All the poems of Sergei Aleksandrovich Yesenin have been delighting all readers for a long time. This poet impresses with his sincerity, and his works are a deep, vibrant and unique phenomenon. He always admired the vastness of his native land and could convey its beauty in his poems.
In the work of Sergei Yesenin, the main feature is sincerity. All the most important and hidden feelings of the poet appear before the readers without any masks or appearances. He puts his whole soul into every work, which is why he is the favorite writer of our time, and his poems are understandable to everyone.
In his poem “The Uncomfortable Liquid Moon…”, which he wrote in 1925, the author also does not ignore nature. He describes it as viscous, unsteady, monotonous. This caused Yesenin’s mood to change in those days due to the revolution, which affected everyone. The poet supported the revolution, but in his own way. He perceived it with a peasant slant, which left a certain imprint on Yesenin’s work. From the very first line in the poem, the poet is mentally distracted from the world around him and his past. Having rethought his life, he begins to glorify Soviet Russia.
The word “lunar” is very often used by the author in order to emphasize the special, unusual and little-noticed colors of the night and nature. Yesenin also conveys in the poem that he regrets that the old Rus' is leaving, and does not want to see a poor and impoverished Rus' to replace it. At the same time, the verse changes in its melody, in which a chased rhythm appears, with some places of alliteration. Yesenin’s life was complex and contradictory, so his thoughts and feelings are between two fires. He remembers the former Rus', which was beautiful, but sees the current one in poverty. But the author hopes that everything will change.
This unusual poem by the poet is proof of how much Yesenin loved and worried about his Motherland, and she let him down. His poetry will always remind us of itself as a bright and colorful history in Russian poetry.
Poem "Uncomfortable liquid moon...". Perception, interpretation, evaluation
The poem “Uncomfortable Liquid Lunarity” was written by S.A. Yesenin in 1925. Its main theme is the theme of Russia. The poet is trying to comprehend the past and future of the country.
The poem is built on the principle of antithesis. “Poor, beggarly Rus'” is contrasted by Yesenin with a “stone and steel” country, the new Russia. And here we no longer see the poeticization of antiquity, so characteristic of many of the poet’s poems. On the contrary, this picture is unattractive, far from idealized: “uncomfortable liquid moonlight,” “consumptive moonlight,” “withered willows,” “poverty of the fields,” peasant “huts.” The lyrical hero’s attitude towards old Rus' has now also changed:
Field Russia! Enough of dragging the plow across the fields!
It hurts both birches and poplars to see your poverty.
However, his very intonations at times become uncertain, which is emphasized in the text by ellipses: “I now like something different...”, “I don’t know what will happen to me...”. The reader is also alarmed by lexical repetitions in which the hero renounces his former attachments:
Along the roads there are withered willows and the song of the cart wheels...
I would never want to now
So that I could listen to her.
The same motive sounds in the finale:
And, listening to the motor bark in a host of blizzards, in a host of storms and thunderstorms,
There is no way I now want to listen to the song of cart wheels.
Here the impression is created that the hero is trying to convince not only the reader, but also himself of what has been said. And this inconsistency of his image is emphasized by the rhythm of the poem. The first, second and sixth stanzas are written in amphibrachium trimeter, the rest - in dolmon. All this gives the poem a special melody and melodiousness. As noted by T.P. Buslakov, “the song element of the poem does not agree with its content, which reveals the inconsistency of the experiences of the lyrical hero, who found himself at the turning point of eras. In his soul, he tries to combine love and hate..., past and future, doubt and faith, devotion to eternal values and the desire for renewal. His choice, proclaimed and justified in the poem as a natural outcome of Russian history, is associated with unbearable spiritual tension.”
The poem uses various means of artistic expression: epithet (“uncomfortable liquid moonlight,” “in the frisky youth,” “in the consumptive light of the moon”), inversion and metaphor (“I see the power of my native side”), personification (“It hurts to see your poverty And birches and poplars"). At the phonetic level we find assonance (“Drag the plow through the fields”) and alliteration (“Listen to the song of the cart wheels”).
The work represents a recognition of the peasant poet to himself and those around him, an answer to one of the key questions that life posed at that time - the question of industrialization.
Yesenin, who always sang the nature of his native country and the village in which he spent his childhood, had to make a difficult choice: to remain a singer of the patriarchal Russian village or, overcoming his longing for the past, to speak out for progress. The country was on the threshold of the next round of industrialization. Lagging behind Western countries threatened it with defeat and transition to a dependent position. In addition, the communists in power have always considered it necessary to boost industry, having an extremely negative attitude towards individual peasant farming.
The peasant poet made his choice and in this poem, written in the mid-twenties, he explained his reasons. Yesenin preferred to see the renewed village, even if not the same as he was used to. He directly writes about the poverty and misery of former Rus'.
At the same time, it is clear that the poet seeks to destroy the images that he admired in many of his works. In this poem, it is as if the symbols of the Russian village that are not arousing sympathy are specially selected. The willows have dried up, the houses are just shacks. All this points to backwardness and inconsistency with the spirit of the times. The very title of the work, “Uncomfortable Liquid Lunarity,” seems to emphasize this. It combines a direct indication of poor suitability for life with symbols of the distant and liquid, that is, unstable, unreliable. The central image of the old village life, which Yesenin now does not want to see, is the creaking of the wheels of a peasant cart. The cart is also a symbol of the poverty of the Russian village, from which the coming mechanization can save it.
However, it is noticeable that he also does not like the new industrial world, with the advent of which the peasant poet agrees. He, of course, sees the strength of his country in steel and stone, that is, factories and cities, but he does not paint the image of a new Russia, the power of machines. Yesenin only with his mind understood the need for the former to leave, but still could not accept it with his heart.
Yesenin does not want to deceive himself and others. He says that perhaps there will be no place for him in his new life. However, the poet apparently knew that he was not needed by the party, which set the goal of remaking the country. Yesenin felt his inadequacy to the changing life.
Option 2
More than anything in the world, Yesenin liked nature in the region where he was born and raised. That is why in many of his works he describes this nature. In his poems there is not only praise of his native land and nature, but also its beauty and love. After the revolution, many fields were abandoned and were not sown for some time. More than anything, he wanted to help his country, but he couldn’t do it. And nothing would have worked out for him alone. He tries to comprehend everything that is happening now and what will happen in the future. He puts not only his soul into this work, but also compassion.
And over time, he stopped liking living in the village and wanted to go to the city more and more. And she stopped liking her only because she became poor and no longer brought in as much harvest as before. The peasants also did not really like what they were doing and they did it only because they were given an order, and they could not disobey their superiors.
And with his work he calls on everyone to look at their situation, and also at least slightly change their attitude towards the country, because by doing this they do not help it, but on the contrary make it even worse. Yesenin also knew exactly how he could help the country, he needed to re-sow all the fields and when they brought a big harvest, the country would begin to rise.
In addition, other countries provided special machines that helped harvest large crops and transport them indoors, but Russia did not have this. The peasants had to do everything themselves and no one was given to help them.
If earlier they harvested the harvest to the music of beautiful songs, now they do it to the accompaniment of socialist marches.
Having lived a little more, the poet gives up his life. It is with his poem that he tries to make sure that there are much more patriots of his country than there are now. But many people try to quickly escape from the village and live in a big city, where there are many more opportunities. But it’s not always possible to bring all these possibilities to life and everything turns out completely differently. Everything that happened before in the village will never return and all that remains is to remember those times and try to change your life by any means at hand.
Analysis of the poem Uncomfortable liquid moonlight according to plan
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The creativity of Sergei Aleksandrovich Yesenin, uniquely bright and deep, has now firmly entered our literature. 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. The main feature of Yesenin’s creativity is sincerity. The poet pours out his innermost feelings in poetry. Each poem is a piece of the poet himself.
A trip abroad becomes a turning point in the life and work of the poet. Having returned, he rethinks his attitude towards life in general. He has a whole series of poems in which he glorifies Soviet Russia. Under the influence of these moods, “Uncomfortable Liquid Lunarity...” is created. From the very first line, the poet fences himself off from the world of the past, which for him is inextricably linked with nature, which he has sung for many years. “Lunarity” - a neologism often used by Yesenin to highlight the special, supernatural colors of the night - together with such definitions as “uncomfortable”, “liquid”, create a completely different image. The new “lunarity” turns into something close, tangible and not at all attractive. The same thing happens with many of Yesenin’s “classic” images. For example, “withered willows”, “consumptive moonlight”. In the first half of the poem, a mood of some alienation is created, which is transmitted to the reader. But exactly in the middle there is a quatrain:
Yesenin sincerely worried about the fate of Russia, and this became a distinctive feature of all the poet’s works. His poems became one of the brightest pages in the history of Russian literature of the early 20th century. The era of Yesenin has become a thing of the past, but his poetry continues to live, awakening a feeling of love for his native land, for his fatherland:
Yesenin's early poems are replete with beautiful pictures of Russian nature. They show the genuine joy of a young man discovering a new, amazing world. In the poem “Uncomfortable Liquid Lunarity...”, written in 1925, the poet deprives nature of all charm. Something frozen and monotonous appears in her. Is the lyrical hero here really the opposite of the author? No, most likely, Yesenin’s views have changed a lot over such a long period of time. After all, we must not forget about the event that changed the life of the entire people, the revolution. Yesenin supported the revolution of the seventeenth year, but “perceived it 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 seventeenth year did not bring even a hint of the “peasant paradise” - “Inonia”, which the poet sang in his poems. Yesenin begins to curse the “iron guest” who brings death to the patriarchal, rural way of life, and mourns the old, passing, “wooden Rus'”. This explains the inconsistency of Yesenin’s poetry, who went from a singer of patriarchal, dispossessed Russia to a singer of folk Russia.
With these lines begins the hymn to progress - “new life”. The poet no longer regrets the passing of “village Rus',” because now he “wants to see poor, impoverished Rus' as steel.” The melody of the verse changes. A hammered rhythm appears in it, highlighted in places by alliteration:
Sergei Alexandrovich Yesenin
Uncomfortable liquid lunarness
And the melancholy of endless plains, -
This is what I saw in my frisky youth,
That, while loving, not only one cursed.
There are withered willows along the roads
And the song of the cart wheels...
I would never want to now
So that I could listen to her.
I became indifferent to the shacks,
And the hearth fire is not dear to me,
Even the apple trees are in the spring blizzard
Because of the poverty of the fields, I stopped loving them.
I like something different now.
And in the consumptive light of the moon
Through stone and steel
I see the power of my native side.
Field Russia! Enough
Dragging the plow across the fields!
It hurts to see your poverty
And birches and poplars.
I don't know what will happen to me...
Maybe I'm not fit for a new life,
But I still want steel
See poor, beggarly Rus'.
And, listening to the motor bark
In a host of blizzards, in a host of storms and thunderstorms,
I don't want anything now
Listen to the song of cart wheels.
Sergei Yesenin is rightfully considered the poet of the Russian village, since he glorifies it in many of his works. However, in the last years of his life, his work changed dramatically, and this was due to the fact that Yesenin did not see a place for himself in the new world, which seemed alien and inhospitable to him.
The poet left his small homeland very early, the village of Konstantinovo, where he spent his childhood. Later, having already become quite famous, he returned home several times, and all the time he caught himself thinking that the calm and measured rural life was a thing of the distant past. And this is not surprising, since after the revolution collective farms began to be created everywhere, the first equipment appeared in the fields, and in the evenings the peasants themselves, instead of Russian folk songs, learned marches to the poems of newly-minted poets preaching socialist ideas.
However, the rural development program adopted by the party turned out to be utopian. Strong peasant farms were dispossessed and fell into decay, and collective farms were unable to provide the country with food in the required quantities. Moreover, many fields were simply not cultivated, and this depressed Yesenin so much that he no longer had any desire to glorify the beauty of his native land. In 1925, he wrote the poem “Uncomfortable Liquid Moonlight...”, in which he expressed everything that was painful. However, the poet understood that the “cart song of wheels,” to which he had become accustomed since childhood, was now a relic of the past. Being a patriot of his homeland, the poet wanted Russia to become a truly strong and free power. Yesenin notes that “I have become indifferent to shacks, and the hearth fire is dear to me,” thereby emphasizing that civilization must come not only to cities, but also to villages where peasants still harvest crops with a sickle.
At the same time, the poet understands that it is the poverty of the peasants that is one of the limiting factors in the development of not only agriculture, but also the entire country. At this point, Russia still remains an agricultural power with poorly developed industrial production. But in the pursuit of achievements in the industrial sphere, no one pays attention to the fact that it is the village that first of all needs modernization. “Field Russia! Stop dragging your plow across the fields!” the poet urges, believing that only through good harvests can the country get rid of hunger and poverty.
Yesenin himself is convinced that his role in the formation of a new society is insignificant, since even a very bright literary talent in the absence of the desire to sing the praises of the new government will never be in demand. Moreover, the poet believes that it was creativity that turned him into an outcast; in his homeland, from now on he is forced to feel like a guest. But despite all this, Yesenin remains a true patriot, for whom the prosperity of Russia is the greatest joy. The poet notes that he wants to “see with steel the poor, impoverished Rus',” hoping that the revolution, no matter how personally he views it, will still allow the peasants to become full-fledged and zealous owners of the land. But the fact that villages are still falling into decay, and hereditary plowmen are leaving for the city in search of a better life, does not add joy to Yesenin. However, he does not blame anyone, since at one time he himself traveled from Konstantinovo to Moscow only in order to achieve something more in life. However, according to the poet, facilitating peasant labor with the help of modern technology could radically change the situation. The future lies with smart machines, which Yesenin saw in huge quantities abroad, secretly envying French and American farmers who do not exhaust themselves with hard physical labor. Therefore, the poet ends his poem with the line: “No way now do I want to listen to the song of cart wheels.”
