“Sergei Yesenin the poet” - A.A. Block. Hotel Angleterre. Find out the reasons for the popularity of Sergei Yesenin’s work. 1) I. A. Mussky “100 Great Idols of the 20th Century.” 2) Sergey Yesenin. Tatiana and Alexander Yesenin. Sergei Yesenin is a great poet of the 20th century. Yesenin 1915 Conclusion: And don’t teach me to pray. Birch. And your maple bowed its head...

“Yesenin’s Women” - Behind the mountains, behind the yellow valleys A trail of villages stretches. From May 1916 to September 1918 Friend of the poet's youth. And I myself have loved more than one... Sergei Yesenin. What happened to me? And there is hardly a woman who can tolerate such a husband for a long time. Augusta Miklashevskaya. Maria Parmenovna Balzamova. Or do you want to join the braid-branches? Are you a lunar comb?

“Yesenin Pugachev” - What is he grieving about? A word about the poet. “Pugachev” is a poem on a historical theme. The poems show more of modern Russia than the times of Catherine II. Yesenin - Sergei Alexandrovich (1895-1925), Russian poet. What is Pugachev talking about in Yesenin? Prepared by teacher of Russian language and literature Sudakova S.R.

“Lesson on Yesenin” - I rush like the wind on skates Along the forest edge... The border is the fringe of dawn. S. Yesenin “Birch”. As soon as they say - “Sergei Yesenin”, all of Russia’s features will appear... Station “Remember” S. Yesenin “Winter sings - it screams...”. Station "Think it out." Which phrase is missing? Why? pearl birch trees coral branches white snow.

“The Life of Sergei Yesenin” - Museums. The story of the famous love triangle. Look here Yesenin - Reich - Meyerhold. Zinaida Reich and Sergei Yesenin. Here you can get acquainted with unique materials about the death of the great poet. Check yourself. Here you can see photos. AND THERE... the beginning of the mystery... Biography of the poet. Yeseninsky places.

“Poems of Yesenin” - The poet’s parental home has survived to this day. From here an immense expanse of water meadows opens up. In the second-grade teacher's school, the poet received the title of “literacy teacher.” For the 90th anniversary of the birth of S. A. Yesenin, a second-grade teacher’s school was restored. The house with which many pages of the poet’s life and work are connected has also been preserved in Konstantinov.

There are a total of 35 presentations in the topic

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 in it from the spring, Sadness, Youth and Purity... They will only say: "Sergey Yesenin" , – The whole of Russia has its own features...

Sergey Yesenin

Continue the associative series:

• landscapes illuminated by golden moonlight

I will chant With the whole being in the poet Sixth of the land With a short name “Rus”. S. Yesenin

The evolution of the theme of the Motherland in Yesenin’s lyrics

The purpose of the lesson

some.. fact.. biographies

feature... poems by the poet (poetic….. manners…. poet)

feature... figurative thinking of the poet at a certain stage of his creative path

poetic insight

speaker... development of the theme of the Motherland in the lyrics of S. Yesenin

images of the Motherland in lyrics

S. Yesenina

love for the Motherland

Definition

Acquaintance

Revealing

Upbringing

Study

Definition

"Mysterious Photograph"

Group I

Who is pictured?

When was the photo taken?

"Mysterious Photograph"

Group II

Who is pictured?

When was the photo taken?

Brief description of life and

the poet's creativity during this period.

"Mysterious Photograph"

III group

Who is pictured?

When was the photo taken?

Brief description of life and

the poet's creativity during this period.

III period of creativity

"bright" poems

Group I: 1914-1915

II group: 1920-1921

"dark" poems

III group: 1924-25

• clouds are gathering over Yesenin...

what is creativity?

Our task:

find out what she is like Yesenin's Rus' , what colors and images the poet gives to his native land, how the theme of the homeland develops in his work.

III period of creativity

1. Favorite region! The heart dreams...

2. Swamps and swamps...

3. Goy you, Rus', my dear...

4. I am weaving a wreath for you alone...

Group I: 1914-1915

1. I am the last poet of the village...

2. The world is mysterious, my ancient world...

3. Are you my side, my side!

II group: 1920-1921

1. Now we are leaving little by little...

2. Unspeakable, blue, tender...

3. The feather grass is sleeping. Dear plain...

4. Blue May. Glowing warmth.

III group: 1924-1925

TARGET

“To achieve a goal, you must first go.”

Honore de Balzac

exercise

I V step

exercise

III stage

exercise

II stage

I stage:

TARGET

Grading scale:

II stage

"LOTTO"

exercise

I stage:

TARGET

“My poems, calmly tell me about my life”

Grading scale:

-for each correctly chosen match – 1 point. Maximum points: 4 points.

II stage

"LOTTO"

exercise

I stage:

TARGET

“What colors does S. Yesenin give to this region?”

III stage

"COLOR"

exercise

II stage

"LOTTO"

exercise

I stage:

TARGET

! CRITERIA

2nd group task “What colors does

S. Yesenin why land?

What colors are filled with Yesenin’s poems from the creative period you are researching? Enter the results of the study (how many times a given shade is used in poems of your period and examples of the use of color images) in the table. Drawing a conclusion, determine what the colors symbolize? What color is dominant in all the poems you have read? Why do you think?

Criteria

Assignment topics

A (max 3)

Achievement level

At least four shades of color are noted. examples of their use in works are given

3 shades of color are noted, examples of their use in works are given

Points for completing a task

1-2 shades of color are noted, examples of their use in works are given

B (max 4)

Fill in the column corresponding to your period with examples of the use of color images in works: 1 example for each shade you noted.

Examples from the studied works for each noted shade of color are given correctly.

Examples from the works under study are given correctly, but 1 example is missing.

Examples from the works under study are given correctly, but 2-3 examples are missing.

Examples of the use of color are given, but incorrectly associated with hue

Didn't meet any of the criteria

Draw a conclusion: What is the range of colors used by the poet during this period? What do they symbolize? What color is dominant in all the poems you have read? Why do you think?

The conclusion shows an understanding of the specifics of the task: the range of colors, its symbolism, the predominant color are indicated, and the answer to the question of why this color predominates.

The conclusion shows an understanding of the specifics of the task: the range of colors, its symbolism, and the predominant color are indicated, but does not contain an answer to the question of why this color predominates.

The conclusion shows an understanding of the specifics of the task, but lacks one of the components of the answer: the range of colors, its symbolism or the predominant color and the answer to the question why this color predominates.

Didn't meet any of the criteria

Exercise for the eyes

Close your eyes and imagine a large white screen in front of you. Mentally color this screen one by one with any color: for example, first yellow, then orange, green, blue, but you need to finish coloring with your favorite color.

Unspeakable, blue, tender,

My land is quiet after storms, after thunderstorms...

"And about the sweet and gentle land

I could say these words..."

I V step

"IMAGES"

exercise

III stage

"COLOR"

exercise

II stage

"LOTTO"

exercise

I stage:

TARGET

! CRITERIA

3 group task

"And about the sweet and gentle land

I could say these words..."

What is the image of the homeland and what is the poet’s attitude towards it in the works you are researching? Research what key images and tropes are common in poems from your period (at least 2 examples in each column).

Write your answer to this question in the form

a small text or a few sentences in which use the images you wrote down to confirm your thoughts.

Criteria

Assignment topics

Checked elements

Explore what sound images, smell images and natural phenomena were used by the poet in poems of your period. Fill out the table (at least 2 examples in columns 1,2,3).

Achievement level

At least 2 examples were correctly found and recorded in the table in each column 1-3.

All columns (1, 2, 3) are correctly filled with examples, but one of them contains less than 2 examples of the poet’s use of images. 1 error in image classification is allowed.

Only 2 columns of the table are filled with examples. Two errors are allowed in image classification.

Only 1 column of the table is filled with examples. 3 errors are allowed in image classification.

Fill in column 5 of the table with examples of the use of tropes.

There are correct examples of at least 3 different tropes.

Examples of 2 different tropes are given correctly.

Examples of 1 trope are given correctly.

Didn't meet any of the criteria

Make a conclusion: “What is the image of the homeland and what is the poet’s attitude towards it in the works you are researching?”

Form it in the form of a short text in which you use the images you wrote down to confirm your thoughts.

The conclusion traces an understanding of the role of the images created by the author in revealing the image of the Motherland and the poet’s attitude towards it. The conclusion is presented in the form of text, that is, sentences logically connected to each other.

The conclusion traces an understanding of the role of the images created by the author in revealing the image of the Motherland, but there is no description of the poet’s attitude towards it. The conclusion is presented in the form of text, that is, sentences logically connected to each other.

The conclusion traces an understanding of the role of the images created by the author in revealing the image of the Motherland, but there is no description of the poet’s attitude towards it. The conclusion is presented in the form of sentences that are not logically connected.

None of the criteria have been met

"Poetry duel"

Poems by S. Yesenin about the seasons

Group I – about spring

Group II - about summer

Group III - about autumn

teacher - about winter

"Choose an epigraph"

Find the most striking lines, in your opinion, that reflect the poet’s worldview in the works of the creative period you are researching.

How does the Motherland appear in poems?

"bright" poems

Group I: 1914-1915

II group: 1920-1921

"dark" poems

III group: 1924-25

• clouds are gathering over Yesenin...

what is creativity?

"Evaluation"

Calculate the total number of points and enter them into the final table,

Please rate according to the scale:

21-24 points – “5”

17-20 points – “4”

10-16 points – “3”

0-9 points – “2”

Homework

(optional)

1. Mental map: “How do we see the Motherland in the works of S. Yesenin?”

2. An essay on one of the topics:

- “Nature and Motherland in Yesenin’s lyrics”

- “My Yesenin”

- “Yesenin’s poem that excited me”

he helped me understand that...

he drew my attention to...

he taught me to see...

he taught me...

he helped me figure out...

I thank the wonderful poet S. Yesenin for

Class: 11

Target: to introduce students to S. Yesenin’s poetic works dedicated to Russia, to trace the evolution of feelings for the Motherland in the poet’s lyrics, how the poet’s worldview is connected with the figurative structure of his lyrics.

Tasks: explore the work of S. Yesenin; note the features of the depiction of native nature in poems; find out what place the theme of the Motherland occupies in Yesenin’s lyrics

Teacher's opening remarks:

It is impossible to understand Sergei Yesenin without talking about the theme of the homeland in his lyrics. There are bright and dark periods in every person's life. The poet perceives everything that surrounds him more keenly. Let's see how the poet's worldview is connected with the figurative structure of his lyrics. For this purpose, we will highlight five periods in Yesenin’s life.

1914 -1916 . Love-worship. Yesenin moves to Moscow, then to St. Petersburg. The abandoned and native expanses of Ryazan are dreamed of at night, giving rise to a bright longing for what is abandoned, but gives strength to live and create. During these years, the poet created his brightest poems.

1st block of poems. (Slides 1-9)

1917-1919 Love is a mirage. “Oh arable lands, arable lands, arable lands...”, “Oh, I believe, I believe, there is happiness...”, “The soul is sad about heaven.”

2nd block of poems (Slides 10-13)

1920 – 1921 A crisis. The poet sees how what is dear and close to him perishes. A tragic worldview gives birth to ugly images, “dark” metaphors determine the nature of poetry.

3rd block of poems: “Sorokoust”, “I don’t regret, I don’t call, I don’t cry...” (Slides 14-19)

1922-1924 Far from the Motherland.

4th block of poems: “Moscow Tavern”, “Land of Scoundrels”. (Slides 20-23)

1924-1925 Homecoming. Last years of life. The poet does not expect a gift from her; clouds are gathering over him. The artist does not fit into the Procrustean bed of a system that is gaining speed of the state machine. Too talented, too “direct”, too charming, too noisy - too much in everything.

5th block of poems. (Slides 28-32)

So, the first period is “light”, the second is dark, the third is...? This is the question you will have to answer in today's lesson. What was the poet’s attitude in the last years of his life? How does Yesenin’s lyrical hero of 1924–1925 appear?

Work in groups.

The class is divided into 5 groups. Each received the task of analyzing S. Yesenin’s poems of a certain period and identifying the features of the poet’s imaginative thinking during this period of time. At the end of the lesson, students in each group should format their observations in the form of a table:

Assignment to the first group:

Read the poems written by S. Yesenin in the first period of his creativity (see slides). Find the most striking lines, in your opinion, that reflect the poet’s attitude at this time (1914-1916). Place them as an epigraph above the table. Find the images that interest us in the given poetic texts and arrange them in the form of a table.

What is the image of the homeland and what is the poet’s attitude towards it? Write your answer to this question in the form of a short text or a few sentences, in which you use the images you wrote down to confirm your thoughts.

Assignment for the second group:

Read poems written by the poet in 1917-1919. In poems such as “I’m wandering through the first snow...”, “Oh arable lands, arable lands, arable lands...”, “Oh, I believe, I believe, there is happiness...”, “Here it is, stupid happiness... , “Oh muse, my flexible friend...”, “Now my love is not the same...”), “Green hairstyle...”, “This is the way it is...”, “Golden foliage began to spin.. .” and in a number of others, at first glance, there are few signs of the times. But the more we listen to their sound, the more clearly we perceive in them the poet’s new spiritual mood:

Oh, I believe, I believe, there is happiness!
The sun hasn't gone out yet.
....................................
Ring, ring, golden Rus',
Worry, restless wind!
(1917)

Select an epigraph for the table and write down in it the most characteristic images that reflect Yesenin’s worldview during this period of creativity.

How does the poet perceive the reality around him?

Tasks for the third group:

Analysis of the poem “Sorokoust”

In the early 20s. Yesenin was experiencing a deep spiritual crisis caused by a lack of understanding of revolutionary reality, and this leaves an imprint on his poetry: motives of loneliness, mental fatigue and tragic hopelessness appear in it.

In 1920, he wrote “Sorokoust” (Sorokoust - prayers for the deceased within forty days after the death of the Orthodox Church), in which he declares his rejection of the machine and the city. The poem opens with a premonition of a catastrophe approaching the village, which “pulls the fingers to the throats of the plains.” Nature senses the approach of a catastrophe very subtly: it is both a mill and a bull. The image of the enemy in the first part of the poem is not specified, but Yesenin points out its main signs. This is an iron creature, which means it is cold, soulless, artificial, alien to nature.

In the second part of the poem, the image of the enemy grows. This is someone who destroys and breaks everything, bringing a fatal disease called “steel fever” to the village. The poet sharply contrasts the “iron” qualities of the enemy with the insecurity of the old village, dear and dear to Yesenin’s heart.

In the third part of the poem, this conflict is presented as a duel between a foal and a cast-iron train, which the poor animal is trying to catch up with. The poetic lines are permeated with the bitter pain of the lyrical hero, who understands the meaninglessness of the animal’s act. The poet conveys a picture of the world that is changing dramatically before his eyes, a shift in values ​​when an iron monster is bought for killed animals:

And for thousands of pounds of horse skin and meat
They are now buying a locomotive.
(1920)

The motif of violence against nature that appears in these lines is developed in the fourth part of the poem through the motif of death:

My head smashed against the fence,
The rowan berries are drenched in blood.
(1920)

The death of the Russian village is conveyed through the melodies of the Russian harmonica. At first, the harmonica cries pitifully, then the “grieving” appears as an inseparable quality of the Russian harmonica. The lyrical hero of this poem carries within himself all the tremendous pain and bitterness, experiencing the death of the old village and folk culture.

Tasks for the fourth group.

How does the theme of home appear?

Europe and America made a depressing impression on the poet. In one

from his letters he spoke of abroad as “the most terrible kingdom of philistinism...”, where “in terrible fashion is Mr. the dollar, not art... the highest is music hall.” S. Yesenin's views are changing. “There, from Moscow, it seemed to us that Europe was the most extensive market for the dissemination of our ideas in poetry, but now from here I see: my God! how beautiful and rich Russia is in this sense. It seems that there is no such country yet and there cannot be”

The period of his revival begins, very difficult, but fruitful. The poet saw with horror that he “found himself in a narrow gap,” that the Motherland, to which he dedicated his work, no longer needed him, that he had remained aloof from the life of the people, from him isolated himself, became a “stranger” to him. Yesenin strives to overcome this isolation and join the work rhythm of a new life.

Tasks for the fifth group.

Read poems written in the last years of the poet’s life. Write down the most characteristic images in the table, select an epigraph from poems of this period (1924 - 1925).

Make up 6-8 phrases or sentences that would characterize the attitude of the lyrical hero Yesenin in 1924-1925.

List of poems for analysis:
“Low house with blue shutters...”
“Now we are leaving little by little...”
“Uncomfortable liquid moon...”
“Unspeakable, blue, tender...”
“The feather grass is sleeping. The plain is dear...”
“Blue May. Glowing warmth.”

Possible epigraphs:

First group:

• “I meet everything, I accept everything, / I’m glad and happy to take out my soul...”
• “If the holy army shouts: / “Throw away Rus', live in paradise!” / I will say: “There is no need for paradise, / Give me my homeland.”

Second group:

• “Soon, soon the wooden clock will wheeze my twelfth hour!”
• “Hello, my black death, / I’m coming out to meet you!”
• “The world is mysterious, my ancient world, / You, like the wind, calmed down and sat down. /Here they squeezed the village by the neck/ Stone hands of the highway”

Fifth group:

• “And on this gloomy earth / Happy that I breathed and lived”
• “Rejoicing, raging and suffering, /Life is good in Rus'”
• “And this evening my whole life is sweet to me, / Like a pleasant memory of a friend”

Conclusion.

Yesenin is the only poet among the great Russian lyricists in whose work it is impossible to single out poems about the homeland, about Russia, in a special section, because everything he wrote was dictated and permeated with a “feeling of homeland.” This is not Tyutchev’s “faith”, not Lermontov’s “strange love”, and not even Blok’s passion-hate. This is precisely the “feeling of homeland”. In a certain sense, Yesenin is the artistic idea of ​​Russia.

Yesenin deeply knew the life of peasant Russia, was closely connected with the life of the Russian peasantry - all this contributed to the fact that he was able to become a truly people's, national poet and in vivid works say his truthful poetic word about the main events of his era.

Having passed away at the age of 30, S.A. Yesenin left us a wonderful and rich poetic legacy. And as long as the earth lives, Yesenin the poet is destined to live with us and “sing with all his being in the poet the sixth part of the earth with the short name “Rus”.

Homework.

• Write an essay on the topic “The evolution of the theme of the homeland in the lyrics of S.A. Yesenin”

Bibliography.

1. Zankovskaya L.V. New Yesenin: The life and work of a poet without cuts and ideology. M., 1997.
2. Prokushev Yu.L. Sergei Yesenin: Image. Poetry. Epoch.M., 1979.
3. Educational practical work on literature.

Ed. T.N. Andreeva. M., Bustard, 2005.

1 of 8 Presentation on the topic:

Theme of the Motherland in Yesenin's lyrics

Slide no. 1

Slide description:

Slide no. 1

In all centuries, artists, reflecting on the beauty and wretchedness of Russia, the love of freedom of its life and spiritual slavery, faith and unbelief, sought to create a unique and individual image of the Motherland. For Yesenin, his native land, homeland is central Russia, the village of Konstantinovo is rural Rus' with its traditions, fairy tales and songs, with dialect words that convey the originality of village dialect with the colorful world of nature. The Russian village, the nature of central Russia, oral folk art, and most importantly, Russian classical literature had a strong influence on the formation of the young poet and guided his natural talent. From the very first verses, Yesenin’s poetry includes the theme of the homeland. Sergei later admitted: “My lyrics are alive with one great love, love for the homeland. The feeling of the homeland is the main thing in my work.”

Slide no. 3

Slide no. 1

Even in his early, youthful poems, the author appears before us as a fiery patriot. Yesenin’s homeland is the village of Konstantinovo, where he was born, in the immediate vicinity of the village. “The Ryazan fields, where the men mowed, where they sowed their grain,” became his reliable launching pad, the cradle of his poetry. In his soul there is still no idea of ​​his homeland as a social, political, cultural environment. His sense of homeland finds expression in him so far only in love for his native nature. On the pages of Yesenin’s early lyrics we see a modest, but beautiful, majestic and dear to the poet’s heart landscape of the Central Russian strip: compressed fields, a red-yellow fire of an autumn grove, the mirror surface of lakes. The poet feels like a part of his native nature and is ready to merge with it forever: “I would like to get lost in the greenery of your hundred-bellied greenery.” Earthly beauty captured the poet’s young heart. His best early poems smell of spring, youth, full of charming enthusiasm and fun: “It’s a dark night, I can’t sleep, I’ll go out to the meadow by the river. Lightning loosened the belt in foamy streams. On a hill there is a birch-candle, In silver moon feathers. Come out, my heart, listen to the songs of the guslar!” (1911)

Slide no. 4

Slide no. 1

Love for Russia is not just a feeling, but also a philosophy of life, fundamental to Yesenin’s worldview. The nature of Russia for Yesenin is something spiritual, living. “I see a garden in blue specks, August quietly lay down against the fence. The linden trees are held in their green paws, Bird noise and chirping.” For a poet, his homeland is everything he sees, feels, everything that surrounds him. That is why it is so difficult and sometimes impossible to separate this topic from others. Yesenin’s feelings for the Motherland are intertwined with feelings for women, nature, and life. Let us remember Yesenin’s poem about a woman, so visibly framed by the autumn landscape: “Even though you have been drunk by others, But what is left for me, what is left for me is Your hair, glassy smoke And the eyes of autumn fatigue.” For Yesenin, nature is a living being, endowed with an equally defenseless soul. Therefore, his poems about women, trees, and animals are equally tender.

Slide no. 5

Slide no. 1

I see how, “reflecting, the birch trees broke in the pond,” how “the fir trees, like spears, rested against the sky.” The expanses of fields, the blue of the native sky with floating clouds, the smooth surface of lakes and rivers, “weeping willows”, “green-haired beauties of birches”, “swamps and swamps”, “scarlet light of dawn” - in all this Yesenin saw the beauty of his native land. Yesenin's early poetry captures the image of peasant Rus' on the eve of the Great October Revolution. The poet saw Rus' as meek, sad, and the hard life of the Motherland was reflected in his work: “You are my abandoned land. You are my land, wasteland, uncut hayfield, forest and monastery.” But the sadder these pictures were, the stronger the boundless sound was in the poet’s poems. attachment to the Motherland: “Cold grief cannot be measured. You are on a foggy shore, But I cannot learn not to love you, not to believe.”

Slide no. 6

Slide no. 1

In the early 20s, Yesenin made long trips abroad. As a result, he felt especially keenly what the Motherland is for a person, and for a Russian person, probably, in particular. Yesenin perceived America as a crazy world of cleanliness and spiritual poverty. And now he is trying to see differently the new Russia he left and cursed: “Now I put up with a lot without coercion, without loss. Rus' seems different to me, Cemeteries and huts seem different.” The poet tries to justify and accept the new Bolshevik Russia: “But Russia... this is a block... If only it were Soviet Power!.. “He wants to believe that Soviet power, socialism will elevate man, that everything is done in his name and for him. It seems to Yesenin that, far from his native land, “the darkness in his heart has finally cleared up.” “I am learning to comprehend in every step / the Commune-raised Rus',” writes the poet. Let's remember "The Ballad of Twenty-Six". The author’s people are “both peasants and proletariat.” The people have one goal: “Communism is the banner of all freedoms.” The poet wanted to find himself in the new Russia, accept it and believe in it. About this - “Song of the Great March”, “Stanzas”, “Anna Snegina”. I have become indifferent to shacks. Now I like something else... Through stone and steel I see the power of my native side.

Slide no. 7

Slide no. 1

The fate of the homeland, the people, especially the multi-million masses of the Russian peasantry in the revolutionary turbulent era - this is what worries the poet, this is what mainly determines the ideological and artistic originality of the poems and poems he wrote in 1917-1918 (“Transfiguration”), “Inonia” , “Jordanian Dove” Here the new world appears either in the form of utopian pictures of a peasant “paradise” on earth, or in the form of a romantic “city of Inonia”, “where the deity of the living lives” and the “revolutionary” faith prevails: “The new one on a mare rides to the world Saved. Our faith is strong. Our truth is in us!” (1918)

Slide no. 8

Slide no. 1

Yesenin was in the Caucasus, where he wrote a cycle of lyric poems. The beauty of eastern nature is captivating, the wind is gentle, the poet’s heart is light with his beloved, but thoughts about the Motherland do not leave him here either. They always drag him home. The poet recalls the melancholy of the endless plains, familiar to him from his youth, the song of iron wheels, willows along the roads, barren fields and miserable shacks. This is how a picture of an old village arises, which does not please the eye, but now it evokes in the poet; a ardent feeling of protest and a thirst for renewal of the Motherland: “Field Russia! Enough of dragging the plow across the fields! It hurts both birches and poplars to see your poverty.” The strength and charm of Yesenin’s lyrics lies in its truthfulness, sincerity and sincerity. His heartfelt poems capture pictures of his native nature, his Russian soul and deep love for the Motherland.

The theme of the Motherland in the lyrics of Sergei Yesenin

The theme of the Motherland probably sounds in the works of all poets, and each one in a different way. Variations of this theme are determined by the historical and social conditions in which the poet lives, his civic position, and creative ideals. Sergei Aleksandrovich Yesenin was born near Ryazan, in the ancient Prioksky village of Konstantinov. Here he spent his childhood and youth, here he wrote his first poems. The world of folk poetic images surrounded him from the first days of his life. Therefore, Yesenin primarily associated rural, peasant Russia with the Motherland. “My lyrics,” said Yesenin, “are alive with one great love, love for the Motherland. The feeling of the Motherland is fundamental in my work.”

The theme of the Motherland sounds in the earliest poems of S. Yesenin. In 1912 Yesenin came to Moscow, and in 1916 his first collection “Radunitsa” was published. Over these four years, Yesenin established himself as a poet of peasant culture. Young Yesenin preaches Christianity in his poetry, although in his poems we can find elements of paganism and pantheism. Earthly Rus' in Yesenin’s lyrics from the period of “Radunitsa” is mythologized, it becomes the embodiment of heaven on earth. The picture of paradise is created using biblical images, with which details of peasant life and Russian nature are associated:

Hey you, Rus', my dear,

Huts - in the vestments of the image...

Between the pines, between the fir trees,

Between birch trees and curly beads,

Under the wreath, in the ring of needles,

I imagine Jesus.

He calls me to Dubrovy,

Like in the kingdom of heaven...

In the fir trees there are cherub wings,

And under the stump - hungry Savior.

Willows are meek nuns.

Yesenin's early poetry is characterized by harmony; his poems do not contain those contradictions, emotional anguish and splitting of lyrical characters that will appear later in his lyrics. In his early poems, Yesenin is an exponent of the people's worldview, which is characterized by an organic connection between man and nature and with the universe in general.

In a new collection of poems, entitled “Dove” and published in 1918, Yesenin continues to develop the motifs of his early lyrics. We see Yesenin’s Orthodox perception of the Motherland as a spiritual fatherland in the poem “The written horns began to sing…”. In this poem, all of Rus' grows into the image of a temple, all of it becomes the embodiment of God’s world:

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.

In the poem we feel the complete unity of the lyrical hero with the Motherland, which was subconscious for Yesenin

A feeling, an unconscious need that defies reason and is not controlled by the person himself:

But not to love you, not to believe

I can't learn.

During the same period, other motifs related to the Motherland appeared in Yesenin’s lyrics. In the poems “You are my abandoned land...”, “Is it my side, side”, “O land of rain and bad weather...” Rus' appears sad, gray, dreary:

You are my abandoned land,

You are my land, wasteland,

Uncut hayfield,

Forest and monastery.

However, Yesenin loves Russia just like that. Yesenin feels the coming changes, he believes in future events that will awaken dormant Rus'. And then something happened that many Russian poets and writers had been impatiently waiting for - a revolution took place.

Yesenin accepted the revolution with great enthusiasm. For Yesenin, the revolution became the embodiment of the Christian idea of ​​transformation and purification. He created a whole series of poems and poems in which he welcomed October as the greatest renewal of the world (“Advent”, “Transfiguration”, “Inonia”, “Dove of Jordan”). (The revolution, according to Yesenin’s ideas, was supposed to be a renewal of life in the sense that it would return man again to nature, and poetry to a folk-metaphorical worldview. This understanding of the revolution is expressed in the poem “O Rus', flap your wings...”:

O Rus', flap your wings,

Put up another support!

With other tribes

A different steppe is emerging.

Along the golden valley

Between heifers and cows,

Walks in a golden row

Your Alexey Koltsov...

The specific ideals of the socialist revolution, and then the practice of socialist construction in the 20s, however, turned out to be very little similar to Yesenin’s poetic ideas about revolution and socialism. Socialist practice turned out to be not a return to the people's peasant worldview, but a threat to it, the destruction of the “mysterious world, the ancient world” dear to Yesenin.

Mysterious world, my ancient world,

You, like the wind, calmed down and sat down,

They squeezed the village by the neck

The stony arms of the highway

Yesenin wrote in 1920

And then Yesenin decides, with his own strength and the strength of a small circle of like-minded poets, to resist this process of destruction, cultivating a folk-peasant worldview in his poems. This is how Yesenin the Imagist emerged, a member of a small group, which, besides him, included poets R. Ivnev, A. Mariengof, V. Shershenevich, as well as artists B. Erdman, G. Yakutov. In Yesenin’s poetry complex, metaphorical images and unexpected comparisons appear: “The humpbacked calf is licking the red hem of the evening,” “A quiet sunset is swimming along the pond like a red swan, etc.

However, Yesenin soon becomes disillusioned with imagism. Yesenin does not accept the supranationality of imagist poetry. “My brothers,” notes Yesenin, “have no sense of homeland.” Although Yesenin contrasts his poetry with the ideology of imagism, in creating figurative series, saturated with bright, unexpected paths, he remains an imagist.

In 1920, Yesenin created the poem “I am the last poet of the village...”. This poem is a lament, a memorial service for the passing of Rus', the dying peasant culture. As in the early poems dedicated to the Motherland, here Russia is a temple:

At the farewell mass I stand

Birch trees burning with leaves.

The hero experiences the imminent destruction of this temple as if it were his own. In the poem, peasant culture is opposed to proletarian, urban culture. The new, iron, spiritless culture is symbolized by the metonymy image of a tractor - the “iron guest”. In this poem one can feel the theme of an inevitable fate, with which the lyrical hero does not fight, but resigns himself.

Fate as a path destined from above, as a test given to the country and the lyrical hero - this theme found its expression in the poem “I don’t regret, I don’t call, I don’t cry...”.

In 1922-1923, Yesenin created the dramatic opera “Country of Scoundrels,” which indicates that Yesenin stood in opposition to the Soviet regime. In the collection “Moscow Tavern”, taking the side of the rejected, humiliated peasantry, Yesenin protested against the policies of the Soviet regime.

The cycle “Persian Motives,” written in 1924-1925, testifies to Yesenin’s desire to overcome a spiritual crisis, calm down, and cleanse himself of all negative emotions. Working on “Persian Motifs,” Yesenin is once again convinced that love for the Motherland is the most important feeling for him. Tehran's exoticism only intensifies the lyrical hero's love for his northern homeland. The theme of the Motherland in the cycle is intertwined with the theme of love. In the poem “You are my Shagane, Shagane!..”, written in the genre of a message, not the theme of love, but the theme of the Motherland turns out to be the main one. In the poem, the entire emotional load falls on the image of a girl from the north. Shagane for the lyrical hero is only a symbol of happiness, hope for peace. In “Persian Motifs” we feel an inextricable connection between the soul of the lyrical hero and his Homeland. In a wonderful foreign world, the poet finds nothing more valuable than his feeling for the Motherland. Yesenin understands that he loves any Russia, and he talks about his faith in the future of Russia.

The poems of the last years of Yesenin’s life, dedicated to the Motherland, are filled with tragic pathos. If the lyrical hero of Yesenin’s first collections was harmoniously fused with the nature of his native village, personifying the spiritual culture of the peasant, (now the motif of loneliness, rejection, and uselessness has entered the poems about the Motherland.

In the poem “Soviet Rus',” Yesenin writes about the Motherland, which suffered from the “hurricane” (that is, from the revolution), and about the changes that took place in it. The native village has changed for the worse, the peasants themselves have changed, the new generation of peasants sings completely different songs, reads and loves other poets, they have supra-peasant, unpatriotic thinking (“It’s no longer a village, but the whole earth is their mother”). Yesenin’s lyrical hero turns out to be lonely, useless to anyone in his native village.

This is how the country is!

Why the hell am I

I shouted in verse that I am friendly with the people

My poetry is no longer needed here,

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

The poet exclaims

However, the poem ends very controversially:

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.

For the first time in Yesenin’s lyrics, creativity and soul confront each other. Yesenin accepts everything new that the revolution brought with it, but with his mind, not his heart, so he does not want to glorify post-revolutionary Russia. Until the end of his life, Yesenin had a perception of the Motherland not as Soviet Russia, but as Rus'.

In the poem “Uncomfortable Liquid Lunarity...” the lyrical hero, as if overcoming himself, tries to fall in love with a new village, a new Russia:

Through stone and steel

I see the power of my native side.

However, behind the sincere desire to see a humane, civilized beginning in the new, steel Russia, we see the drama of the lyrical hero Yesenin:

I don't know what will happen to me...

Maybe I’m not fit for a new life...

Yesenin understands that the world of the socialist village is alien to him.

Thus, poems written on the theme of the Motherland reflect the main ideas of Yesenin’s work, his worldview. in general. Yesenin has no doubt about the legality and necessity of changes in the life of Russia. But he himself is deeply tied to old Rus', he remained to the end with the peasant-rural world, its aesthetics. After all, it is in this aesthetics that the roots of his own poetry lie; it also determines the theme of the Motherland in his poems.