 4

2.1.3 Poetic vocabulary. p. 5

2.1.4. Poetic technique of S. Yesenin. p. 5

2.1.5. The moon in Yesenin's poetry. page 6

2. 1.6. Images of animals in the poetry of S. Yesenin. page 8

3.1 Leading themes of poetry.

3.1.1. Village theme. page 9

3.1.2 The theme of the homeland in Yesenin's lyrics. p. 10

3.1.3. Love theme. page 11

4. Conclusion. p. 12

5. Bibliography. p. 13

Introduction.

In 1914, in the magazine "Mirok" signed "Ariston", Yesenin's poem "Birch" was first published. Could anyone then, in 1914, have suggested that in the person of an unknown author, hiding under the pseudonym Ariston, a man came to Russian poetry of the twentieth century who was destined to become a worthy successor to Pushkin's glory? Following “Birch”, “surprisingly cordial” and “sweeping” poems by Sergei Yesenin appear in print.

Lovely birch thickets!

You, earth! And you, plains sands!

Before this host of departing

And unable to hide the melancholy.

Yesenin's poetry, surprisingly “earthly”, close to everyone, real to its very roots and at the same time “universal”, universal, illuminated by the unfading light of true love “for all living things in the world”.

It would seem that everything has been said about Yesenin's work [See the bibliography at the end of the work.]. And yet, each person, opening a volume of his poems, opens his Yesenin.

I love Yesenin since childhood. When I was very little, my mother read me the poem "Birch" in the evenings. Although I did not know who this creation belonged to, from childhood I was fascinated by these wonderful lines.

It is hardly possible to say about Yesenin, as about Pushkin, "This is our everything." But at the same time, there is no such person in Russia who does not know at least a few lines from Yesenin's poems. How is it peculiar, original?

In the 11th grade, while studying the literature of the twentieth century, I got acquainted with the work of many poets of Yesenin's contemporaries, poets who lived and worked after him. It was then that we wondered where the origins of the work of the popularly beloved poet are, whether he has followers.

So, the theme of the work: "The artistic originality of the poetry of S. Yesenin."

· Reveal the peculiarities of the artistic style and poetic technique.

· Consider the main themes of the poet's work.

To solve the set tasks, the following methods were used:

· Analytical;

· Comparative;

Comparative

While working on the study, we turned to the literary materials of V.F.Khodasevich, P.F.Yushin, V.I. Erlikh, V.I. Gusev. The book by VF Khodasevich “Necropolis” became fundamental in our work. This book contains memories of some writers of the recent past, including S. Yesenin.

Part 2. The originality of the poetics of S. Yesenin.

2.1 The beauty and richness of Yesenin's lyrics.

2.1.1. Features of the art style.

Trouble has befallen my soul

Trouble befell 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 seems to pass them through literary traditions and through his poetic attitude. [Lazarev V. Long memory. // Poetry of Russian villages, M., 1982, p. 6, / 140 /. ]

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

Sparrows are playful

Like lonely children.

As well as for the people, it is characteristic for Yesenin to animate nature, ascribing human feelings to it, that is, the method of personification:

Maple you are my fallen,

icy maple,

What are you bending over

under a white blizzard?

Or what did you see?

Or what did you hear?

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

My ring was not found.

I went from longing to the meadow.

The river laughed in pursuit of me:

"The cutie has a new friend."

The poet knows how to find in nature, man, history and modernity that is truly beautiful, original, enchanting with its poetry and originality. At the same time, he can conjugate these different beginnings of being so that they interpenetrate each other. Therefore, Yesenin again humanizes nature, and the personality likens the image of his native landscape. He appreciates the same properties in himself [Rogover E. S. Russian literature of the twentieth century: textbook. - 2nd edition. - SPb. 2004.- 194s.]:

I'm still the same in my heart

Like cornflowers in rye, bloom in the face of the eye.

…………………………………………………………………….

... That old maple looks like me with its head.

Sensitive to the aesthetic wealth of existence, Yesenin “colors” the phenomena of the surrounding world: “The mountain ash turns red, / The water turns blue”; "Swan song / Unliving rainbow of eyes ...". But he does not invent these colors, but peeps in his native nature. At the same time, he gravitates towards clean, fresh, intense, ringing tones. The most common color in Yesenin's lyrics is blue, then blue. Together, these colors convey the richness of colors of reality.

2.1.2. Features of metaphor in Yesenin's poetry.

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

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.

Reaching out for the warmth, breathing in the softness of bread

And with a crunch mentally biting cucumbers,

Behind a flat surface, the trembling sky

Leads the cloud out of the stall by the bridle.

Even the mill is a log bird

With a single wing - standing, eyes closed.

2.1.3 Poetic vocabulary.

In the poem "Smoke in the flood ..." haystacks are compared with churches, and the mournful singing of a capercaillie with the call to all-night vigil.

2.1.4. Poetic technique of S. Yesenin.

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 moon butts the cloud with a horn,

Dust bathes in blue.

And nodded her month behind the mound,

Dust bathes in blue.

2.1.5. The 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 subdivided 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 there are: gold, white, red, silver, lemon, amber, scarlet, red, pale, blue. Pearl color is used only once:

Not the sister of the month 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 its uncharacteristic: the poet uses pure, natural colors, traditional for Old Russian painting.

Yesenin does not have a red moon at all. Perhaps only in Poem about 36:

The month is wide and scarlet ...

The Yesenin moon is always in motion. This is not a limestone ball, ascended into the sky and hanging a sleepy stupor on the world, but necessarily alive, spiritualized:

The road is pretty good

Nice cold link.

Moon of gold powder

Showered the distant villages.

But only from a month

Silver light will sprinkle

Another turns blue for me,

The other seems to be in the fog.

If the world is not cognizable in the word, then he cannot escape from the depiction of the word. [Rogover E. S. Russian literature of the twentieth century: textbook. - 2nd edition. - SPb. 2004.- 496s.]

Yesenin often uses words with diminutive suffixes. He also uses old Russian words, fabulous names: howl, svei, 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 - striving for the sky, for the impossible, for the beautiful:

In the blue evening, moonlit evening

I was once handsome and young.

Gold is the original color from which everything appeared and in which everything disappears: “Links, links, golden Russia”.

Red is the color of love, passion:

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

The sun has not gone out yet.

Dawn with a red prayer book

Prophesies the good news ...

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

His bird cherry "sleeps in a white cape," the willows cry, the poplars whisper, "the girls ate," "like a pine tree tied with a white kerchief," "a snowstorm is crying like a gypsy violin," etc.

2. 1.6. 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 - the image of an innocent victim.

In the poetry of Sergei Yesenin there is also a 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 a little"., 1924)
Along with pets, we find images of representatives of the wild with him.

S. Yesenin most often refers to the image of a horse, a cow. He introduces these animals into the story of the peasant life as an integral part of the life of the Russian peasant. Since ancient times, a horse, a cow, a dog and a cat accompanied a person in his difficult 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 the comfort of home. The image of a horse, as an integral part of everyday life, is found in the poems "The Herd" (1915), "Farewell, dear Pushcha ..." (1916), "This sadness can not be scattered now ..." (1924). The pictures of village life change 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:

The mowed hut

Crying sheep, and in the distance in the wind

A horse is waving its skinny tail,

Looking into an unkind pond.

("This sadness can not be scattered now ...", 1924)

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

3.1 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.

3.1.1. Village theme.

About Russia - a crimson field

And the blue that fell into the river -

I love to joy and pain

Your lake melancholy

But I love you, meek homeland!

And for what I can not guess.

…………………………….

Oh you, my Rus, dear homeland,

Sweet rest in the clink of kupyr.

……………………………..

I am here again, in my own family,

My land, brooding and tender!

For the inhabitant of this Rus', the whole feat of life is peasant labor. The peasant is hammered, beggar, naked. His land is also wretched:

Hearing rakitas

Wind whistle ...

You are my forgotten land

You are my dear land.

Blue sky, color arc.

The banks of the steppe run quietly,

Smoke stretches, near the crimson villages

The wedding of the crows encircled the palisade.

Born and growing out of landscape miniatures and song stylizations, the theme of the Motherland absorbs Russian landscapes and songs, and in Yesenin's poetic world these three concepts: Russia, nature and the "song word" merge together, the poet hears or composes a song "about the fatherland and the father's house ", and at this time in the quiet of the fields the" sobbing tremor of unoffered cranes "and the" golden autumn "" cries on the sand with foliage. "[V.F. Khodasevich. Necropolis: Memories.- M .: Soviet writer, 1991.- 192s.]

This is Yesenin Rus. "This is all that we call homeland ..."

3.1.2 The theme of the homeland in Yesenin's lyrics.

I love my homeland.

I love my Motherland very much!

I will accept everything.

I accept everything as it is.

I am ready to follow the beaten tracks.

I will give my whole soul to October and May,

But I will not give up the sweet lyre.

The book of Khodasevich mentions the statement of the poet D. Semenovsky, who knew Yesenin well, testifying: "... he said that all his work is about Russia, that Russia is the main theme of his poems." And that was exactly how it was. All Yesenin's works are a wreath of songs woven to the Motherland. [V.F. Khodasevich. Necropolis: Memories.- M .: Soviet writer, 1991.- 192s.]

2.1.3. Love theme.

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.

Conclusion.

His poetry is, as it were, scattering by both

Fistfuls of the treasures of his soul.

A. N. Tolstoy.

Yesenin is Russia. His poems are conversations about Russia, its past, present and future. And, of course, time has determined the meaning of Yesenin poetry, folk in its essence. At its center are the great contradictions of our era, and above all - the national tragedy of the Russian people, the split between the people and the government, the government and the individual, its orphanhood and tragic fate. These traits in the character of the Russian people, in the Russian soul, and entered the character of the lyrical hero S. Yesenin.

Yesenin is an example for such poets as N. Rubtsov. Fortunately for us and especially for the future of Russian culture, our poets of the twentieth century were able to preserve and convey to us and to future generations the living muse of Russian poetry. Yes, each of them has its own, but there is something in it that brings everyone together and what A. Peredreev said well in his poem "In Memory of a Poet":

Your gift is given to you by this vastness,

And you served his land and heaven,

And to please anyone or demand

Didn't beat the empty and poor drum.

You remembered those, distant, but alive,

You conquered the tongue-tied world

And in our day you have lifted their lyre,

Though the classical lyre is heavy!

Thus, the purpose of the work was to identify the originality of the poetics of S. Yesenin.

For this, the following tasks were solved:

identification of the peculiarities of the artistic style and poetic technique of S. Yesenin.

As a result: for Yesenin it is characteristic to animate nature, ascribing human feelings to it, that is, the method of personification

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

An important place in Yesenin's work is occupied by epithets, comparisons, repetitions, metaphors.

Consideration of the main themes of creativity.

As a result of the study, it was concluded that the main themes of Yesenin's work were the theme of the village, homeland and love.

It was determined that the poetry of Sergei Yesenin and folklore have a very close connection, and it should also be said about the powerful influence of ancient Russian literature and icon painting on Yesenin.

The practical orientation is seen in the possibility of using in literature lessons.

Bibliography

1. Esenin S.A. Collected cit .: in 3 volumes.Vol. 1, 3.M., 1977

2. Gogol N. V. Sobr. cit .: in 8 volumes.Vol. 1, 7.M., 1984.

3. Rubtsov N .: Time, heritage, destiny: Literary - artistic almanac. 1994.

4.Agenosov V., Ankudinov K. Modern Russian poets.- M .: Megatron, 1997.- 88s ..

5. Gusev V. I. Non-obvious: Yesenin and Soviet poetry. M., 1986.S. 575

6. Yesenin's life: contemporaries tell. M., 1988.

7. Lazarev V. Long memory // Poetry of Russian villages, M., 1982, p. 6, / 140 /.

8. Literature at school. Scientific - methodical journal. M., 1996.

9. Prokushev Yu. L.: The life and work of Sergei Yesenin. M .: Det. Lit., 1984.- 32s ..

10. Rogover E. S. Russian literature of the twentieth century: textbook. - 2nd edition. - SPb. 2004.- 496s.

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Slide captions:

The artistic originality of the poetry of S. Yesenin His poetry is, as it were, the scattering of the treasures of his soul with both Handfuls. A. N. Tolstoy. The presentation was prepared by a student of grade 11 Solovieva Elena

Purpose of work: To reveal the originality of the poetics of S. Yesenin.

Objectives: To reveal the peculiarities of the artistic style and poetic technique. Consider the main themes of the poet's work.

Analytical methods were used; comparative; comparative

Comparisons In his poems, the “actions” of trees are compared with natural phenomena: “Like a blizzard, bird cherry“ waves its sleeve, ”“ like a tree quietly drops its leaves, so I drop sad words ”

The artistic world of S. Yesenin Color epithets: red, scarlet, pink, blue, blue, green, white

Incarnation Incarnation occurs in the studied poems 10 times: Sleepy birches smiled, Silk braids were tousled

Metaphors Complex metaphors seem to oversaturated the language of Yesenin's early poems. Sunrise pours pink water over cabbage beds. Sunset floats across the pond like a red swan. The night light of the month is "lunar silver feathers". Sunlight is the "rushes of the sun in the waters of the womb" or "sun oil" pouring over the green hills. Birch groves - "birch milk" pouring over the plains. Dawn "knocks down the apples of the dawn with a hand of dewy coolness." The sky is blue "heavenly sand". The golden stars fell asleep. The backwater mirror trembled.

Repetitions Repetitions play an important role in Yesenin's poetry, as well as in folk songs. They are used to convey the state of mind of a person, to create a rhythmic pattern. Yesenin uses repetitions with permutation of words: Trouble has befallen my soul, trouble has befallen my soul.

Appeals Yesenin's poetry is full of appeals, often these are appeals to nature: Lovely birch thickets! These pictorial means give the artistic picture of the world, drawn by the poet, a bright, visible, visual, almost tangible character. ...

The artistic world of S. Yesenin In the poems of Sergei Yesenin, very often, especially in poems about nature, there are images of trees, there are more than 20 species of them: birch, poplar, maple, spruce, linden, willow, bird cherry, willow, mountain ash, aspen, pine, oak , apple, cherry, willow and others. The poet does not like to talk about faceless and abstract trees, for him each tree has its own appearance, its own character, behind each tree there is a special image. And the poet often compares himself to a tree.

Most often found birch White birch Under my window Covered with snow, Like silver. In the verses of the remarkable poet of a log hut, the image of a birch plays an important role. She is shown as a young girl, she constantly has “sticky earrings hanging down to the ground”.

Rowan Rowan blushed, The water turned blue. Month, sad rider, Dropped the reins. If at an early stage Yesenin is in love with the world around him, then already in his mature work "the fire of the red mountain ash" is the withering of feelings in a cold heart. And the sad rowan stands swaying ...

Maple (in 6 poems) The image of a maple in the poem "You are my fallen maple, an icy maple ..." And the maple is most often depicted either on one leg, or in a sitting position: "the maple squatted to warm up", "and, like a drunken watchman, going out onto the road, drowned in a snowdrift, froze his leg."

Bird cherry, poplar, aspen (in 3 poems) Sprinkles bird cherry with snow, Greenery in bloom and dew. Bird cherry blossomed With spring bloomed And golden branches, Curled like curls. The image of the bird cherry is inextricably linked with the snow, Yesenin puts his face to the bird cherry snow: "you rash, bird cherry, with snow, you sing, birds in the forest." Bird cherry is a mysterious tree. Either it "waves its sleeve like a blizzard," then it suddenly changes its appearance and "curls its curls." If a birch is a young girl, then an aspen or a pine is already shown in adulthood, in the form of a mother: "Hello, mother, blue aspen!"

Images of animals in the poetry of S. Yesenin In the poetry of Sergei Yesenin there is also a 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 a little"., 1924)

Images of animals in the poetry of S. Yesenin. Along with pets, we find images of representatives of wild nature in him. Of the 60 considered poems, 43 mention animals, birds, insects, fish. Horse (13), cow (8), raven, dog, nightingale (6), calves, cat, pigeon, crane (5), sheep, mare, dog (4), foal, swan, rooster, owl (3), sparrow, wolf, wood grouse, cuckoo, horse, frog, fox, mouse, tit (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).

The 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 subdivided 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 there are: gold, white, red, silver, lemon, amber, scarlet, red, pale, blue. Pearl color is used only once:

Poetic vocabulary of S. Yesenin. The poet's verbal uniqueness: joy and sorrow, riot and sadness filling his poems, he expresses in a verbose manner, 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 feelings or create a complete and vivid picture.

Poetic vocabulary of S. Yesenin. A bit poet and to the colors available in the word itself or in a number of words. The cows speak in his "nodding tongue", the cabbage is "wave". In the words one can hear the roll call of a nod - liv, waves - nov, vo - va. 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 melancholy; into the dark tower, into the green forest.

Poetic technique of S. Yesenin. The poet's stanza is usually four-line, in which each line is syntactically finished, a hyphenation that interferes with melodiousness is an exception. Four - and two - line stanzas do not require a complex rhyme system and do not give its variety. In terms of their grammatical composition, Yesenin's rhymes are not the same, however, the poet's gravitation towards precise rhyme, which gives a special smoothness and sonority to the verse, is noticeable.

Leading themes of poetry Theme of the village Theme of the homeland in Yesenin's lyrics Theme of love

The result for Yesenin is characterized by the animating nature, attributing human feelings to it, that is, the method of personification Yesenin's poetry is full of appeals, often these are appeals to nature. An important place in Yesenin's work is occupied by epithets, comparisons, repetitions, metaphors. that the main themes of Yesenin's work were the theme of the village, homeland and love. It was determined that the poetry of Sergei Yesenin and folklore have a very close connection.

Information sources 1. Esenin S.А. Collected cit .: in 3 volumes. Vol. 1, 3. Moscow, 1977 2. Gogol N. V. Sobr. cit .: in 8 volumes. Vol. 1, 7. M., 1984. 3. Rubtsov N .: Time, heritage, destiny: Literary - artistic almanac. 1994. 4. Agenosov V., Ankudinov K. Modern Russian poets.- M .: Megatron, 1997. - 88p .. 5. Gusev V. I. Non-obvious: Yesenin and Soviet poetry. M., 1986. P.575 6. Yesenin's life: tell by his contemporaries. M., 1988. 7. Lazarev V. Long memory // Poetry of Russian villages, M., 1982, p. 6, / 140 /. 8. Literature at school. Scientific - methodical journal. M., 1996. 9. Prokushev Yu. L.: The life and work of Sergei Yesenin. M .: Det. Lit., 1984.- 32s .. 10. Rogover ES Russian literature of the twentieth century: textbook. - 2nd edition. - SPb. 2004.- 496s. 11. V.F. Khodasevich. Necropolis: Memories.- M .: Soviet writer, 1991.- 192s. 12. Erlikh V.I. The right to song // S.A. Yesenin in the memoirs of contemporaries: in 2 volumes. Vol. 2. M., 1986 .. 13. P.F. Yushin. Poetry of Sergei Yesenin 1910-1923. M., 1966.- 317s ..

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 "a subtle lyricist" and "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 characterize 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, the 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,” where little Sergei spent most of his childhood. The family did not have enough money, 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 "diploma" with honors (1909), he decided to enter a second-class parish teacher's school. The young man, missing his family, came to Konstantinovo only during the holidays. It was then that he begins to write his first poems: "The onset of spring", "Winter" and "Autumn" - the approximate date of creation is 1910. 2 years later, in 1912, Yesenin receives a diploma in the specialty "teacher of literacy" and decides to leave home for Moscow.

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

Having entered the Shanyavsky Moscow City People's University 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 magazine "Mirok" ("Birch" (1914)), and a few months later the Bolshevik newspaper "Path 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. Gumilev. In October of the same year, the magazine "Protalinka" published "Mother's Prayer", dedicated to the First World War.

Sergei Yesenin was drafted to 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 "The Yaroslavns are Crying" was published in the magazine "Women's Life".

Omitting the details of the great poet's life 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 writes several small poems - "The Jordanian Dove", "Inonia", "The Heavenly Drummer" - which were completely imbued with the feeling of a change in life, but that was not what changed his status and made him famous. His freedom-loving impulses only attracted gendarmes to his performances. A completely different circumstance significantly influenced his fate - his acquaintance with Anatoly Mariengof and flirting with new modernist trends. Yesenin's imagism is a description of the patriarchal way of life of the "poor peasants" who have lost the ability to fight for their own independence ("The Keys of Mary" 1919). However, the shocking of a village guy in a shirt belted with a red sash begins to bore the public. And already a year later, the image of a drunkard, a hooligan and a brawler surrounded by a "rabble" ("Confession of a Hooligan") appears in his work. This motive was met by the residents of the capital with approval and delight. 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, whirlwind romances, loud 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 attitude of sweat to the homeland. Critics said that "on his entire collection there is a seal of captivating youthful spontaneity ... He sings his sonorous songs easily, just like a lark sings." The main image is a 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 a search for new lyricism and fundamentally new forms of versification. Yesenin conceived a new "literary style". Then came out:

"Dove" 1920
"Poems of a Brawler" 1926
"Moscow tavern" 1924
"Hooligan's Love" 1924
"Persian motives" 1925

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

Themes of Yesenin's lyrics:

Happiness(search, essence, loss of happiness). In 1918, Sergei Yesenin publishes the poem "This is stupid happiness." In it, he recalls his carefree childhood, where happiness seemed to him to be something distant, but at the same time close. “Stupid, sweet happiness, fresh rosy cheeks,” the author writes, thinking about the long gone irrevocable 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 "You are my Shagane, Shagane! .." he speaks of his love for a young girl who gives him harmony.
Women(love, separation, loneliness, passion, satiety, muse charm). 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 includes such a cycle as "Hooligan's Love", where the Beautiful Lady is not happiness, but attack. Her eyes are a "golden-flowered pool". His poems about love 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.
Homeland(admiration for beauty, devotion, destiny of the country, historical path). For Yesenin, native land is the best embodiment of love. For example, in the work of "Rus", he confesses to her his lofty feelings, as if in front of him is a lady of the heart, and not an abstract image of the fatherland.
Nature(the beauty of the landscape, description of the seasons). For example, the poem "White Birch ..." describes in detail both the tree itself and its white color, 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 "Selo" 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 abovementioned ones by their "musty" forms - this is a clear allegory between the government and the common people.
Revolution, war, new power. Suffice it 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 influence each person individually - that is why the poet so vividly describes each character with his characteristic “common vocabulary”. He surprisingly foresaw the tragedy of 1933, when the "grain grower" grew into famine.

Main motives

The main motives of Yesenin's lyrics are passion, self-destruction, repentance and worries about the fate of the fatherland. In recent collections, more and more sublime feelings are replaced by drunken frenzy, disappointment and a point on the unfulfilled. The author gets drunk, beats his wives and loses them, gets even more upset, and sinks even deeper into the darkness of his own soul, where vices are hidden. Therefore, in his work, one can catch Baudelaire motives: 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.

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

Language and style

If Yesenin's style is a little chaotic and isolated from the familiar to readers the idea of "poetic addition", then the language is clear and simple enough. The author chose dolniks as the size - the most ancient form that existed even before the appearance of the syllabo-tonic versification system. The poet's vocabulary is colored with dialectisms, vernaculars, archaisms and typically colloquial fragments of speech like interjections. They are widely known.

The vernaculars that Sergei Yesenin uses in his poems are, rather, a feature of his decoration 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, reflected in his poems. For example, his patriotism in the poem "The Poet" is indicative:

That poet, who destroys enemies,
Whose dear mother is true,
Who loves people like brothers
And I am ready to suffer for them.

In addition, he has a special "love purity", which can be traced in the cycle "Hooligan's Love". There he confesses lofty feelings to his muses, talks about 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 a woman with enthusiastic remarks, flowery epithets and subtle comparisons. He often blames and theatrically belittles the effect on the lady. While insulting himself, he is at the same time proud of his drunken prowess, broken fate and strong nature. Humiliating himself, he tried to give the impression of a gentleman who was misunderstood and deceived in the best feelings. However, in life, he himself brought his passions to a complete break, beating, cheating and getting drunk. Often he became the initiator of the break, but the lyrics only mentioned 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 since childhood. You can find other, no less interesting facts about the poet.

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

Author's epithets, metaphors, comparisons

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

So, for example, in the poem "Quiet in the thicket of juniper" Yesenin uses a metaphorical statement:

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

In the famous work "A Letter to a Woman", he presented to the public a detailed metaphor, the length of a poem. Russia becomes a ship, revolutionary sentiments - a pitching, a hold - a tavern, the Bolshevik party - a helmsman. The poet himself compares himself to a horse driven in soap and spurred by a bold 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

The peculiarities of Yesenin 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 exoticism of the outskirts, where the capital's writers did not even look. With this color, he conquered the picky audience, who found national originality in his work.

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

The songs of his authorship have become truly popular, they are still sung by many famous performers, and these compositions become hits. The secret of their popularity and relevance lies in the fact that the poet himself was the owner of a broad and contradictory Russian soul, which he sang in a clear and sonorous word.

Interesting? Keep it on your wall!

"The singer and herald of wooden Rus" - this is how Yesenin himself defined himself as a poet. His works are truly sincere and frank. Without undue hesitation, he bares his Russian soul, which suffers, yearns, rings and rejoices.

Themes of Yesenin's lyrics

Yesenin wrote about what worried him and his contemporaries. He was a child of his era, which experienced many cataclysms. That is why the main themes of Yesenin's poetry are the fate of the Russian countryside, the present and future of Russia, affection for nature, love for women and religion.

A burning love for the Motherland runs through the entire creative heritage of the poet. This feeling is the starting point of all his further literary explorations. Moreover, Yesenin puts in the concept of the Motherland, first of all, not a political meaning, although he did not bypass the sorrow and joy of peasant Russia. The homeland for the poet is the surrounding fields, forests, plains, which start from the parental home of the lyric hero and extend into immense distances. The poet drew images of incredible beauty from childhood memories and the nature of his fiefdom - the village of Konstantinovo, from where Yesenin began his "crimson Rus". Such feelings of reverent love for the native land were expressed in the most delicate poetic watercolors.

All themes, in particular the theme of love for the Motherland, are so closely intertwined that they cannot be distinguished from one another. He admired the world around him, like a child “born with songs in a grass blanket,” considering himself an integral part of it.

Love lyrics are a separate layer of creativity of the poet-nugget. The image of a woman from his poems was copied from Russian beauties "with scarlet juice of berries on the skin", "with a sheaf of oat hair." But love relationships always take place as if in the background, in the center of the action is always the same nature. The poet often compares the girl with a thin birch tree, and her chosen one with a maple. Early creativity is characterized by youthful ardor, concentration on the physical aspect of relationships ("I'll kiss you drunk, I'll beat you like a color"). Over the years, having known bitter disappointments on the personal front, the poet expresses his feelings of contempt for corrupt women, cynically considering love itself nothing more than an illusion ("our life is a sheet and a bed"). Yesenin himself considered "Persian motives" to be the pinnacle of his love lyrics, where the poet's trip to Batumi left an imprint.

It should be noted that there are many philosophical motives in Yesenin's poems. The early works sparkle with a sense of the fullness of life, an accurate awareness of their place in it and the meaning of being. The lyrical hero finds him in unity with nature, calling himself a shepherd, whose "chambers are the fringes of rippling fields." He realizes the rapid fading of life ("everything will pass, like smoke from white apple trees"), and from this his lyrics permeate with light sadness.

Of particular interest is the theme "God, nature, man in Yesenin's poetry".

the God

The origins of Christian motives in Yesenin must be sought in his childhood. His grandparents were deeply religious people and instilled in his grandson the same reverent attitude towards the Creator.

The poet seeks and finds analogies for the atoning sacrifice in the phenomena of nature ("the schema-wind ... kisses the red sores on the mountain ash bush to the invisible Christ", "the sacrifice of the sunset atoned for all sin").

Yesenin's God lives in that very old, leaving Russia, where “where the cabbage beds are poured with red water by the sunrise”. The poet sees the creator, first of all, in the creation - the world around him. God, nature, man in Yesenin's poetry always interact.

But the poet was not always a humble devotee. In one period, he has a whole series of rebellious, God-fighting poems. This is due to his belief in and acceptance of the new communist ideology. The lyrical hero even challenges the Creator, promising to create a new society without the need for God, "the city of Inonia, where the deity of the living lives." But such a period was short-lived; soon the lyric hero again calls himself a "humble monk," praying to the heaps and flocks.

Human

Quite often, the poet portrays his hero as a wanderer walking along the road, or as a guest in this life ("every wanderer in the world will pass, enter and leave home again"). In many works Yesenin touches upon the antithesis "youth - maturity" ("The golden grove dissuaded ..."). He often thinks about death and sees it as the natural ending of everyone ("I came to this earth to leave it as soon as possible"). Everyone can learn the meaning of their existence by finding their place in the triad "God - nature - man". In Yesenin's poetry, the main link of this tandem is nature, and the key to happiness is harmony with it.

Nature

It is a temple for the poet, and the person in it must be a pilgrim ("I pray at the ala dawn, I receive communion by the stream"). In general, the theme of the Almighty and the theme of nature in Yesenin's poetry are so interconnected that there is no clear line of transition.

Nature is also the main character of all works. She lives a vibrant, dynamic life. Very often, the author uses the method of impersonation (a maple sucks a green udder, a red autumn mare scratches her golden mane, a blizzard cries like a gypsy violin, a bird cherry sleeps in a white cape, a pine tree is tied up with a white kerchief).

The most favorite images are birch, maple, moon, dawn. Yesenin is the author of the so-called wooden romance between a birch girl and a maple boy.

Yesenin's poem "Birch"

The verse "Birch" can be considered as an example of a refined and at the same time simple awareness of being. Since ancient times, this tree has been considered both a symbol of a Russian girl and of Russia itself, therefore Yesenin put a deep meaning into this work. Affection for a small particle of nature grows into admiration for the beauty of the immense Russian land. In ordinary everyday things (snow, birch, branches), the author teaches to see more. This effect is achieved with the help of comparisons (snow is silver), metaphors (snowflakes are burning, the dawn is strewn with branches). Simple and understandable imagery makes Yesenin's poem "Birch" very similar to the folk, and this is the highest praise for any poet.

General mood of the lyrics

It should be noted that in Yesenin's poetry, a slight sadness "over the buckwheat expanses" is so clearly felt, and sometimes a nagging melancholy even in admiring his native land. Most likely, the poet foresaw the tragic fate of his Motherland-Russia, which in the future "will still live, dance and cry at the fence." Pity for all living things is involuntarily conveyed to the reader, because, despite its beauty, absolutely everything around is fleeting, and the author grieves in advance about this: "Sad song, you are Russian pain."

Some distinctive features of the poet's style can also be noted.

Yesenin is the king of metaphors. He so skillfully packed capacious words into a few words that each poem is replete with bright poetic figures ("evening black eyebrows set," "the sunset is quietly floating on the pond like a red swan," "a flock of ticks on the roof serves the Vespers star").

The proximity of Yesenin's poetry to folklore gives the feeling that some of his poems are folk. They fit the music incredibly easily.

Due to such peculiarities of the artistic world of the poet of "wooden Rus", his poems cannot be confused with others. He cannot but conquer his selfless love for the Motherland, which originates from the Ryazan fields and ends with space. The essence of the theme "God - nature - man" in Yesenin's poetry can be summed up by his own words: "I think: how beautiful is the earth and man on it ..."

Perhaps this is one of the most famous poetic names in Russia of the 20th century. During his short thirty years, the poet reflected in his work the most dramatic and turning points in the life of peasant Russia, which is why a kind of tragic attitude and at the same time a surprisingly subtle vision of the nature of his vast homeland passes through as a red line in his work. This feature of creativity can be explained by the fact that he was born and lived at the junction of two eras - the outgoing Russian Empire and the birth of a new state, a new world, where the old order and foundations had no place. , World War I, February and October revolutions, heavy - all these events tormented the long-suffering country and its people, leading to the collapse of the old world. The poet, like no one, felt the tragedy of this situation better, reflecting it in his work. However, one of the most bitter confessions is in his poem "I am the last poet of the village." In this work, there is a deep pain from the beginning of the death of that peasant life, whose singer he was throughout his life. , of which he was a supporter, did not bring freedom and prosperity to the life of the village, but, on the contrary, aggravated its position, making the peasants even more powerless than in tsarist times. The premonition of the village's future demise is best captured by these lines:

On the path of the blue field

The iron guest will come out soon.

Oatmeal, spilled at dawn,

A black handful will collect it.

The poet says goodbye to the village, which is beginning to die, and at the same time feels that his time has also passed. This is especially heard in such bitter lines:

Soon, soon wooden clock

Will wheeze my twelfth hour!

Yesenin became the last poet to glorify the past peasant Russia, which now forever remains in that old era. He has a conflict with the new Soviet Russia, where the poet feels like an absolutely alien here. In addition, he does not know where the country is leading, and especially the beloved village, which he so idolized, the upcoming events. The poem “Yes! Now it's decided! Without a return ... ”, where he writes with bitterness that“ he left his native fields ”and now he is destined to die on“ Moscow's curved streets ”. After that, the poet no longer turns to the countryside and peasant life in his works. And in the poems of the last years of his life, there are mainly love lyrics and an amazing poetic glorification of nature, where, however, there is the bitterness of memories of that past happy life.

The poems of 1925, the last year of the poet's life, are saturated with a special tragedy. Sergei Aleksandrovich seems to feel his imminent death, so he writes "A Letter to Sister", where he turns to his past life and already says goodbye to his close relatives, admitting that he is ready to leave forever. But, perhaps, the feeling of imminent death was most vividly reflected in the poem "Goodbye, my friend, goodbye ...", where the poet says goodbye to an unknown friend and at the end says the phrase: "In this life, dying is not new, But living, of course, not new. ”On December 28, 1925, he died in Leningrad, leaving behind a train of unsolvable mysteries. He was the last poet of the outgoing era with its peasant patriarchal way of life and respect for nature, which he deified. And the Yesenin village was replaced by a new way of life, which the poet was so afraid of, which completely changed the life of the peasants.

Sergei Alexandrovich Yesenin occupies a special place in Russian literature. There is no person in Russia who does not know the lines "White birch under my window", "Goy you, Russia, my dear." The work of Sergei Alexandrovich is imbued with feelings of love for the Motherland, nature, the countryside, etc. The singing motives of the lyrics, the lightness of rhyme make Yesenin's poems quick to memorize.

The peculiarity of Yesenin's lyrics in describing nature, the Motherland is a reference to oral folk art. The poet used many images and genres in his works. For example, in the work

"Goy you, Russia, my dear" motives of the Russian folk song are heard. Almost all of Yesenin's village lyrics are built on the basis of everyday songs, ditties, etc. He often described in his poems various rituals of the Russian people. For example, in the poem "Mother went to the bathing suit in the forest", a day on Ivan Kupala is described.

The most important feature of Yesenin's lyrics is, of course, the abundance of pictorial and expressive means. They create a special lyricism, imagery. The poet's favorite technique is the personification of nature. In the poem "Birch", the dawn lazily bypasses nature. Reading the poem "Green Hairstyle", we understand that Yesenin describes nature as a young girl. The author often associates himself with nature. For example, in the poem "The blue fire swept around" Yesenin says that he is like a neglected garden.

Yesenin's lyrics are full of unusual metaphors, epithets, comparisons. A separate place in the lyrics is occupied by "colored" epithets. Yesenin loved to describe the colorfulness of nature: the moon is blue, the birch is white. Often the poet's autumn nature is covered with gold: "golden foliage", "golden grove". The metaphors in the description of nature are amazing: "the face of the month", "the smoke of the flood", "braids-branches". Sergei Aleksandrovich compares the Motherland with his beloved mother, associates Russia with a loved one.

Of course, another feature of Yesenin's lyrics is the sensory perception of love. Recklessly, the poet gave himself entirely to this feeling. Love is always passionate, ardent: "I will kiss you drunk, I will wear it like a color." A woman is often associated with nature: "you look pink like a sunset." Only in the collection "Moscow tavern" Yesenin refers to a woman disparagingly, but at the same time he bows before her.

All Yesenin's lyrics represent a subtle, sensual perception of the world. The poems are light, lyrical, but they contain many techniques. The author preaches the ideas of kindness, love, humanism.

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 national language. Figurative-speech

Beginning in Yesenin, his ornamental style, “feeling of the Motherland” determined the essence of his work. The discoveries that occurred in the literary language in the XX century are directly related to the innovative achievements of Yesenin. This was 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, “live with one great love - love for the homeland” and fosters the purest, lofty moral and patriotic feelings. Intimate and all-consuming “feeling of the Motherland” from the first steps of the creative path

Sergei Yesenin was determined for him by 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 lyric work.

To convey the state of mind of the lyrical hero, his character, to describe pictures of the 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. The first collection of Yesenin's 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 power of Yesenin's lyrics lies in the fact that in it the feeling of love for the Motherland is expressed not abstractly and rhetorically, but specifically, in visible images, in pictures of native nature. Often times, the landscape is not inspiring. The poet exclaims with pain:

You are my abandoned land, you are my land, wasteland. But Yesenin saw not only a sad landscape, bleak pictures; he saw the Motherland and the other: in a joyful spring decoration, with fragrant flowers and herbs, from the bottomless blue sky. Already in Yesenin's early poems, declarations of love for Russia sound. So, one of his most famous works is “Goy you, my dear Russia ...”. One of the earliest stylistic techniques of Yesenin was writing poetry in a language that gravitated towards the Old Russian speech (for example, “Song of Evpatiy Kolovrat”). The poet uses ancient Russian names to construct images, he uses such ancient words as a pictorial means.Another group of Yesenin's stylistic devices is associated with the installation on the romanticization of rural life and with the desire to express the beauty of a strong lyrical feeling (for example, a sense of admiration for nature, falling in love with a woman, love for to a person, to life), the beauty of being in general.

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