The artistic originality of Yesenin’s work is briefly summarized. Essay “The artistic originality of Yesenin’s poetry

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

Igor Severyanin

The work of Sergei Yesenin, uniquely bright and deep, has now firmly entered our literature and enjoys great success among numerous readers. 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 who is rediscovering an amazing world, subtly feeling the fullness of earthly charm, and the deep tragedy of a man who has remained for too long in the “narrow gap” of old feelings and views. And, if in the best poems of Sergei Yesenin there is a “flood” of the most secret, most intimate human feelings, they are filled to the brim with the freshness of pictures of native nature, then in his other works there is despair, decay, hopeless sadness. Sergei Yesenin is, first of all, a singer of Rus', and in his poems, sincere and frank in Russian, we feel the beating of a restless, tender heart. They have a “Russian spirit”, they “smell of Russia”. They absorbed the great traditions of national poetry, the traditions of Pushkin, Nekrasov, Blok.

Even in Yesenin’s love lyrics, the theme of love merges with the theme of the Motherland. The author of "Persian Motifs" is convinced of the fragility of serene happiness far from his native land. And the main character of the cycle becomes distant Russia: “No matter how beautiful Shiraz is, it is no better than the expanses of Ryazan.” Yesenin greeted the October Revolution with joy and warm sympathy. Together with Blok and Mayakovsky, he took her side without hesitation. The works written by Yesenin at that time ("Transfiguration", "Inonia", "Heavenly Drummer") are imbued with rebellious sentiments. The poet is captured by the storm of the revolution, its greatness and strives for something 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 purpose of the revolution, about the future, about socialism were characteristic. In the poem "Inonia" he depicts the future as a kind of idyllic kingdom of peasant prosperity; socialism seems to him a blissful "peasant paradise." Such ideas were reflected in other works of Yesenin of that time:

I see you, green fields,

With a herd of dun horses.

With a shepherd's pipe in the willows

Apostle Andrew wanders.

But the fantastic visions of 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, the socialism that is coming is completely different from what I thought,” Yesenin declares in one of his letters from that time. Yesenin begins to curse the “iron guest”, bringing death to the patriarchal village way of life, and to mourn the old, passing “wooden Rus'”. This explains the inconsistency of Yesenin’s poetry, who went through a difficult path from the singer of patriarchal, impoverished, dispossessed Russia to the singer of socialist Russia, Leninist Russia. After Yesenin’s trip abroad and to the Caucasus, a turning point occurs in the poet’s life and work and a new period is designated. She makes him fall in love with his socialist fatherland more deeply and strongly and appreciate everything that happens in it differently."...I fell even more in love with communist construction," Yesenin wrote upon returning to his homeland in the essay "Iron Mirgorod." Already in the cycle “Love of a Hooligan,” written immediately upon arrival from abroad, the mood of loss and hopelessness is replaced by hope for happiness, faith in love and the future. The wonderful poem “A blue fire swept up...”, full of self-condemnation, pure and tender love, gives a clear idea of ​​the new motives in Yesenin’s lyrics:

A blue fire began to sweep,

Forgotten relatives.

For the first time I sang about love,

For the first time I refuse to make a scandal.

I was all like a neglected garden,

He was averse to women and potions.

I stopped liking singing and dancing

And lose your life without looking back.

Yesenin's work is one of the brightest, deeply moving pages in the history of Russian literature. Yesenin's era 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 concerned about the sincerity and spirituality of the poet, for whom Rus' was the most precious thing on the entire planet.

Solovyova Elena

As a result of the study, it was concluded that the main themes of creativity; S. Yesenin's themes were 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 use in literature lessons.

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Research

"The artistic originality of poetry
S. Yesenin"

11th grade student Elena Solovyova

Head: teacher of Russian language and literature

Municipal Educational Institution Mikhailovskaya Secondary School Yablokova S.V.

Plan.

1. Introduction. page 2

2. The originality of S. Yesenin’s poetics.

2.1.1. Features of the artistic style. page 3

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

2.1.3 Poetic vocabulary. page 5

2.1.4. Poetic technique of S. Yesenin. page 5

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

2. 1.6. Images of animals in the poetry of S. Yesenin. p.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. page 10

3.1.3. Theme of love. page 11

4. Conclusion. page 12

5. Bibliography. page 13

Introduction.

In 1914, Yesenin’s poem “Birch” was published for the first time in the magazine “Mirok” under the signature “Ariston”. Could anyone then, in 1914, have imagined that in the person of an unknown author hiding under the pseudonym Ariston, a man who was destined to become a worthy successor to Pushkin’s glory came to Russian poetry of the twentieth century. Following “Birch,” “surprisingly heartfelt” and “sweeping” poems by Sergei Yesenin appeared in print.

Lovely birch thickets!

You, earth! And you, plain 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, is illuminated by the unfading light of true love “for everything living in the world.”

It would seem that everything has already been said about Yesenin’s work [See bibliography at the end of the work.]. And yet, every person, opening a volume of his poems, discovers his own Yesenin.

I have loved Yesenin since childhood. When I was very little, my mother read me the poem “Birch” in the evenings. Although I didn’t know who this creation belonged to, I have been fascinated by these wonderful lines since childhood.

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

In the 11th grade, while studying the literature of the 20th century, I became acquainted with the work of many of Yesenin’s contemporaries, poets who lived and worked after him. It was then that we began to wonder where the origins of the work of the popularly beloved poet were, and whether he had any followers.

So, the topic of the work: “The artistic originality of S. Yesenin’s poetry.”

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

Tasks:

· Identify the features of artistic style and poetic technique.

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

To solve the problems, the following methods were used:

· analytical;

· comparative;

· comparative

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

Part 2. The originality of S. Yesenin’s poetics.

2.1 The beauty and richness of Yesenin’s lyrics.

2.1.1. Features of the artistic style.

Yesenin's lyrics are very beautiful and rich. The poet uses various artistic means and techniques. Epithets, comparisons, repetitions, and metaphors occupy a large place in Yesenin’s work. They are used as a means of painting, they convey the variety of shades of nature, the richness of its colors, the external portrait features of the heroes (“fragrant bird cherry”, “the red moon was harnessed to our sleigh like a foal”, “in the darkness the damp moon, like a yellow raven... hovering above the ground "). Repetitions play an important role in Yesenin’s poetry, as in folk songs. They are used to convey a person’s state of mind and to create a rhythmic pattern. Yesenin uses repetitions with rearrangement 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. [ 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 popular speech:

Sparrows are playful,

Like lonely children.

Just like the people, Yesenin is characterized by animating nature, attributing human feelings to it, i.e., the technique of personification:

You are my fallen maple,

icy maple,

Why are you standing bent over?

under a white snowstorm?

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 salvation and tranquility from her. Nature is compared with human experiences:

My ring was not found.

Out of sadness, I went to the meadow.

The river laughed after me:

"Cutie has a new friend."

The poet knows how to find in nature, man, history and modernity what is truly beautiful, original, enchanting with its poetry and uniqueness. At the same time, he can combine these different principles of existence in such a way that they interpenetrate each other. Therefore, Yesenin again humanizes nature, and likens the personality to the images of his native landscape. He values ​​these same properties in himself [Rogover E.S. Russian literature of the twentieth century: Textbook. - 2nd edition. - St. Petersburg. 2004.- 194 p.]:

I'm still the same in my heart

Like cornflowers in the rye, the eyes bloom in the face.

…………………………………………………………………….

... That old maple tree’s head looks like me.

Sensitive to the aesthetic richness of existence, Yesenin “colors” the phenomena of the surrounding world: “The mountain ash turned red, / the water turned blue”; “Swan singing / Undead rainbow eyes...”. But he doesn’t invent these colors, but looks at them in his native nature. At the same time, he gravitates toward clean, fresh, intense, ringing tones. The most common color in Yesenin’s lyrics is blue, followed by blue. These colors in their totality convey the color richness of reality.

2.1.2. Features of metaphor in Yesenin's poetry.

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

Metaphor is the most common means of creating new meanings.

Yesenin's poetics are distinguished by a tendency not to abstractions, hints, vague symbols of ambiguity, but to 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 deeply express their worldview.

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

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

I reach for the warmth, inhale the softness of the bread

And mentally biting the cucumbers with a crunch,

Behind the smooth surface the trembling sky

Leads the cloud out of the stall by the bridle.

Here even the mill is a log bird

With only one wing, he stands with his eyes closed.

(1916)

2.1.3 Poetic vocabulary.

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

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

In the poem “The Smoke Floods...” the haystacks are compared to churches, and the mournful singing of the wood grouse with the call to the all-night vigil.

And yet 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 the dull yellow moon, the dim light of which illuminates the haystacks, and they, like churches, surround the village at the spinning wheels. But, unlike churches, the stacks are silent, and for them the wood grouse, with mournful and sad singing, calls for an all-night vigil in the silence of the swamps.

A grove is also visible, which “covers the bare forest with blue darkness.” That’s all the low-key, joyless picture created by the poet, all that he saw in his native land, flooded and covered with blue darkness, devoid of the joy of people for whom, truly, it would not be a sin to pray.

And this motive of regret about the poverty and deprivation of his 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 Daisy”, “Tanyusha Was Good...”, “Play, Play, Little Talian...”, the poet’s attraction to the form and motifs of oral folk art is especially noticeable. Therefore, they contain a lot of traditional folklore expressions such as: “licious separation”, like “treacherous mother-in-law”, “I’ll fall in love with you if I look at you”, “in the dark mansion”, scythe - “gas chamber-snake”, “blue-eyed guy”.

2.1.4. Poetic technique of S. Yesenin.

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

A few examples:

They didn't give the mother a son,

The first joy is not for future use.

And on a stake under the aspen

The breeze ruffled the skin.

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

The poet is also sensitive to the colors contained in the word itself or in a series of words. His cows speak “in a nodding language,” and his cabbage is “wavy.” In the words one can hear the roll call of nod - liv, vol - nov, vo - va.

The sounds seem to 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; the tower is dark, the forest is green.

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

The moon butts the cloud with its horn,

Bathed in blue dust.

And he nodded for a month behind the mound,

Bathed in blue dust.

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 attributes is the moon and month, which are mentioned in 351 of his works more than 140 times.

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

First: white, silver, pearl, pale. The traditional colors of the moon are collected here, although poetry is precisely 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 come: 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

In pearls, she threw the kokoshnik into the sky, -

Oh, how Martha walked out of the gate...

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

Yesenin has no red moon at all. Maybe only in “Poem about 36”:

The month is wide and al...

The Yesenin moon is always on the move. This is not a lime ball ascended into the sky and casting a sleepy stupor over the world, but necessarily living, spiritual:

The road is pretty good

Nice chill ringing.

Moon with golden powder

Scattered the distance of villages.

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

Yesenin's diverse moon turns out to be strictly subordinated to traditional folklore imagery, on which it is just as dependent as its celestial counterpart is on the Earth. But at the same time: just as the real moon controls the tides of the earth’s seas and oceans, the study of Yesenin’s lunar metaphors allows us to see in the apparent repetition of folk images a concentrate of “very long and complex definitions of thought” (Yesenin).

In the white autograph of “The Black Man” the author crossed out the stanza:

But only from a month

Silver light will splash

Something else turns blue to me,

Something else appears in the fog.

If the world is not cognizable in words, then it cannot escape from depicting it in words. [Rogover E. S. Russian literature of the twentieth century: Textbook. - 2nd edition. - St. Petersburg. 2004.- 496 pp.]

Yesenin often uses words with diminutive suffixes. He also uses old Russian words, fairy tale 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 - the desire for the sky, for the impossible, for the beautiful:

In the blue evening, in the moonlit evening

I was once handsome and young.

Gold is the original color from which everything appeared and in which everything disappears: “Ring, ring, golden Rus'.”

Red is the color of love, passion:

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

The sun hasn't gone out yet.

Dawn with a red prayer book

Prophesies good news...

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

His bird cherry tree is “sleeping in a white cape,” the willows are crying, the poplars are whispering, “the spruce girls are sad,” “it’s like a pine tree is tied with a white scarf,” “the blizzard 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 is an 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 Aesopian language in fairy tales about animals, and later in fables. In the literature of “modern times,” in epic and lyric poetry, animals acquire equal rights with humans, becoming the object or subject of the narrative. Often a person is “tested for humanity” by his attitude towards an animal.

Sergei Yesenin’s poetry also contains the motif of “blood relationship” with the animal world; he calls them “lesser brothers.”

I'm happy that I kissed women,

Crushed flowers, lying on the grass

And animals, like our smaller brothers

Never hit me on the head. (“Now we are leaving little by little.”, 1924)
Along with domestic animals, we find images of representatives of wild nature.

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

S. Yesenin most often turns to the image of a horse or cow. He introduces these animals into the narrative of 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 have accompanied a person in his hard work, sharing both joys and troubles with him.
The horse was an assistant when working in the field, in transporting goods, and in military combat. The dog brought prey and guarded the house. The cow was the breadwinner in a peasant family, and the cat caught mice and simply personified home comfort. The image of a horse, as an integral part of everyday life, is found in the poems “The Herd” (1915), “Farewell, dear Pushcha...” (1916), “This sadness cannot be scattered now...” (1924). Pictures of village life change in connection with events taking place in the country. And if in the first poem we see “herds of horses in the green hills,” then in the subsequent ones:

A mowed hut,

The cry of a sheep, and in the distance in the wind

The little horse wags his skinny tail,

Looking into the unkind pond.

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

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

The innovation and originality of S. Yesenin, the poet, was manifested in the fact that when 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 one or another animal. Animals, being part of everyday space and environment, appear in his poetry as a source and means of artistic and philosophical understanding of the surrounding world, allowing one to reveal the content of a person’s spiritual life.

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.

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

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

About Rus' - raspberry field

And the blue that fell into the river -

I love you to the point of joy and pain

Your lake melancholy.

Yesenin knows how to feel gaiety in the very melancholy of his native land, in dormant Rus' - the accumulation of heroic forces. His heart responds to girls’ laughter, to dancing around the fires, to the boys’ dancing. You can, of course, stare at the “potholes”, “bumps and depressions” of your native village, or you can see “how the skies turn blue all around.” Yesenin adopts a bright, optimistic view of the fate of his Fatherland. That is why his poems so often contain lyrical confessions addressed to Rus':

But I love you, gentle motherland!

And I can’t figure out why.

…………………………….

Oh, my Rus', dear homeland,

Sweet rest in the crack of the kupira.

……………………………..

I'm here again, in my own family,

My land, thoughtful and gentle!

For an inhabitant of this Rus', the entire feat of life is peasant labor. The peasant is downtrodden, poor, goalless. His land is just as poor:

The willows are listening

Wind whistle...

You are my forgotten land,

You are my native land.

Based on Yesenin’s poems, it is possible to reconstruct his early peasant-religious tendencies. It turns out that the peasant’s mission is divine, for the peasant is, as it were, involved in God’s creativity. God is the father. Earth is mother. The son is the harvest.

Russia for Yesenin is Rus', that fertile land, the homeland on which his great-grandfathers worked and where his grandfather and father work now. Hence the simplest identification: if the earth is a cow, then the signs of this concept can be transferred to the concept of homeland. [V.F. Khodasevich. Necropolis: Memoirs. - M.: Soviet writer, 1991. - 192 p..]

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

Blue sky, colored arc.

Quietly the steppe banks flow,

Smoke stretches near the crimson villages

The wedding of crows covered the palisade.

Born and growing from 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 father’s land and father’s house,” and at this time, in the silence of the fields, “the sobbing trembling of the unflying cranes” and “golden autumn” “cries with leaves on the sand” can be heard [V.F. Khodasevich. Necropolis: Memoirs. - M.: Soviet writer, 1991. - 192 p.]

This is Yesenin's Rus'. “This is all that we call homeland...”

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

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

The poeticization of the native nature of central Russia, so constant in Yesenin’s poetry, was an expression of a feeling of love for his native land. When you read such early poems as “The bird cherry tree is pouring snow...”, “Beloved land! The heart dreams…”, when in reality you see the fields with their “crimson expanse”, the blue of lakes and rivers, the lulling “shaggy forest” with its “ringing pine forest”, the “path of villages” with “roadside grasses”, tender Russian birches with their joyful hello, involuntarily the heart, like the author’s, “glows like cornflowers,” and “turquoise burns in it.” You begin to love this “native land”, “the country of birch chintz” in a special way.

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

I love my homeland.

I love my Motherland very much!

In the poem “Departing Rus',” Yesenin already definitely speaks of the old that is dying and inevitably remains in the past. The poet sees people who believe in the future. Albeit timidly and apprehensively, but “they are talking about a new life.” The author peers into the boiling of a changed life, into the “new light” that burns “of another generation near the huts.” The poet is not only surprised, but also wants to absorb this new thing into his heart. True, even now he adds a disclaimer to his poems:

I accept everything.

I take everything as is.

Ready to follow the beaten tracks.

I will give my whole soul to October and May,

But I won’t give the lyre to my dear one.

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

Khodasevich’s book mentions a statement by 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's exactly how it was. All of Yesenin’s works are a wreath of songs woven for the Motherland.[V.F. Khodasevich. Necropolis: Memoirs. - M.: Soviet writer, 1991. - 192 p.]

2.1.3. Theme of love.

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

Yesenin’s outstanding creation in the field of love lyrics was the cycle “Persian Motifs,” which the poet himself considered the best of all that he had created.

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

Conclusion.

His poetry is, as it were, a scattering of both

Fistfuls of the treasures of his soul.

A. N. Tolstoy.

A. N. Tolstoy’s words about Yesenin can be used as an epigraph to the work of the outstanding Russian poet of the twentieth century. And Yesenin himself admitted that he would like to “throw out his whole soul into words.” The “flood of feelings” that flooded his poetry cannot but evoke a response of emotional excitement and empathy.

Yesenin is Russia. His poems are conversations about Rus', its past, present and future. And, of course, time determined the meaning of Yesenin’s 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 authorities, the authorities and the individual, its orphanhood and tragic fate. These traits in the character of the Russian people, in the Russian soul, were included in 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 their own, but there is something in it that unites them all and which A. Peredreev said well about in his poem “In Memory of the Poet”:

This gift of space has been given to you,

And you served his earth and heaven,

And to please anyone or demand

Didn't beat the empty and poor drum.

Did you remember those distant but alive,

You have overcome the tongue-tied world,

And these days you have raised their lyre,

Even though the classical lyre is heavy!

Thus, the goal of the work was to identify the originality of S. Yesenin’s poetics.

To achieve this, the following tasks were solved:

identifying the features of S. Yesenin’s artistic style and poetic technique.

As a result: Yesenin is characterized by animating nature, attributing human feelings to it, i.e. the technique of personification

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

Epithets, comparisons, repetitions, and metaphors occupy a large place in Yesenin’s work.

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 usingin literature lessons.

Bibliography

1. Yesenin S.A. Collection Op.: in 3 volumes. T. 1, 3. M., 1977

2. Gogol N.V. Collection. cit.: in 8 volumes. T.1, 7. M., 1984.

3. Rubtsov N.: Time, heritage, fate: Literary and artistic almanac. 1994.

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

5. Gusev V.I. Unobvious: Yesenin and Soviet poetry. M., 1986. P.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 and methodological journal. M., 1996.

9. Prokushev Yu. L.: Life and work of Sergei Yesenin. M.: Det. Lit., 1984.- 32 p..

10. Rogover E. S. Russian literature of the twentieth century: Textbook. - 2nd edition. - St. Petersburg. 2004.- 496 p.

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Slide captions:

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

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

Objectives: Identify the features of 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, the bird cherry tree “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, light blue, green, white

Personification Personification occurs 10 times in the studied poems: The sleepy birch trees smiled, the silk braids were disheveled

Metaphors The language of Yesenin’s early poems seems to be oversaturated with complex metaphors. Sunrise waters the cabbage beds with pink water. Sunset floats across the pond like a red swan. The night light of the month is the "moon feathers of silver". Sunlight is “stacks of the sun in the waters of the bosom” or “sun oil” pouring on the green hills. Birch groves - “birch milk” flowing across the plains. Dawn “knocks down the apples of dawn with the hand of cool dew.” The sky is blue "heavenly sand". The golden stars dozed off. The mirror of the backwater trembled.

Repetitions Repetitions play an important role in Yesenin’s poetry, as in folk songs. They are used to convey a person’s state of mind and to create a rhythmic pattern. Yesenin uses repetitions with rearrangement 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: Dear birch thickets! These visual 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: birch, poplar, maple, spruce, linden, willow, bird cherry, willow, rowan, aspen, pine, oak , apple tree, cherry tree, 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.

The birch tree is found more often than others. The white birch tree is covered under my window with snow, like silver. In the poems of the wonderful poet of the log cabin, the image of the birch plays a large role. She is shown as a young girl, constantly having "sticky earrings drooping to the ground."

Rowan The rowan turned red, the water turned blue. The month, the sad rider, dropped the reins. If at an early stage Yesenin is in love with the world around him, then in his mature work the “bonfire of the red rowan tree” is the withering of feelings in a cold heart. And the sad rowan tree stands, swaying...

Maple (in 6 poems) The image of the maple in the poem “You are my fallen maple, icy maple...” is multi-valued and symbolic, helping to understand the state of the lyrical hero during a period of turmoil. And the maple is most often depicted either on one leg or in a sitting position: “the maple squatted down to warm itself,” “and, like a drunken watchman, going out onto the road, he drowned in a snowdrift and froze his leg.”

Bird cherry, poplar, aspen (in 3 poems) Bird cherry sprinkles with snow, Greenery in bloom and dew. The fragrant bird cherry blossomed in spring and the golden branches curled like curls. The image of bird cherry is inextricably linked with snow, Yesenin exposes his face to bird cherry snow: “you, bird cherry, are covered in snow, sing, you birds in the forest.” Bird cherry is a mysterious tree. Either it “waves its sleeve like a blizzard,” then suddenly it changes its appearance and “curls its curls.” If the birch is a young girl, then the aspen or pine tree is shown in adulthood, in the image 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 motif of “blood relationship” with the animal world; he calls them “lesser brothers”. Happy that I kissed women, crushed flowers, lay on the grass, and never hit animals on the head like our smaller brothers. (“We are now leaving little by little.”, 1924)

Images of animals in the poetry of S. Yesenin In him, along with domestic animals, we find images of representatives of wild nature. Of the 60 poems examined, 43 mention animals, birds, insects, and fish. Horse (13), cow (8), raven, dog, nightingale (6), calves, cat, dove, crane (5), sheep, mare, dog (4), foal, swan, rooster, owl (3), sparrow, wolf, capercaillie, cuckoo, horse, frog, fox, mouse, 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 attributes is the moon and month, which are mentioned in 351 of his works more than 140 times. Yesenin's lunar spectrum is very diverse and can be divided into two groups. First: white, silver, pearl, pale. The traditional colors of the moon are collected here, although poetry is precisely 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 come: gold, white, red, silver, lemon, amber, scarlet, red, pale, blue. Pearl color is used only once:

Poetic vocabulary of S. Yesenin. He expresses the poet's verbal originality: joy and grief, riot and sadness that fill his poems verbosely, achieving expressiveness in every word, in every line. Therefore, the usual size of his best lyric poems rarely exceeds twenty lines, which is enough for him to embody sometimes complex and deep experiences or create a complete and vivid picture.

Poetic vocabulary of S. Yesenin. The poet is also sensitive to the colors contained in the word itself or in a series of words. His cows speak “in a nodding language,” and his cabbage is “wavy.” In the words one can hear the roll call of nod - liv, vol - nov, vo - va. The sounds seem to 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; the tower is dark, the forest is green.

Poetic technique of S. Yesenin. The poet's stanza is usually four-line, in which each line is syntactically complete; hyphenation, which interferes with melodiousness, is an exception. Four- and two-line stanzas do not require a complex rhyme system and do not provide its diversity. In terms of their grammatical composition, Yesenin’s rhymes are not the same, but the poet’s attraction to precise rhyme is noticeable, giving a special smoothness and sonority to the verse.

Leading themes of poetry Theme of the village Theme of the motherland in Yesenin’s lyrics Theme of love

The result for Yesenin is characterized by the animation of nature, the attribution of human feelings to it, i.e. the technique of personification. Yesenin’s poetry is full of appeals, often these are appeals to nature. Epithets, comparisons, repetitions, and metaphors occupy a large place in Yesenin’s work. 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. Yesenin S.A. Collection cit.: in 3 volumes. T. 1, 3. M., 1977 2. Gogol N.V. Collection. cit.: in 8 volumes. T.1, 7. M., 1984. 3. Rubtsov N.: Time, heritage, fate: Literary and artistic almanac. 1994. 4. Agenosov V., Ankudinov K. Modern Russian poets. - M.: Megatron, 1997. - 88 p.. 5. Gusev V. I. Unobvious: Yesenin and Soviet poetry. M., 1986. P.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 and methodological journal. M., 1996. 9. Prokushev Yu. L.: Life and work of Sergei Yesenin. M.: Det. Lit., 1984.- 32 p.. 10. Rogover E. S. Russian literature of the twentieth century: Textbook. - 2nd edition. - St. Petersburg. 2004.- 496 p. 11. V.F. Khodasevich. Necropolis: Memoirs.- M.: Soviet Writer, 1991.- 192 p. 12. Erlikh V.I. The right to a song // S.A. Yesenin in the memoirs of his contemporaries: in 2 volumes. T.2. M., 1986.. 13. P.F. Yushin. Poetry of Sergei Yesenin 1910-1923. M., 1966.- 317 p..

State budgetary educational institution

primary vocational education

Rostov region

vocational school No. 38

Plan

conducting an open lesson

Topic: S.A. Yesenin. Section: Literature of the 20s.

Lesson topic: The artistic originality of S. A. Yesenin’s work.

Developed by first category teacher I.P. Pereverzeva.

methodological commission deputy directors

general education disciplines on methodological work PU No. 38

Protocol No. ___ dated “___”___________20__. _______________/IN. I. Simbirskaya

Chairman of the MK _____________/L. V. Raitarovskaya

Developed by: 1st category teacher of Russian language and literature ____________/Pereverzeva Irina Petrovna

Plan

conducting an open lesson

in the academic discipline "Literature"

Topic No. 2: S.A. Yesenin Section No. 3: Literature of the 20s.

Lesson Topic No. 1: The artistic originality of S. A. Yesenin’s creativity.

Lesson objectives:

Didactic goal: formation of interest in the artistic world of S. A. Yesenin; caring attitude towards the poetic word.

Educational aspect:

create conditions for studying the artistic features of S. A. Yesenin’s lyrics

definition of the semantic meaning of the concept of “artistic originality”

developing the skill of analyzing a lyrical work, expressing one’s opinion in detailed, reasoned oral statements

mastery of important general educational skills and educational skills (formulate activity goals, find and process the necessary information)

using the experience of communicating with works of fiction in everyday life and educational activities, speech self-improvement

Developmental aspect:

create conditions for the formation of an aesthetic idea of ​​the Russian word

to cultivate students’ speech culture; the ability to express one’s thoughts competently, clearly and accurately

develop communication skills through various types of speech activity (monologue, dialogic speech)

promote the formation of independent cognitive activity, group self-organization skills

create conditions for improving the skills of analyzing a literary text, for the development of thinking

consistent development of skills to read, comment, analyze and interpret literary text

mastering possible algorithms for comprehending the meanings embedded in a literary text, presenting one’s assessments and judgments about what has been read

Educational aspect:

create conditions for the formation of interest in reading as a means of understanding human feelings and thoughts

cultivate a culture of feelings: love for beauty, for the Motherland

promote the development of a culture of communication, a culture of relationships when working in groups

create conditions for involving students in active activities

continue to develop students’ positive attitude towards learning activities

Methodological goal: formation of students' ability to self-realization.

Lesson type: learning new material

Lesson type: problem-research

Educational technologies:

verbal – conversation, exchange of information, answering questions

visual – photographs by S. A. Yesenin

ICT – multimedia presentation

practical – working with the text of a work of fiction

problem-search - research

communicative – dialogue, monologue, work in creative groups, work in pairs

role-playing – analysis of a specific situation

incentives - verbal encouragement

Planned educational results:

improving the spiritual and moral qualities of the individual, fostering a respectful attitude towards Russian literature

the ability to structure material, select arguments to confirm one’s own position, and formulate conclusions on the topic of the lesson

the ability to analyze a lyrical work using figurative means of the Russian language and quotes from the text, create oral monologue statements, be able to conduct a dialogue

identifying the figurative and expressive means of language in a work, understanding their role in revealing the ideological and artistic content of the work

formulating one’s own attitude towards S. A. Yesenin’s poetry, its assessment

Integration of literature with:

History: “Russia at the beginning of the 20th century”

In Russian: “Vocabulary. Stylistics"

Logistics:

PC with licensed software

multimedia projector

presentation on the topic: “The artistic originality of S. Yesenin’s work”

audio recording of the reading of the poem “I don’t regret, I don’t call, I don’t cry...”

fragment of an audio recording of a romance based on S. Yesenin’s poems “I don’t regret, I don’t call, I don’t cry...”

technological lesson map

During the classes:

Organizational stage 1 min

Motivation for learning activities

students. Setting the goal and topic of the lesson 4 min

Updating knowledge 5 min

Primary assimilation of new knowledge 5 min

Setting lesson goals and objectives

Initial comprehension check 23 min

Primary consolidation 4 min

Homework information 2 min

Reflection 1 min

LESSON STEPS

PRESENTATION

ACTIVITY

TEACHER

ACTIVITY

STUDENTS

Organizational stage

Slide 1 (lesson presentation)

Greets students, checks those present in the lesson, their readiness for the lesson.

Hello guys! Information about absentees has been provided. Everyone is ready to go, let's start the lesson.

Greet the teacher. Report indicating those absent from class.

Motivation for students' educational activities

Slide 2

(text of the poem against the background of music)

Slide 3 (portrait of Yesenin, questions about the perception of his poetry)

Slide 4

(topic and purpose of the lesson)

Creates an emotional mood for the perception of the material.

This name contains the word “esen”
Autumn, ash, autumn color.
There is something in it from Russian songs -
Heavenly, quiet scales,
Birch canopy and blue-dawn,
There is something about spring in him too.
Sadness, youth, purity.

- What do you think, the features of which Russian poet do we see in this excerpt from the poem? Nicholas Brown?

Of course, Sergei Yesenin... This name, like his work, is familiar to many.

- How do you feel about his poetry?

- Which of his works do you like best and why?

The poet himself said about himself: “I never lie with my heart.” And indeed, all his works are very sincere, in them the Russian soul itself rings, rejoices, yearns, rushes, and goes through torment.

Voices the topic and purpose of the lesson.

Today we have a meeting with Sergei Yesenin.

To reveal the features of the poet’s creative method, the originality of the techniques in his poetry, the richness of the lyrical content of the poems - this is the goal of our lesson on the topic “The artistic originality of S. Yesenin’s creativity.”

The results of your work will be reflected in technological maps, and the work in the lesson will be assessed according to them.

Write the topic on your lesson map.

Listen to the teacher.

Included in educational activities.

They express their opinion.

- Russian poet – Sergei Yesenin.

They express their opinion.

Suggested answer:

- I like Yesenin’s love lyrics, which are full of drama. And at the same time it is gentle, bright and melodious.

- I was impressed by the cycle “Persian Motifs”, the poems of which are painted in an oriental flavor. The poet created an imaginary country, a land of dreams, so each poem is perceived as something extraordinary.

- And I like Yesenin’s works about the Motherland, which are based on folk poetic images. It is noteworthy that in this concept the poet includes village life, descriptions of nature, and poems about animals. These are poems by a man who loves all living things.

Listen to the teacher, write down the topic of the lesson in the technology map.

Updating knowledge

Slide 5

(d/z)

Slide 6

(questions)

Slide 7 (about the life of the poet)

Slide 8

(questions)

Slide 9

(main themes and motives)

Slide 10

(questions)

Slide 11 (lesson topic)

Organizes homework checks.

What was your homework?

Which pages of the poet’s life made the greatest impression on you?

- Meekness and rebellion, vulnerability and audacity - this duality of nature was expressed in Yesenin’s lyrics.

- What main themes and motives of Yesenin’s lyrics will you highlight? Write them down in the map, task No. 1, work for 2 minutes.

Name the main themes and motives of Yesenin’s poetry.

- Right. His work combines many motifs, images, themes, and ideas.

- What can you say about the role of S. Yesenin in the development of Russian poetry?

Summarizes the completion of homework.

- Indeed, the poet’s fate is complex and interesting; a lot of travel, changing places and lifestyles, combined with a creative approach to understanding reality, determined the richness and variety of themes and motifs in Yesenin’s lyrics. His creative path spans a decade and a half. However, it is unusually full of artistic searches and experiments.

Answer questions.

Suggested answers:

- Acquaintance with the life and work of the poet, the main themes and motives of his lyrics, the poem “I don’t regret, I don’t call, I don’t cry...”.

- Yesenin went through a “difficult path.” Having entered literature in 1914 (and from the lessons of history we know that this was a difficult and contradictory period), he, together with his country, experienced wars and revolutions, which left their mark on his work (at first he enthusiastically accepted the revolution, but it turned out that Patriarchal Russia is closer to him, and he was disappointed in the results of the revolution).

- He comes from a peasant family, a man who lived most of his life in the city, in a world that was emotionally and spiritually alien to him.

- Behind each of his poetic insights there was serious literary work.

He knew Russian classics well, studied folk art, collected and recorded four thousand ditties, and comprehended the foundations of folk poetic culture, considering it the pinnacle of creativity.

- But in general, Yesenin’s work, like his private life, is full of contradictions and painful searches. His personality was woven from contradictions: he always strived for spiritual peace, harmony with himself and people, and at the same time was prone to rebellion, passion that knew no boundaries.

- The theme of the Motherland and nature, love, transience of human existence.

Oriental and cosmic motifs, the motif of wandering.

- Yesenin’s work is one of the brightest pages in the history of Russian poetry, filled with love for people, the beauty of his native land, imbued with kindness, a feeling of constant concern for the fate of the people and all life on earth.

- The poet managed to capture his tragic time, most acutely reflecting the discord, hopes, despair, contradictions and delusions of the era. This is precisely the historical merit of Yesenin.

- Yesenin in many ways anticipated the artistic discoveries of world literature of the 20th century: the synthesis of various genres in lyric poetry, poetry and drama, the attraction to allegory and parable.

- The poet came with his own understanding of the poetic word, strived for the ambiguity of the poetic image, while gravitating towards harmony and simplicity.

- In his work, he most fully reflected the various faces of his beloved Rus' - homeless Rus', Soviet Rus', departing Rus', and the most diverse aspects of the national character and Russian soul. This determines the role of Yesenin, a poet of not only national but also global significance.

Primary assimilation of new knowledge Setting the goals and objectives of the lesson

Slide 12

(question/definition)

Slide 13

(question/diagram)

Slide 14

(problematic question)

Slide 15

(lesson objectives)

Slide 16

(tasks)

Organizes a conversation to clarify and specify primary knowledge.

Formulates questions.

This is what we will talk about today. So, artistic features. How do you understand this phrase?

Right.

What and how does it manifest itself?

Right.

Voices the problematic question and the goals of the lesson.

So what is the artistic originality of Yesenin’s poetry? - this is the main question of our lesson.

How can we find the answer to this?

You correctly formulated the goals of our lesson.

We will do a little research work - we will analyze Yesenin’s poems “I do not regret, I do not call, I do not cry ...”, we will think about the meaning of the text, we will reveal the features of the poet’s work; we will continue to develop skills in analyzing literary texts; develop communication and research abilities; cultivate a reading culture.

To achieve these goals, it is necessary to solve the following tasks:

Analyze the poem according to plan.

Present the results of the analysis in the form of an oral report quoting poetic lines.

Answer questions.

Suggested answers:

ARTISTIC ORIGINALITY - the unique features and properties of a particular literary work, giving it individuality and difference from other works.

- Artistic originality often manifests itself in the individual author’s interpretation of general themes, motives, problems, etc.

- To the greatest extent, the artistic originality of a work is revealed in a figurative form, in a system of individual means and techniques. - Artistic originality is manifested in the methods of creating an image, ways of expressing the author’s position, in unique compositional features, in the nature of the depicted world, in the organization of artistic speech.

Listen to the teacher.

They answer the question.

Suggested answers:

Refer to the poet's poems. Analyze his lyrical works, highlight artistic techniques characteristic of his work.

Initial check of understanding

Slide 17

(group goal/scheme)

Slide 18

(text of the poem/audio recording)

Slide 19 (research results in the table)

Slide 20 (advanced task)

Formulates tasks for work in creative groups and pairs.

- Let's continue working in creative groups and pairs.

- Purpose of the work: to highlight/note the characteristic features of Yesenin’s poetry.

- Analysis of lyrical text requires possession of certain skills. As a rule, this requires understanding the analysis scheme.

Your creation of a research text about the poem will be based on the disclosure of 4 directions.

Gives a task to each group and pair.

- The results of your work will be reflected in the technological maps in the table, which you will fill out step by step, task No. 2.

Analytical work with a poetic text, the poem “I don’t regret, I don’t call, I don’t cry...”:

Expressive reading of a poem.

Analysis of a poetic text according to the proposed plan.

Analytical conversation.

- We work in groups for 5 minutes.

Monitors the execution of work.

Time. Before you present the results of your research and write down the main points in the corresponding working fields of the card, let’s listen to an expressive reading of the poem “I don’t regret, I don’t call, I don’t cry...” performed by the artist.

1st pair

- How did you understand the meaning of this wonderful poem?

2nd pair

- What pictures did the poet depict and what is the peculiarity of the construction of the poem?

3rd pair

What images did you see in this poem?

1st group

- By what means are the internal unity and integrity of the poem achieved?

- What figurative, expressive and lexical-morphological means does the poet use, their meaning?

2nd group

What is the role of intonational-syntactic figures in a poem?

- Formulate and write down the conclusion on the map, task No. 3: what place does this poem occupy in Yesenin’s work?

- What thoughts did the lyrical revelations of the poet Yesenin lead you to?

- The research results are presented in the table.

Leads students to a conclusion.

- Let’s summarize the results of the study of the poetic text: what artistic techniques made the greatest impression on you and were remembered by you?

Formulate and write them down in a map, task No. 4, we work for 2 minutes.

Leading task.

- A student who has prepared an individual message will help supplement our conclusions: “The artistic originality of S. Yesenin’s poetry.” What other features are inherent in Yesenin’s lyrics?

- We listen carefully and complement your notes in task No. 4.

They work in groups, in pairs.

They work with the text, express their assumptions, give examples, explain their choices, analyze artistic means, express their opinions, formulate observational conclusions.

Analyze the poem and formulate observational conclusions.

Presentation of work results.

Analytical work with the text of the poem.

Listen to the speeches and write down the main points.

Answer questions.

Suggested answers:

- This poem has a philosophical content - a reflection on life and a premonition of death. The leading theme is the purpose of a person, his mature view of the life he has lived, his comprehension of it. The poet also develops traditional motifs for his work: farewell to youth, the fleeting passage of time, the motif of the autumn of life, fading and anticipation of the end, the motif of the journey, wandering. The lyrical hero is trying to solve for himself the problem of acceptance or rejection of the passing of youth and vitality. And the author brings out his solution, which represents the main idea of ​​the poem - the need for humility in the face of inevitability: “We are all, we are all perishable in this world...” But this humility is not depressing. This is acceptance of the world in all its diversity. And this perception is very typical of Yesenin’s lyrics. As well as the confessional character characteristic of philosophical lyrics. The general mood of the work is peace, monotony, unhurriedness; The narrative is calm and measured, promoting the reader’s thoughts.

- The content of the poem is specific and at the same time conditionally. We see poetic details of the real earthly world (the smoke of white apple trees, the country of birch chintz, the echoing early morning of spring). And at the same time, it contains the symbolic image of a pink horse (symbolizes spring, joy, young life, unfulfilled dreams).

The poem tells us that youth has passed, that everyone at some point approaches the threshold where they need to part with their old life and have a new attitude towards themselves and the world. This is a farewell to a stormy youth rich in feelings and events, which the poet compares to the blossoming of apple trees. This is a celebration of everything beautiful that happened in life: the tremulous beating of the heart, spiritual freshness, wildness of the eyes and flood of feelings, free communication with nature - the country of birch chintz, a feeling of freedom (vagrant spirit).

The composition is based on the principle of antithesis past, present and future. This antithesis is present in every stanza. The work is built on the gradual disclosure of themes and ideas, with a culminating sound in the lines - “My life? or did I dream about you?” - and the denouement in the last stanza. Two natural images - white apple trees smoke - and maple leaves copper - form a ring in the poem. The ring composition is also emphasized in the development of motives - humility (I don’t regret, I don’t call, I don’t cry - may you be blessed forever), the inevitability of the end (everything will pass - we are all perishable in this world). Thus, we can say that such a composition is justified by its philosophical orientation.

- The poem is unusually expressive, filled with various images. First of all, the image of the Motherland is inseparable from the poet’s worldview, and therefore we encounter traditional images of birches and maples. The image of a pink horse is significant and carries a symbolic meaning. These are the dreams of the lyrical hero about a beautiful, unrealistic ideal. The image of nature and man - withering away in gold, I will no longer be young. Man, in the poet’s perception, is part of the natural world, therefore human life is subject to the same wise laws of nature.

The lyrical hero of the poem is the Poet himself (it is no coincidence that Yesenin pointed out that his poetry is autobiographical). He reflects on life and death and in the end makes peace with time. From hopelessness he moves to peace and tranquility, to reconciliation with nature and life.

We can say that the poem is a weaving of various images: allegorical (vagrant spirit), symbolic (pink horse), more specific (birch trees, apple trees, heart). This helps convey an emotional combination of reverent perception of the world around us, philosophical wanderings, and appeal to everyone’s personal feelings.

- The poet uses various means of artistic expression.

The poem is characterized by metaphor: (fading gold, country of birch chintz, flame of lips, riot of eyes, flood of feelings, leaves of copper), which reflects the holistic perception of the world by the lyrical hero. Comparisons also help us get closer to poetic perception (a heart touched by a chill, like smoke from white apple trees, as if I had galloped on a pink horse in the echoing early morning). Bright epithets are organically included in metaphors and comparisons (from white apple trees, a cheerful echoing early morning, a wandering spirit, lost freshness, on a pink horse). The wealth of emotions is reflected in the use of words of different stylistic colors: we find colloquial words - hang around, ran, riot - and high, bookish vocabulary - withering, decay, blessed, as well as the Church Slavonic form of the infinitive - flourish. Sound writing techniques are also used in the poem: the lines are perishable, copper quietly flows from the maple leaves - assonance (sounds - e, i) and alliteration (sounds - l, m, n) - to convey monotony, softness, fluidity. The poem presents a wide range of colors: the white smoke of apple trees, the gold of withering, the copper of leaves. Suggests the color and flame of lips and birch chintz. These colors are very traditional for Yesenin’s work. The color scheme helps convey moods and imparts picturesque spirituality.

- To convey emotionality in the poem, the author uses rhetorical exclamations, questions, and frequent appeals (now you won’t beat so much, heart; wandering spirit, my life).

In the line - I don’t regret, I don’t call, I don’t cry - the author uses gradation - a three-fold repetition of the negation, which increases the emotion of the speech. To convey the meaning, an antithesis is used (spring apple trees and autumn withering gold). Uses the technique of parallelism - a riot of eyes and a flood of feelings - which creates images of nature for a better perception of the hero’s state. The melodiousness and lyricism of the poem is emphasized by refrains - repetitions (you are less and less often; all of us, all of us). The poem is very musical, which is generally characteristic of Yesenin’s lyrics. This musicality and melodiousness is achieved by the unhurried, measured sound of the trochaic pentameter and fairly precise rhymes.

- In the system of the poet’s philosophical works, it plays a significant role, as it clearly reflects the poet’s worldview. It is of particular importance for all creativity, because in general in Yesenin’s lyrics much more attention is paid to the theme of the homeland and the theme of love. Therefore, every philosophical poem by Yesenin deserves special attention.

Record your observations in the technological map.

Listen to the speech, write down the theses of the speech on the issue: features of Yesenin’s poetry.

Primary consolidation

Slide 21 (problematic issue/artistic features)

(audio recording of the romance)

Slide 22 (lesson topic/objectives)

Return to the topic and objectives of the lesson.

- So, let’s return to the main question of our lesson: what is the artistic originality of Yesenin’s poetry?

- What features do you remember? Name them.

- Speaking about the musicality of the poet’s works, one cannot help but notice that many of Yesenin’s poems have become favorite romances.

Let's listen to an excerpt of a romance with verses S. Yesenin “I don’t regret, I don’t call, I don’t cry...” performed by Vika Tsyganova.

Focuses attention on the final results of educational activities.

- Well done. Let's summarize our work. Have the goals and objectives we set been achieved? Has the topic been resolved?

Answer questions, formulate and write down conclusions.

Suggested answers:

- deep lyricism

- extraordinary imagery

- visual impressions

- color painting

- the principle of landscape painting

- folk song basis

- metaphorical

- the principle of psychological parallelism

- aphoristic language

- associativity

- syntactic harmony and simplicity

- autobiographical

- dialectical

- musicality (songability)

Formulate the final result of their work in class.

Done. Revealed.

Homework information

Slide 23

(d/z)

Informs about homework.

- Write down your homework:

Expressive reading by heart of S. Yesenin’s poems about the Motherland, with elements of analysis.

- We are finishing our lesson. Hand in the lesson cards.

I thank you for your work and want to acknowledge your activity with ratings.

Evaluates work in class.

Listen to the teacher.

Write down homework.

Reflection

Slide 24

(reflection questions)

Slide 25

(Thank you)

Carries out reflection.

- What new things did you discover during the lesson?

- What was interesting?

They name the main positions of the new material and how they learned them.

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, “pushed the boundaries” of the folk language even further in poetry. The figurative-speech principle 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 20th century are directly related to Yesenin’s innovative achievements. 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, “are alive with one great love - love for the homeland” and foster the purest, highest moral and patriotic feelings. From the first steps of Sergei Yesenin’s creative path, the intimate and all-consuming “feeling of the Motherland” determined his attitude towards the world, man and literature. forms. The system of values ​​in S. Yesenin’s poetry is single and indivisible, all its components are interconnected and, interacting, form a single, holistic picture of the lyrical work.

To convey the state of mind of the lyrical hero, his character, to describe the pictures of nature of the “Beloved Motherland,” as well as to convey his feelings and thoughts, the poet uses the visual, expressive, aesthetic possibilities of the artistic style. Yesenin's first collection of poems was published when the poet was only 20 years old. In the early poems of S. Yesenin we come across many such sketches, which can be called small lyrical sketches or pictures of village life. The strength of Yesenin’s lyrics lies in the fact that in it the feeling of love for the Motherland is expressed not abstractly and rhetorically, but specifically, in visible images, in pictures of native nature. Often the landscape is not inspiring. The poet exclaims with pain:

You are my abandoned land, you are my abandoned land. But Yesenin saw not only a sad landscape, joyless pictures; he saw another Motherland: in joyful spring decoration, with fragrant flowers and herbs, with the bottomless blue of the sky. Already in Yesenin’s early poems there are declarations of love for Russia. Thus, one of his most famous works is “Go away, my dear Rus'...” One of Yesenin’s earliest stylistic techniques was writing poetry in a language that gravitated towards Old Russian speech (for example, “The 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 techniques is associated with the orientation towards the romanization of rural life and with the desire to express the beauty of strong lyrical feeling (for example, feelings of admiration for nature, falling in love with a woman, love for to man, to life), the beauty of being in general.

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The originality of S. Yesenin's poetics.

The beauty and richness of Yesenin's lyrics.

Features of the artistic style.

Yesenin's lyrics are very beautiful and rich. The poet uses various artistic means and techniques. Epithets, comparisons, repetitions, and metaphors occupy a large place in Yesenin’s work. They are used as a means of painting, conveying the variety of shades of nature, the richness of its colors, the external portrait features of the heroes (“fragrant bird cherry”, “the red moon was harnessed to our sleigh like a foal”, “in the darkness the damp moon, like a yellow raven, hovers above the ground”). . Repetitions play an important role in Yesenin’s poetry, as in folk songs. They are used to convey a person’s state of mind and to create a rhythmic pattern. Yesenin uses repetitions with rearrangement 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.

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

Like lonely children.

Just like the people, Yesenin is characterized by animating nature, attributing human feelings to it, i.e., the technique of personification:

You are my fallen maple,

Why are you standing bent over?

under a white snowstorm?

Or what did you hear?

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

My ring was not found.

Out of sadness, I went to the meadow.

The river laughed after me:

"Cutie has a new friend."

Features of metaphor in Yesenin's poetry.

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

Metaphor is the most common means of creating new meanings.

Yesenin's poetics are distinguished by a tendency not to abstractions, hints, vague symbols of ambiguity, but to 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 deeply express their worldview.

Hence the desire for universal harmony, for the unity of all things 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 children of one mother - nature.

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

I reach for the warmth, inhale the softness of the bread

And mentally biting the cucumbers with a crunch,

Behind the smooth surface the trembling sky

Leads the cloud out of the stall by the bridle.

Here even the mill is a log bird

With only one wing, he stands with his eyes closed.

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

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

In the poem “The Smoke Floods...” the haystacks are compared to churches, and the mournful singing of the wood grouse with the call to the all-night vigil.

And yet 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 the dull yellow moon, the dim light of which illuminates the haystacks, and they, like churches, surround the village at the spinning wheels. But, unlike churches, the stacks are silent, and for them the wood grouse, with mournful and sad singing, calls for an all-night vigil in the silence of the swamps.

A grove is also visible, which “covers the bare forest with blue darkness.” That’s all the low-key, joyless picture created by the poet, all that he saw in his native land, flooded and covered with blue darkness, devoid of the joy of people for whom, truly, it would not be a sin to pray.

And this motive of regret about the poverty and deprivation of his 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 Daisy”, “Tanyusha Was Good...”, “Play, Play, Little Talian...”, the poet’s attraction to the form and motifs of oral folk art is especially noticeable. Therefore, they contain a lot of traditional folklore expressions such as: “likhodeya separation”, like “insidious mother-in-law”, “I’ll fall in love with you if I look at you”, “in the dark mansion”, scythe - “snake gas chamber”, “blue-eyed guy”.

Poetic technique of S. Yesenin.

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

They didn't give the mother a son,

The first joy is not for future use.

And on a stake under the aspen

The breeze ruffled the skin.

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

The poet is also sensitive to the colors contained in the word itself or in a series of words. His cows speak “in a nodding language,” and his cabbage is “wavy.” In the words one can hear the roll call of kiv - liv, vol - new, vo - va.

The sounds seem to 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; the tower is dark, the forest is green.

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

The moon butts the cloud with its horn,

Bathed in blue dust.

And he nodded for a month behind the mound,

Bathed in blue dust.

The moon in Yesenin's poetry.

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

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

First: white, silver, pearl, pale. The traditional colors of the moon are collected here, although poetry is precisely 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 come: 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

In pearls, she threw the kokoshnik into the sky, -

Oh, how Martha walked out of the gate...

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

Yesenin has no red moon at all. Maybe only in “Poem about 36”:

The month is wide and al...

The Yesenin moon is always on the move. This is not a lime ball ascended into the sky and casting a sleepy stupor over the world, but necessarily living, spiritual:

The road is pretty good

Nice chill ringing.

Moon with golden powder

Scattered the distance of villages.

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

Yesenin’s diverse moon turns out to be strictly subordinated to traditional folk imagery, on which it is just as dependent as its celestial counterpart is on the Earth. But at the same time: just as the real moon controls the tides of the earth’s seas and oceans, the study of Yesenin’s lunar metaphors allows us to see in the apparent repetition of folk images a concentrate of “very long and complex definitions of thought” (Yesenin).

But only from a month

Silver light will splash

Something else turns blue to me,

Something else appears in the fog.

Yesenin often uses words with diminutive suffixes. He also uses old Russian words, fairy tale 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 - the desire for the sky, for the impossible, for the beautiful:

In the blue evening, in the moonlit evening

I was once handsome and young.

Gold is the original color from which everything appeared and in which everything disappears: “Ring, ring, golden Rus'.”

Red is the color of love, passion:

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

The sun hasn't gone out yet.

Dawn with a red prayer book

Prophesies good news.

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

His bird cherry tree is “sleeping in a white cape,” the willows are crying, the poplars are whispering, “the spruce girls are sad,” “it’s like a pine tree is tied with a white scarf,” “the blizzard is crying like a gypsy violin,” etc.

Images of animals in the poetry of S. Yesenin.

Yesenin's poetry is figurative. But his images are also simple: “Autumn is a red mare.” These images are again borrowed from folklore, for example, a lamb is 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 Aesopian language in fairy tales about animals, and later in fables. In the literature of “modern times,” in epic and lyric poetry, animals acquire equal rights with humans, becoming the object or subject of the narrative. Often a person is “tested for humanity” by his attitude towards an animal.

Sergei Yesenin’s poetry also contains the motif of “blood relationship” with the animal world; he calls them “lesser brothers.”

I'm happy that I kissed women,

Crushed flowers, lying on the grass

And animals, like our smaller brothers

Never hit me on the head. (“Now we are leaving little by little.”, 1924)

Along with domestic animals, we find images of representatives of wild nature.

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

S. Yesenin most often turns to the image of a horse or cow. He introduces these animals into the narrative of 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 have accompanied a person in his hard work, sharing both joys and troubles with him.

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

The cry of a sheep, and in the distance in the wind

The little horse wags his skinny tail,

Looking into the unkind pond.

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

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

The innovation and originality of S. Yesenin, the poet, was manifested in the fact that when 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 one or another animal. Animals, being part of everyday space and environment, appear in his poetry as a source and means of artistic and philosophical understanding of the surrounding world, allowing one to reveal 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.

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

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

About Rus' - raspberry field

And the blue that fell into the river -

I love you to the point of joy and pain

Your lake melancholy.

Yesenin knows how to feel gaiety in the very melancholy of his native land, in dormant Rus' - the accumulation of heroic forces. His heart responds to girls’ laughter, to dancing around the fires, to the boys’ dancing. You can, of course, stare at the “potholes”, “bumps and depressions” of your native village, or you can see “how the skies turn blue all around.” Yesenin adopts a bright, optimistic view of the fate of his Fatherland. That is why his poems so often contain lyrical confessions addressed to Rus':

But I love you, gentle motherland!

And I can’t figure out why.

Oh, my Rus', dear homeland,

Sweet rest in the crack of the kupira.

I'm here again, in my own family,

My land, thoughtful and gentle!

For an inhabitant of this Rus', the entire feat of life is peasant labor. The peasant is downtrodden, poor, goalless. His land is just as poor:

You are my forgotten land,

You are my native land.

Based on Yesenin’s poems, it is possible to reconstruct his early peasant-religious tendencies. It turns out that the peasant’s mission is divine, for the peasant is, as it were, involved in God’s creativity. God is the father. Earth is mother. The son is the harvest.

Russia for Yesenin is Rus', that fertile land, the homeland on which his great-grandfathers worked and where his grandfather and father work now. Hence the simplest identification: if the earth is a cow, then the signs of this concept can be transferred to the concept of homeland. [V.F. Khodasevich. Necropolis: Memoirs. - M.: Soviet writer, 1991. - 192 p..]

It is impossible to imagine the image of Yesenin’s country without such familiar signs to all of us as “blue cloth of heaven”, “salt melancholy”, “lime of bell towers” ​​and “birch - a candle”, and in mature years - “bonfire of red rowan” and “low house” , “in the rollicking steppe acceleration, the bell laughs to the point of tears.” It is difficult to imagine Yesenin’s Russia without such a picture:

Blue sky, colored arc.

Quietly the steppe banks flow,

Smoke stretches near the crimson villages

The wedding of crows covered the palisade.

The theme of the homeland in Yesenin's lyrics.

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

The poeticization of the native nature of central Russia, so constant in Yesenin’s poetry, was an expression of a feeling of love for his native land. When you read such early poems as “The bird cherry tree is pouring snow...”, “Beloved land! The heart dreams…”, when in reality you see the fields with their “crimson expanse”, the blue of lakes and rivers, the lulling “shaggy forest” with its “ringing pine forest”, the “path of villages” with “roadside grasses”, tender Russian birches with their joyful hello, involuntarily the heart, like the author’s, “glows like cornflowers,” and “turquoise burns in it.” You begin to love this “native land”, “the country of birch chintz” in a special way.

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

I love my Motherland very much!

In the poem “Departing Rus',” Yesenin already definitely speaks of the old that is dying and inevitably remains in the past. The poet sees people who believe in the future. Albeit timidly and apprehensively, but “they are talking about a new life.” The author peers into the boiling of a changed life, into the “new light” that burns “of another generation near the huts.” The poet is not only surprised, but also wants to absorb this new thing into his heart. True, even now he adds a disclaimer to his poems:

I take everything as is.

Ready to follow the beaten tracks.

I will give my whole soul to October and May,

But I won’t give the lyre to my dear one.

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

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

Yesenin’s outstanding creation in the field of love lyrics was the cycle “Persian Motifs,” which the poet himself considered the best of all that he had created.

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

A. N. Tolstoy’s words about Yesenin can be used as an epigraph to the work of the outstanding Russian poet of the twentieth century. And Yesenin himself admitted that he would like to “throw out his whole soul into words.” The “flood of feelings” that flooded his poetry cannot but evoke a response of emotional excitement and empathy.