What are the features of Yesenin's work? Composition “The artistic originality of Yesenin's poetry. Artistic features of S. Yesenin's lyrics Yesenin artistic features
"The singer and herald of wooden Rus'" - this is how Yesenin himself defined himself as a poet. His works are truly sincere and frank. Without too much embarrassment, he bares his Russian soul, which suffers, yearns, rings and rejoices.
Themes of Yesenin's lyrics
Yesenin wrote about what worried him and his contemporaries. He was a child of his era, which knew many cataclysms. That is why the main themes of Yesenin's poetry are the fate of the Russian village, the present and future of Russia, tenderness of nature, love for a woman and religion.
A red thread through the entire creative heritage of the poet is a burning love for the Motherland. This feeling is the starting point of all his further literary research. Moreover, Yesenin puts into the concept of the Motherland, first of all, by no means a political meaning, although he did not bypass the sorrows and joys of peasant Rus'. The homeland for the poet is the surrounding fields, forests, plains, which start from the parental home of the lyrical hero and extend into immense distances. The poet drew images of incredible beauty from the memories of childhood and the nature of his patrimony - the village of Konstantinovo, from where his "crimson Rus'" began for Yesenin. Such feelings of reverent love for the native land were expressed in the most tender poetic watercolors.
All topics, in particular the theme of love for the motherland, are so closely intertwined that they cannot be distinguished from one another. He admired the world around him like a child "born with songs in a blanket of grass", considering himself an integral part of it.
Love lyrics are a separate layer of creativity of the poet-nugget. The image of a woman from his poems is written off from Russian beauties "with scarlet berry juice on the skin", "with a sheaf of oatmeal hair". But love relationships always take place as if in the background, in the center of action is always the same nature. The poet often compares the girl with a thin birch, and her chosen one with a maple. Early creativity is characterized by youthful ardor, a focus on the physical aspect of relationships ("I kiss you drunk, I'm awake, like a flower"). Over the years, having known bitter disappointments on the personal front, the poet expresses his feelings of contempt for corrupt women, cynically considering love itself as nothing more than an illusion (“our life is a sheet and a bed”). Yesenin himself considered the "Persian Motives" to be the pinnacle of his love lyrics, where the poet's trip to Batumi left an imprint.
It should be noted a lot of philosophical motives in Yesenin's poems. Early works sparkle with a sense of the fullness of life, an accurate awareness of one's place in it and the meaning of being. The lyrical hero finds him in unity with nature, calling himself a shepherd, whose "chambers are the boundaries of unsteady fields." He is aware of the rapid withering of life (“everything will pass like smoke from white apple trees”), and from this his lyrics are streaked with light sadness.
Of particular interest is the theme "God, nature, man in Yesenin's poetry."
God
The origins of Christian motives in Yesenin must be sought in his childhood. His grandparents were deeply religious people and instilled in their grandson the same reverent attitude towards the Creator.
The poet seeks and finds analogies of the expiatory sacrifice in the phenomena of nature ("the schemer-wind ... kisses the red ulcers on the rowan bush to the invisible Christ", "on the day of sunset the sacrifice atoned for all sin").
Yesenin's God lives in that very old, outgoing Rus', where "the cabbage beds are watered with red water by sunrise." The poet sees the creator first of all in the creation - the surrounding world. God, nature, man in Yesenin's poetry always interact.
But the poet was not always a humble pilgrim. In one period, he appears a whole series of rebellious, atheist poems. This is due to his belief in and acceptance of the new communist ideology. The lyrical hero even challenges the Creator, promising to create a new society without the need for God, "the city of Inonia, where the deity of the living lives." But such a period was short-lived, soon the lyrical hero again calls himself a "humble monk", praying for shocks and herds.
Human
Quite often, the poet portrays his hero as a wanderer walking along the road, or as a guest in this life (“every wanderer in the world will pass, enter and leave the house again”). In many works, Yesenin touches on the antithesis "youth - maturity" ("The golden grove dissuaded ..."). He often thinks about death and sees it as a natural ending for everyone ("I came to this earth in order to leave it as soon as possible"). Everyone can know the meaning of their existence by finding their place in the triad "God - nature - man". In Yesenin's poetry, nature is the main link in this tandem, and the key to happiness is harmony with it.
Nature
It is a temple for the poet, and the person in it must be a pilgrim (“I pray for the aly dawns, I take communion by the stream”). In general, the theme of the Almighty and the theme of nature in Yesenin's poetry are so interconnected that there is no clear transition line.
Nature is also the main character of all works. She lives a vibrant, dynamic life. Very often the author uses the method of impersonation (the maple cub sucks a green udder, the red autumn mare scratches its golden mane, the blizzard cries like a gypsy violin, the bird cherry sleeps in a white cape, the pine tree is tied with a white scarf).
The most favorite images are birch, maple, moon, dawns. Yesenin is the author of the so-called wooden romance between a birch-girl and a maple-guy.
Yesenin's poem "Birch"
As an example of a refined and at the same time simple awareness of being, one can consider the verse "Birch". Since ancient times, this tree has been considered both a symbol of a Russian girl and Russia itself, therefore Yesenin put a deep meaning into this work. Tenderness with a small part of nature develops into admiration for the beauty of the vast Russian land. In ordinary everyday things (snow, birch, branches), the author teaches to see more. This effect is achieved with the help of comparisons (snow - silver), metaphors (snowflakes burn, dawn sprinkles branches). Simple and understandable imagery makes Yesenin's poem "Birch" very similar to the folk one, and this is the highest praise for any poet.
General mood of the lyrics
It should be noted that in Yesenin's poetry one can so clearly feel a slight sadness "over the expanses of buckwheat", and sometimes an aching longing even in admiring one's native land. Most likely, the poet foresaw the tragic fate of his Motherland-Rus, which in the future "will still live, dance and cry at the fence." The reader involuntarily conveys pity for all living things, because, despite its beauty, absolutely everything around is fleeting, and the author mourns this in advance: "A sad song, you are Russian pain."
You can also note some of the distinctive features of the poet's style.
Yesenin is the king of metaphors. He so skillfully packed capacious words into a few words that each poem is replete with bright poetic figures ("evening black eyebrows puffed up", "a sunset quietly swims along the pond like a red swan", "a flock of jackdaws on the roof serves vespers to the star").
The proximity of Yesenin's poetry to folklore gives the feeling that some of his poems are folk. They are incredibly easy to fit into the music.
Thanks to such features of the artistic world of the poet of "wooden Rus'", his poems cannot be confused with others. The selfless love for the Motherland, which originates from the Ryazan fields and ends in outer space, cannot but conquer him. The essence of the theme "God - nature - man" in Yesenin's poetry can be summarized by his own words: "I think: how beautiful the earth and man on it ..."
The system of values in the poetry of S. Yesenin is one and indivisible, all its components are interconnected and, interacting, form a single, integral picture of a lyrical work. To convey the state of mind of the lyrical hero, his character, describe the pictures of the nature of his beloved Motherland, as well as to convey his feelings and thoughts, the poet uses the pictorial, expressive, aesthetic possibilities of the artistic style.
Yesenin's first collection of poems came out when the poet was only 20 years old. In the early poems of S. Yesenin, we find many such sketches, which can be called small lyrical sketches or pictures of village life. The strength of Yesenin's lyrics lies in the fact that in it the feeling of love for the Motherland is expressed not abstractly and rhetorically, but concretely, in visible images, in pictures of native nature. Often the landscape is not inspiring. The poet exclaims with pain:
You are my abandoned land,
You are my land, wasteland.
But Yesenin saw not only a sad landscape, bleak pictures; he saw the Motherland and the other: in joyful spring attire, with fragrant flowers and herbs, with the bottomless blue of the sky. Already in Yesenin's early poems, declarations of love for Russia are heard. So, one of his most famous works is Goy you, my dear Rus'. One of Yesenin's earliest stylistic primos was the writing of poetry in a language that gravitated towards Old Russian speech (for example, the Song of Evpaty Kolovrat). The poet uses ancient Russian names to build images, he uses such ancient words as a pictorial means. to man, to life), the beauty of being in general.
Russian writers of the twentieth century from Bunin to Shukshin: textbook Bykova Olga Petrovna
Artistic features of S. Yesenin's poetry
The poet was right when he said that his lyrics are alive with one great love, love for the Motherland. This feeling binds together all Yesenin's lyrical works: poems with a clearly expressed socio-political theme, love lyrics, poems about nature, a lyrical cycle of works addressed to relatives - grandfather, mother, sister, lyrics of philosophical reflections. This was the peculiar integrity of the poet, despite the internal contradictions that did not leave him until the end of his life.
Love for the Motherland, for the national origins of its present day, found expression not only in the content of the works, but also in the nature of the poet's thinking, in the artistic form of his works. This is primarily revealed in the deep inner connection of his poetry with folk oral and poetic creativity.
Yesenin is especially close to the genres of folk poetry. And here we should mainly talk about the principle of psychological parallelism that permeates all Russian folk art. Talented and diversely developed by the poet, this principle gives his lyrics that unique Yesenin flavor that is guessed in every poetic image.
As in folk art, Yesenin has almost no purely landscape poems, but at the same time there are no poems in which one way or another there would be no connection with the natural world. The poet constantly refers to the images of nature in those cases when he expresses his most intimate thoughts about himself, about his place in life, about his past, present and future. Often in his poems, nature merges with man so much that it itself turns out to be a reflection of some human feelings, and man, in turn, appears as a particle of nature. Yesenin's landscape is not an illustration of the feelings that possess him. Nature for the poet is both a particle of his own soul and a friend whose mood coincides with his thoughts and experiences:
Rowan brushes will not burn,
Grass will not disappear from yellowness.
Like a tree sheds its leaves,
So I drop sad words...
The expression of deep human feelings through paintings and images of nature is the most characteristic feature of Yesenin's lyrics.
Yesenin borrowed many colors of his poetry from Russian nature. It is difficult to name another Russian poet in whom color would play such a big role as in Yesenin's work. In his poems, he is called upon to enhance the visual perception of the image, to make it more embossed and expressive. Especially often we meet in Yesenin's poetry with blue and blue colors. This is not just the poet's individual attachment to such colors. Blue and blue is the color of the earth's atmosphere and water, it prevails in nature regardless of the season, only shades change in it. “Warm blue heights”, “blue bay”, “blue thickets”, “blue groves”, “plain blue”, “village blue”, “sky turns blue all around” - these are the frequent signs of nature in Yesenin's poems.
Yesenin is not limited to a simple reproduction of the colors of nature, he does not copy them, each color has its own meaning and content. The blue color for the poet is the color of peace and silence. Therefore, it is so often found in the image of the evening and early morning: “blue evening”, “blue evening light”, “blue dusk”, “Predawn. Blue. Early". The semantic content of this color is entirely transferred by the poet to the internal characteristics of a person. It always means peace of mind, peace, inner peace.
The blue color in Yesenin's poems is very close in its meaning to blue, as these colors are close in nature itself. Its additional shade in Yesenin is that it gives a joyful feeling of spaciousness, breadth, distant horizon: “blue arable land”, “blue field”, “blue water”, “blue doors of the day”, “blue star”, “blue space” , "blue Rus'" ... Blue and blue in their combination serve to create a romantic mood for the reader. “May is my blue! June blue! exclaims the poet, and we feel that here the months of spring and summer are not simply named, here are thoughts of youth and youth. Quite often, the poet has a scarlet color, which has long had its own fixedness in folk songs (“scarlet cheeks”, “scarlet flower”, “scarlet blush”, etc.). “The scarlet color is sweet to the whole world,” says a folk saying. The scarlet color in Yesenin's poems always symbolizes virgin purity, purity, spotlessness. Often this is the morning dawn: “The scarlet light of dawn wove itself on the lake ...”, “There is a cheerful longing in the scarcity of dawn ...”. In his early poems, he wrote: “I pray for the scarlet dawns...”, “I stood like a monk in the scarlet brilliance...”
It would seem that the pink color is inexpressive, intermediate, somewhat diluted. And all the more striking is Yesenin's ability to use this color, to give it an unusually expressive power. So, one word "pink" creates an unforgettable mood picture, depicted, for example, in this stanza:
Now I have become more stingy in desires,
My life, or did you dream of me?
Like I'm a spring echoing early
Ride on a pink horse.
Here, no other adjective for the word "horse" could create such a deep romantic mood.
With scarlet berry juice on the skin,
Gentle, beautiful, was
You look like a pink sunset
And, like snow, radiant and bright.
Akin to scarlet and pink, red has a special semantic connotation in poetics. This is an alarming, disturbing color, it seems to feel the expectation of the unknown. If scarlet is associated with the morning dawn, foreshadowing a bright day, then red speaks of sunset, of the onset of a mysterious night darkness: “The red wings of the sunset are going out ...”, “The day is sinking behind the red hill ...”, “The road is thinking about the red evening ...". Such colors close in shades acquire a different semantic coloring from Yesenin.
To depict the inner state of a person, Yesenin skillfully uses a combination of contrasting colors. They act as symbols, as a conventional designation. These antithetical colors help to show the transition of one feeling into another.
As the poet's heavy and gloomy mood grows, black color intrudes more and more into his poems. “Evening drew black eyebrows” - this is how one of his poems begins, in which we find the poet in a state of spiritual decline. "The Black Man" - this is how Yesenin called his most tragic work.
It was through contrasting colors - white and black - that Yesenin once vividly expressed his thoughts about his life. This was during the period of "Moscow Tavern", when he painfully felt the contradictions between the environment in which he found himself and the poetic inspiration dictated by the romance of feelings.
Here we see paint-symbols. It is very typical for a romantic poet to use color not so much in direct application (blue skies, blue lake), but in its conventional meaning. Therefore, Yesenin's colors often seem so bold and unexpected: under the wind, the dense foliage of trees sways like a "green fire"; sunset floats on the lake like a “red swan”; in the early spring morning, the “pink horse” rushes by.
In Yesenin's work, colors are an integral part of poetry. Their multifaceted use can be defined as a color expression of thought and feeling. This exceptional quality of the poet's lyrics distinguishes him not only in Soviet, but in all world literature.
The disclosure of his own experiences through the images of his native nature led Yesenin to the humanization of nature itself, which made it possible to more deeply convey a subtle and tender feeling of love for all living things. Folk art captured this quality of a Russian person in an exceptionally diverse way (“What, nightingale, are you yearning?”, “The river spoke, answered”, “Wild winds, take the news to a friend” and much more). Yesenin's poetic images are formed on this basis and acquire a unique flavor: "The golden grove dissuaded me with a cheerful tongue", "A bird cherry in a white cloak is sleeping", "Somewhere in a clearing a maple tree is dancing drunk."
Based on folk poetic symbolism (oak - longevity, pine - directness, aspen - grief, birch - girlish purity, etc.), Yesenin often develops, as it were, concretizes such images into metaphors full of great lyrical power. Especially often he turned to the image of a birch. He has a birch - “girl”, “bride”. The poet speaks of her in the way that one can only speak of a person, endows her with specific human signs: “A green-haired woman in a white skirt stands a birch tree over a pond.”
In folk art, we also encounter the opposite: the transfer of certain natural phenomena to man. And this sign is very noticeable in Yesenin's poetry and also acquires a peculiar expression. “We are all apple trees and cherries of the blue garden,” Yesenin says about people. Therefore, the words that “the beloved will bloom with bird cherry” sound so natural in his poems, that his girlfriend has “autumn fatigue in her eyes”. But this poetic device sounds especially strong where the poet speaks about himself. “Ah, the bush withered my head,” he writes about the lost youth, and soon returns to a similar comparison again: “the yellow leaf of my head.” “I was all over, like a neglected garden,” he regrets about the past. Varying this technique, he deepens it more and more, creates a series of images that are internally interconnected: “I would like to stand like a tree, On the road on one leg”, “As a tree quietly drops its leaves, So I drop sad words.” And, finally, without even mentioning the word "tree", he evokes this image with the words: "Soon I will get cold without foliage." So the feature characteristic of oral folk lyrics gets its development in Yesenin's work.
The artistic thinking of the poet turns out to be organically close to folk, and this gives his poetry a deeply national character.
The lyricism, the emotionality of Yesenin's verse, the rich range of moods and feelings in his works were also reflected in the poet's peculiar use of the aphoristic warehouse of Russian speech. The formula of feeling - this is how Yesenin's aphorisms, so inherent in his lyrics, can be defined. They hold the verse together, making it easy to remember, giving it great power. They are always meaningful and easy to understand: “So few roads have been traveled, So many mistakes have been made”, “If there are no flowers in the middle of winter, then there is no need to be sad about them”, “After all, you cannot stop loving, How you failed to love”, “Whoever loved, he cannot love, Whoever burned down, you can’t set fire to,” etc.
In such formulas of feelings, Yesenin does not, of course, need to look for direct parallels with folk sayings and proverbs. We are talking about the fundamental proximity of structures and intonations. But very often one can also find closeness in meaning. We are unlikely to be mistaken in noticing that Yesenin’s lines such as “A fire of red mountain ash burns in the garden, but it cannot warm anyone” is based on the expression “It shines and does not warm”. And Yesenin is quite frankly close to the riddle “Waving his wings, but he cannot fly away” in such lines: “So the mill, waving its wing, Can’t fly away from the ground.”
Sergei Yesenin is one of the great Russian poets who develops a wonderful and peculiar tradition of Russian verse - melodiousness. In his poetry, folk song and literary traditions surprisingly and originally merged, enriched by the unique lyrical voice of the "singer of the Ryazan expanses." Yesenin's lyrics are completely permeated with the element of song. “Song captivity sucked me in,” the poet wrote about himself. "Songs, songs, what are you shouting about?" he asked, referring to his own poetry. “And he sang when my land was sick,” he said about himself. “The poet called his work steppe singing. It is no coincidence that many of his poems have been set to music.
(According to P.S. Vykhodtsev)
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Features of creativity
“A pathographic study of the poet’s personality is the only correct method of approaching the analysis of his work ... The poet’s fantasy was of an autistic nature ... Yesenin came to the tavern due to his psychopathic insecurity, not adapting to reality, his autism ... Alcoholism, in our opinion , giving an appropriate coloring to the works of the last period of Yesenin's work, is not something self-pressing in them (with the exception of only a few purely alcoholic poems). Alcoholism only exposes, whips up the basic constitutional roots of his poetry. Autistic tendencies are on the rise.” (Grinevich, 1927, pp. 82, 84, 90.)
“The poem“ Black Man ”thus gives us a clear typical picture of the alcoholic psychosis that Yesenin suffered from. This typical alcoholic delirium with visual and auditory hallucinations, with severe states of fear and melancholy, with excruciating insomnia, with severe remorse of conscience and an inclination to suicide ... This "Moscow Tavern" reflects that peculiar psyche of an alcoholic, which is characterized by based on the dulling of the emotional-volitional sphere. First of all, such a characteristic cynicism of alcoholics is striking ... Yesenin in "Moscow Tavern" reflects his psyche, where poetic creativity is closely intertwined with alcoholic cynicism and with typical
unbridled emotional-volitional sphere of an alcoholic. (Galant, 1926a, pp. 118-119.)
“The combination of infantile character traits, enhanced by alcoholism and a dissolute lifestyle, led to social maladjustment and its chanting (the cycle of poems “Moscow Tavern”), mood swings, capriciousness, irritability, excessive suspiciousness and hypochondria. Gradually, Yesenin's works lost their emotional diversity, the prevailing background of their mood became monotonous and depressive, the range of experiences narrowed. (M.I. Buyanov, 1995, p. 93.)
“Oddities, eccentricities, surprises, pranks, the undoubted goal of which is to shock, amaze anyone, make anyone open their mouths in surprise, penetrate into Yesenin’s verse, and as a result, poems appear like lines in “Confessions of a Hooligan”: “... Today I really want to / To piss on the moon from the window." Or deliberately emphasized with recklessness, not just anti-religiousness, but obvious blasphemy like "Lord, calve!" in "Transfiguration" ... And the extraordinary, striking lines in the verses of 1919-24, one might think, not so much because the poet was at that time in the Imagist group, but because of the psychological mood characteristic of a person constantly, everywhere and everywhere, in including, of course, in creativity, "to surprise with surprises." Imagism, however, presented new, wide opportunities for this ... The individual mental make-up of the poet's personality primarily determined his genius, and his inconsistency, and his desire to "surprise with surprises" without fail, and his irrepressible craving for fantasizing, and his desire always, everywhere and during
everyone to be first." (Panfilov. 1996. pp. 18-19, 28.)
“It is surprising that Yesenin's last two years turned out to be the most intense creatively. The tension he experienced seemed to break through every now and then with vivid poetic creations, many of which are now recognized as masterpieces. (Miroshnichenko, 1998, p. 222.)
Characteristics of creativity
Creativity is inherent in propaganda, mass character, social orientation:
“I want to be a singer and a citizen,
So that everyone, as pride and example,
Be a real, not step-son
In the great states of the USSR.
Orientation to one's own state: "I never lie with my heart."
Realism - romanticism. His realism always has a romantic connotation. “I am a realist, and if there is anything vague in me for a realist, then this is romance, but romance is not of the old gentle and lady-loving way, but the real earthly one, which rather pursues adventurous goals in the plot than rotten moods about Roses, Crosses and any other rubbish” (5, p. 166).
His characters are twins of the author's "I". In the poem "The Black Man" he brought out the image of the "dark" force, his double. In a dialogue with him, he does not spare himself, he calls him a “bullshit”, a “scoundrel”, his inner voice is demanding and ruthless. But still he wants to defeat the "black man":
"I'm furious, furious,
And my cane flies
Straight to his face
Into the bridge…”.
In the play "Country of Scoundrels" - his double - Nomah. "And once, once ... As a cheerful guy, To the bone, all smelling of steppe grass, I came to this city empty-handed, But with a full heart And not with an empty head."
Features of language and style
“The poetic ear should be that magnet that unites words of different figurative meanings into a sound one-hit on the sound, only then this matters.”
Reality, concreteness, tangibility are characteristic of Yesenin's figurative structure.
“Words are images of all objectivity and all phenomena around a person; the word is inseparable from being. It is a companion of everyday life” (5, p. 442).
A brilliant master of landscape lyrics, he perceived nature as a universal human value. She is not a frozen landscape background: she lives, acts, she is the poet's favorite hero:
"O side of the feather grass forest,
You are close to my heart,
But even in yours lurks thicker
Salty melancholy.
Epithets, comparisons, metaphors in Yesenin's lyrics do not exist on their own and not for the sake of the beauty of the form. For example, his month alone has many faces - “a curly lamb - the month walks in the blue grass”; “the red-haired moon was harnessed to our sleigh as a foal”; "look: in the darkness, a damp moon, like a yellow raven ... hovering over the earth."
“Art for me is not the intricacy of patterns, but the most necessary word of the language in which I want to express myself” (3, p. 37).
creative process
He had an "archive" - a box where he put sheets of paper with words, phrases, rhymes. When he did not have the right rhyme, he picked them up from this store. There was no order in the work, he wrote according to his mood - in many respects the process of creativity depended on external life circumstances. He composed on the go, impromptu, wrote on napkins in taverns, gave them to friends on leaflets, even wrote on the walls of the Sretensky Monastery and the Tigulevka. The period of his stay in Batumi and Tiflis in 1924 was fruitful.
“Galya, dear, “Persian Motifs” is my whole book of 20 poems. Print anything, anywhere. I do not share anyone's literary policy. She is my own - myself. "Letter to a woman" give to the "Star", also 2 rubles a line. One of these days I will send “Flowers” and “Letter to Grandfather”. Find in the "Dawn of the East" "Letter from the mother" and "Answer". Stick in all the magazines. I'll be flooding you with stuff soon. So much and easily written in life is very rare. This is simply because I am alone and concentrated in myself” (from a letter to Galina Beneslavskaya, Tiflis, 1924) (5, p. 173).
Characteristics of Yesenin's work, general characteristics of Yesenin's work, features of Yesenin's work
He ran into life like a Ryazan simpleton, Blue-eyed, curly-haired, fair-haired, With a perky nose and a cheerful taste, To the delights of life, the sun attracted. But soon the rebellion threw its dirty lump In the radiance of the eyes. Poisoned by the bite of the Serpent of rebellion, slandered Jesus, He tried to make friends with the tavern... In the circle of robbers and prostitutes, Languishing from blasphemous jokes, He realized that the tavern was disgusting to him... And again, repenting, he opened to God the canopy of his Furious soul Yesenin, Pious Russian hooligan...
Igor Severyanin
The work of Sergei Yesenin, uniquely bright and deep, is now firmly established in our literature and enjoys great success with numerous readers. The poet's poems are full of heartfelt warmth and sincerity, passionate love for the boundless expanses of native fields, the "inexhaustible sadness" of which he was able to convey so emotionally and so loudly.
Sergei Yesenin entered our literature as an outstanding lyricist. It is in the lyrics that everything that makes up the soul of Yesenin's creativity is expressed. It contains the full-blooded, sparkling joy of a young man who rediscovers an amazing world, subtly feeling the fullness of earthly charms, and the deep tragedy of a man who has remained too long in the "narrow gap" of old feelings and views. And, if in the best poems of Sergei Yesenin there is a "flood" of the most secret, most intimate human feelings, they are filled to the brim with the freshness of pictures of native nature, then in his other works - despair, decay, hopeless sadness. Sergei Yesenin is first of all a singer of Rus', and in his verses, sincere and frank in Russian, we feel the beating of a restless tender heart. They have a "Russian spirit", they "smell of Russia". They absorbed the great traditions of national poetry, the traditions of Pushkin, Nekrasov, Blok.
Even in Yesenin's love lyrics, the theme of love merges with the theme of the Motherland. The author of "Persian Motives" is convinced of the fragility of serene happiness away from his native land. And distant Russia becomes the main heroine of the cycle: "No matter how beautiful Shiraz is, it is no better than the expanses of Ryazan." Yesenin met the October Revolution with joy and ardent sympathy. Together with Blok, Mayakovsky, he took her side without hesitation. The works written by Yesenin at that time ("Transfiguration", "Inonia", "Heavenly Drummer") are imbued with rebellious moods. The poet is captured by the storm of the revolution, its greatness, and rushes to the new, to the future. In one of the works, Yesenin exclaimed: "My mother is the motherland, I am a Bolshevik!" But Yesenin, as he himself wrote, took the revolution in his own way, "with a peasant bias", "more spontaneously than consciously." This left a special imprint on the poet's work and largely predetermined his future path. Characteristic were the poet's ideas about the goal of the revolution, about the future, about socialism. In the poem "Inonia" he draws the future as a kind of idyllic kingdom of peasant prosperity, socialism seems to him a blissful "peasant's paradise". Such ideas also affected other works of Yesenin of that time:
I see you, green fields,
With a herd of brown horses.
With a shepherd's pipe in the willows
Apostle Andrew is wandering.
But the fantastic visions of the peasant Inonia, of course, were not destined to come true. The revolution was led by the proletariat, the village was led by the city. “After all, there is absolutely not the socialism that I thought about,” says Yesenin in one of the letters of that time. Yesenin begins to curse the "iron guest", bringing death to the patriarchal rural way of life, and mourn the old, outgoing "wooden Rus'". This explains the inconsistency of Yesenin's poetry, who went through a difficult path from a singer of patriarchal, impoverished, destitute Russia to a singer of socialist Russia, Lenin's Russia. After Yesenin's trip abroad and to the Caucasus, a turning point occurs in the life and work of the poet and a new period is indicated. It makes him fall in love with his socialist fatherland more strongly and more strongly and evaluate everything that happens in it in a different way. "... I fell in love with communist construction even more," Yesenin wrote upon returning to his homeland in the essay "Iron Mirgorod". Already in the cycle "Love of a Hooligan", written immediately upon arrival from abroad, moods of loss and hopelessness are replaced by hope for happiness, faith in love and the future. The beautiful poem "A blue fire swept ...", full of self-condemnation, pure and tender love, gives a clear idea of the new motives in Yesenin's lyrics:
A blue fire swept
Forgotten relatives gave.
For the first time I sang about love,
For the first time I refuse to scandal.
I was all - like a neglected garden,
He was greedy for women and potion.
Enjoyed singing and dancing
And lose your life without looking back.
Yesenin's work is one of the brightest, deeply exciting pages in the history of Russian literature. Yesenin's era has passed away, but his poetry continues to live, awakening a feeling of love for his native land, for everything close and different. We are concerned about the sincerity and spirituality of the poet, for whom Rus' was the most precious thing on the entire planet.
