Descriptions of nature by Yesenin. The theme of native nature in the lyrics of S. Yesenin Sergey Yesenin the theme of nature

08.01.2022Heading: Kinds

The theme of native nature in the lyrics of S. Yesenin

He said that his lyrics live with one big and pure love, love for the motherland. He did not share the concepts of his native land and Russia - for him they were one. He called Russia "the country of birch calico". He was Sergei Yesenin.

One of the favorite and main themes of S. Yesenin's lyrics is the theme of nature. Images of the Russian land are present in almost all of his works. So, the poem "Goy, you, Russia, my dear ..." tells about the poet's unspeakable love for Russia. Already at the beginning of the work, in the first line, the poet calls her "native", and then creates an image of fabulous and righteous Russia, in which "huts are in the robes of the image", and in churches - "meek Savior", that is, the celebration of the Orthodox Savior.

The concept of the motherland for Yesenin is assembled from many words, among which “people”, “faith” and “nature” are especially significant. How not to admire the tenderness and care with which the images of landscapes close to the heart of the poet are created in this poem. This is a wrinkled stitch, that is, a path, a path with crushed grass along which the lyrical hero will run, and the expanse of “green lehs” - that is, where there are “fences”, the edges of a plowed field, field strips. Finally, this is the endless Russian expanse, the "end and edge" of which "cannot be seen."

Special attention deserves artistic and visual means, with the help of which the author managed to create such a poignant image of his native land. These are epithets (“green lehi”, “meek Savior”), and comparisons (“like earrings, girlish laughter will ring out”, “like a pilgrim who comes in”), and metaphors (“huts are in robes of the image”). The author also turns to color painting. A single picture of the native land turns out to be woven from the blue of the sky, correlated by the great lyric poet with the entire Russian land, and the greenery of the field expanse, and the gold that is visible in the foliage of the poplar trees anticipating autumn, which “was ringing”, and in the guessed gold of fresh honey, which will be carried in church on honey spas.

This poem once again proves to us that Yesenin's Motherland and nature are inseparable, and he will never renounce his dear land.

The image of native nature can also be found in the famous poem of the poet "Shagane, you are mine, Shagane ...". This work is imbued with admiration with which the poet speaks of his fatherland. Wanting to show the eastern girl Shagane how beautiful his homeland is, the poet finds the most accurate definitions for describing his native land:

Shagane, you are mine, Shagane!

Because I'm from the north

I'm ready to tell you field

About wavy rye in the moonlight.

The poet contrasts oriental landscapes with Russian ones:

No matter how beautiful Shiraz is,

It is no better than Ryazan expanses ...

"Ryazan expanses" is that particle of the immense blue Russia that gave rise to Yesenin's sense of homeland. After all, it was Konstantinovo, where Sergei Yesenin grew up, that played a huge role in the formation of the poet's work. Ryazan nature is especially dear to the poet's heart. It is the description of the landscapes of the Ryazan province that gives uniqueness to such a masterpiece of Yesenin's lyrics as the poem "I left my dear home ...". The work is filled with precise epithets (“blue Russia”, “golden frog”), metaphors (“the moon // Spread like a golden frog”), comparisons (“Like an apple blossom, gray hair // ... shed”), with the help of which the author creates the image of relatives places.

For Yesenin, "shrine" is not only nature, but also the peasant world, inseparable from the image of his native land. Therefore, the images of his parents appear as if they are part of a landscape dear to the heart: “A three-star birch forest over a pond // Warms an old mother’s sadness ...”, “like an apple blossom, gray hair // Spilled in my father’s beard.”

The hero is sad that he will not return home soon, but, comparing himself with an old maple tree, he hopes that the village will retain its former features and will not lose its patriarchal foundations.

After analyzing only some of Sergei Yesenin's poems, we can conclude that the poet infinitely loved his homeland and his native nature with the purest and most tender love.

9th grade student

MAOU secondary school №7

them. G.K. Zhukov, Armavir

Timoshinova Ekaterina

INTRODUCTION

Sergei Yesenin is the most popular, most read poet in Russia. Creativity S. Yesenin belongs to the best pages not only Russian, but also. world poetry, into which he entered as a subtle, penetrating lyricist.
Yesenin's poetry is distinguished by the extraordinary power of sincerity and immediacy in the expression of feelings, the intensity of moral quests. His poems are always a frank conversation with the reader, the listener. "It seems to me that I write my poems only for my good friends," the poet himself said.
At the same time, Yesenin is a deep and original thinker. The world of feelings, thoughts and passions of the lyrical hero of his works is complex and contradictory - a contemporary of an unprecedented era of the tragic breakdown of human relations. The poet himself also saw the contradictions of his work and explained them this way: "I sang when my land was sick."
A faithful and ardent patriot of his Motherland, S. Yesenin was a poet who was vitally connected with his native land, with the people, with his poetic work.

THE THEME OF NATURE IN YESENIN'S WORKS

Nature is a comprehensive, main element of the poet's work, and the lyrical hero is connected with it innately and for life:

I was born with songs in a grass blanket.
Spring dawns twisted me into a rainbow"
("Mother went to the bathing suit through the forest ...", 1912);

"Be blessed forever,
that came to flourish and die"
("I do not regret, I do not call, I do not cry ...", 1921).

The poetry of S. Yesenin (after N. Nekrasov and A. Blok) is the most significant stage in the formation of the national landscape, which, along with the traditional motifs of sadness, desolation, poverty, includes surprisingly bright, contrasting colors, as if taken from popular popular prints:

"Blue sky, colored arc,
<...>
My end! Beloved Russia and Mordva!";
"Swamps and swamps,
Blue boards of heaven.
Coniferous gilding
The forest is ringing";
"O Russia - raspberry field
And the blue that fell into the river..."
"blue sucks his eyes"; "smells of apple and honey"; "Oh, my Russia, dear homeland, Sweet rest in the silk of kupyrs"; "Ring, ring golden Russia ...".

This image of bright and sonorous Russia, with sweet smells, silky herbs, blue coolness, was introduced into the self-consciousness of the people by Yesenin.
More often than any other poet, Yesenin uses the very concepts of "land", "Rus", "homeland" ("Rus", 1914; "Goy you, Russia, my dear ...", 1914; "Beloved land! Heart dreaming...", 1914; "Hewn drogs sang...", "Oh, I believe, I believe, there is happiness...", 1917; "O land of rains and bad weather...",).

Yesenin depicts celestial and atmospheric phenomena in a new way - more picturesquely, pictorially, using zoomorphic and anthropomorphic comparisons. So, his wind is not cosmic, floating out of the astral heights, like Blok’s, but a living being: “a tender red-haired colt”, “lad”, “schemnik”, “thin-lipped”, “dancing trepaka”. Month - "foal", "raven", "calf", etc. Of the luminaries, in the first place is the image of the moon-month, which is found in approximately every third work of Yesenin (in 41 out of 127 - a very high coefficient; compare with the "star" Fet out of 206 works, 29 include images of stars). At the same time, in the early verses until about 1920, the "month" prevails (18 out of 20), and in the later - the moon (16 out of 21). The month primarily emphasizes the external form, figure, silhouette, convenient for all kinds of subject associations - "horse muzzle", "lamb", "horn", "kolob", "boat"; the moon is first of all light and the mood caused by it - "thin lemon moonlight", "lunar reflection, blue", "the moon laughed like a clown", "uncomfortable liquid moonlight". The month is closer to folklore, it is a fairy-tale character, while the moon brings elegiac, romance motifs.

Yesenin is the creator of a one-of-a-kind "tree novel", the lyrical hero of which is a maple, and the heroines are birches and willows. The humanized images of trees are overgrown with "portrait" details: a birch has a "stand", "hips", "breasts", "leg", "hairstyle", "hem", a maple has a "leg", "head" ("Maple you my fallen, icy maple..."; "I am wandering through the first snow..."; "My way"; "Green hairstyle...", etc.). Birch, thanks in large part to Yesenin, has become a national poetic symbol of Russia. Other favorite plants are linden, mountain ash, bird cherry.

More sympathetically and penetratingly than in previous poetry, the images of animals are revealed, which become independent subjects of tragically colored experiences and with which the lyrical hero has a blood-kinship relationship, as with "smaller brothers" ("Song of the Dog", "Kachalov's Dog", "Fox", "Cow", "Son of a bitch", "I will not deceive myself ...", etc.).

Yesenin's landscape motifs are closely connected not only with the circulation of time in nature, but also with the age course of human life - a feeling of aging and withering, sadness about the past youth ("This sadness can not be scattered now ...", 1924; "The golden grove dissuaded. ..", 1924; "What a night! I can't...", 1925). A favorite motif, resumed by Yesenin for almost the first time after E. Baratynsky, is separation from his stepfather's home and returning to his "small homeland": images of nature are colored with a sense of nostalgia, refracted in the prism of memories ("I left my dear home ...", 1918 ; "Confessions of a hooligan", 1920; "This street is familiar to me ...", ; "Low house with blue shutters ...", ; "I'm going through the valley. On the back of the head cap ...", 1925; "Anna Snegina" , 1925).

For the first time with such sharpness - and again after Baratynsky - Yesenin posed the problem of the painful relationship of nature with the victorious civilization: "a steel chariot defeated the living horses"; "... they squeezed the village by the neck // Stone hands of the highway"; "as in a straitjacket, we take nature into concrete" ("Sorokoust", 1920; "I am the last poet of the village ...", 1920; "Mysterious world, my ancient world ...", 1921). However, in later poems, the poet, as it were, forces himself to fall in love with "stone and steel", fall out of love with the "poverty of the fields" ("Uncomfortable liquid moonlight",).

A significant place in Yesenin's work is occupied by fantastic and cosmic landscapes, designed in the style of biblical prophecies, but acquiring a human-divine and god-fighting meaning:

"Now on the peaks of the stars
The earth is rearing you!";
"I will then thunder with wheels
Suns and moons like thunder..."

Yesenin's poetry of nature, which expressed "love for all living things in the world and mercy" (M. Gorky), is also remarkable in that for the first time it consistently pursues the principle of likening nature to nature, revealing from within the richness of its figurative possibilities:
"Like a golden frog, the moon// Spread out on still water..."; "rye does not ring with a swan's neck"; "a curly lamb - a month // Walks in the blue grass", etc.

FOLKLORE MOTIVES IN THE WORKS OF S. YESENIN

Love for the native peasant land, for the Russian village, for nature with its forests and fields pervades all of Yesenin's work. The image of Russia for the poet is inseparable from the element of the people; big cities with their factories, scientific and technological progress, social and cultural life do not evoke a response in Yesenin's soul. This, of course, does not mean that the poet was not at all concerned about the problems of the present or that he looks at life through rose-colored glasses. He sees all the troubles of civilization in isolation from the earth, from the origins of people's life. “Rising Rus” is rural Rus; the attributes of life for Yesenin are "a loaf of bread", "shepherd's horn". It is no coincidence that the author so often refers to the form of folk songs, epics, ditties, riddles, spells.

It is significant that in Yesenin's poetry, a person is an organic part of nature, he is dissolved in it, he is joyfully and recklessly ready to surrender to the power of the elements: “I would like to get lost in the greenery of your bells”, “Dawn springs twisted me into a rainbow”.

Many images borrowed from Russian folklore begin to take on a life of their own in his poems. Natural phenomena appear in his images in the form of animals, bear the features of everyday village life. Such animation of nature makes his poetry related to the pagan worldview of the ancient Slavs. The poet compares autumn with a "red mare" that "scratches her mane"; his month is a sickle; Describing such an ordinary phenomenon as the light of the sun, the poet writes - "solar oil is pouring on the green hills." A favorite image of his poetry is a tree, one of the central symbols of pagan mythology.

Yesenin's poetry, even clothed in the traditional images of the Christian religion, does not cease to be pagan in nature.
I'll go in a skullcap, bright monk,
Steppe path to the monasteries.

This is how the poem begins and ends with:

With a smile of joyful happiness
I go to other shores
Having tasted the incorporeal communion
Praying for shocks and haystacks.

Here it is, Yesenin's religion. Peasant labor, nature replace the poet of Christ:

I pray for scarlet dawns,
I take communion by the stream.

If the Lord appears in his poem, then most often as a metaphor for some natural phenomenon (“Schemnik-wind with a cautious step / Kneads the foliage along the ledges of the road, / And kisses on the rowan bush / Red ulcers to the invisible Christ”) or in the form of a simple man:

The Lord went to torture people in love.
He went out as a beggar,
Old grandfather on a dry stump, in an oak tree,
Zhamkal gums stale donut.
The Lord approached, hiding sorrow and torment:
It can be seen, they say, you can’t wake their hearts ...
And the old man said, holding out his hand:
“Here, chew ... you will be a little stronger.”

If his heroes pray to God, then their requests are quite specific and are emphatically earthly in nature:

We still pray, brothers, for faith,
May God irrigate our fields.
And here are purely pagan images:
Hoteled sky
Licks a red heifer.

This is a metaphor for the harvest, bread, which are deified by the poet. Yesenin's world is a village, a human vocation is peasant labor. Pantheon of the peasant - mother earth, cow, harvest. Yesenin's contemporary, poet and writer V. Khodasevich, said that Yesenin's Christianity is "not content, but form, and the use of Christian terminology is approaching a literary device."
Turning to folklore, Yesenin understands that leaving nature, from one's roots, is tragic. He, as a truly Russian poet, believes in his prophetic mission, in the fact that his poems “nurtured by mignonette and mint” will help modern man return to the Kingdom of the ideal, which for Yesenin is a “peasant's paradise”.

"Wood motives" lyrics by S. Yesenin

Many poems of the early S. Yesenin are imbued with a sense of inextricable connection with the life of nature ("Mother in the Bathing Room ...", "I do not regret, I do not call, I do not cry ..."). The poet constantly turns to nature when he expresses his most intimate thoughts about himself, about his past, present and future. In his poems, she lives a rich poetic life. Like a man, she is born, grows and dies, sings and whispers, sad and rejoices.

The image of nature is built on associations from rural peasant life, and the human world is usually revealed through associations with the life of nature.

Spiritualization, humanization of nature is characteristic of folk poetry. “Ancient man almost did not know inanimate objects,” notes A. Afanasiev, “everywhere he found reason, and feeling and will. In the noise of the forests, in the rustle of the leaves, he could hear those mysterious conversations that the trees have among themselves.
From childhood, the poet absorbed this popular worldview, we can say that it formed his poetic individuality.
“Everything is from the tree - this is the religion of the thought of our people ... The tree is life. Wiping their face on the canvas with the image of a tree, our people mutely say that they have not forgotten the secret of the ancient fathers to wipe themselves with leaves, that they remember themselves as the seed of an overworld tree and, running under the cover of its branches, dipping their face in a towel, they seem to want to imprint on his cheeks at least a small branch of it, so that, like a tree, he could shower cones of words and thoughts from himself and stream a shadow-virtue from the branches of his hands, ”wrote S. Yesenin in his poetic and philosophical treatise “Keys of Mary”.

For Yesenin, the likening of a person to a tree is more than a “religion of thought”: he did not just believe in the existence of a nodal connection between a person and the natural world, he himself felt himself a part of this nature.
Yesenin's motif of the "tree novel", singled out by M. Epstein, goes back to the traditional motif of assimilation of man to nature. Based on the traditional "man-plant" trope, Yesenin creates a "tree novel" whose heroes are maple, birch and willow.

Humanized images of trees are overgrown with “portrait” details: birch has “stand, hips, breasts, leg, hairstyle, hem, braids”, maple has “leg, head”.

So I want to close my hands
Over the woody thighs of the willows.
("I'm delirious on the first snow...", 1917),
green hair,
girl breast,
O thin birch,
What did you look into the pond?
("Green Hairstyle", 1918)
I won't be back soon!
For a long time to sing and ring the blizzard.
Guards blue Russia
Old maple on one leg.
(“I left my dear home…”, 1918)

According to M. Epstein, “largely thanks to Yesenin, the birch has become a national poetic symbol of Russia. Other favorite plants are linden, mountain ash, bird cherry.
The most plot-length, the most significant in Yesenin's poetry are still birch and maple.
Birch in Russian folk and classical poetry is the national symbol of Russia. This is one of the most revered trees among the Slavs. In ancient pagan rites, birch often served as a "Maypole", a symbol of spring.
Yesenin, when describing folk spring holidays, mentions a birch in the meaning of this symbol in the poems "Trinity morning ..." (1914) and "Reeds rustled over the backwater ..." (1914)
Trinity morning, morning canon,
In the grove along the birch trees there is a white chime.

In the poem "Reeds rustled over the backwater" we are talking about an important and fascinating action of the Semitsk-Trinity week - fortune-telling on wreaths.

The red maiden told fortunes in seven.
A wave unraveled a wreath of dodder.

The girls wove wreaths and threw them into the river. According to a wreath that sailed far away, washed ashore, stopped or drowned, they judged the fate that awaited them (far or near marriage, girlhood, death of a betrothed).

Ah, do not marry a girl in the spring,
He frightened her with signs of the forest.

The joyful meeting of spring is overshadowed by the premonition of approaching death "the bark on the birch has been eaten." A tree without bark dies, but here the association "birch - girl". The motive of unhappiness is enhanced by the use of such images as "mice", "spruce", "shroud".
In the poem "Green hair". (1918) the humanization of the birch in Yesenin's work reaches its full development. Birch becomes like a woman.

green hair,
girl breast,
O thin birch,
What did you look into the pond?

The reader will never know who this poem is about - about a birch tree or about a girl. Because the man here is likened to a tree, and the tree to a man.
In such poems as “I don’t regret, I don’t call, I don’t cry ...” (1921) and “The golden grove dissuaded ...” (1924), the lyrical hero reflects on his life, about his youth:

I do not regret, do not call, do not cry,
Everything will pass like smoke from white apple trees.
Withering gold embraced,
I won't be young anymore.
... And the country of birch chintz
Not tempted to wander around barefoot.

"Apple smoke" - flowering trees in the spring, when everything around is reborn to a new life. "Apple tree", "apples" - in folk poetry it is a symbol of youth - "rejuvenating apples", and "smoke" is a symbol of fragility, fleetingness, ghostliness. In combination, they mean the fleetingness of happiness, youth. Birch, a symbol of spring, adjoins the same meaning. "Country of birch calico" is the "country" of childhood, the time of the most beautiful. No wonder Yesenin writes "walking around barefoot", one can draw a parallel with the expression "barefoot childhood".

All of us, all of us in this world are perishable,
Quietly pouring copper from maple leaves ...
May you be blessed forever
That came to flourish and die.

Before us is a symbol of the transience of human life. The symbol is based on the trope: “life is the time of flowering”, wilting is the approach of death. In nature, everything inevitably returns, repeats and blooms again. Man, unlike nature, is one-time, and his cycle, coinciding with the natural, is already unique.
The theme of the Motherland is closely intertwined with the image of the birch. Each Yesenin line is warmed by a feeling of boundless love for Russia. The strength of the poet's lyrics lies in the fact that in it the feeling of love for the Motherland is expressed not abstractly, but concretely, in visible images, through pictures of the native landscape.
This can be seen in such poems as "White Birch". (1913), "Return to the Motherland" (1924), "Uncomfortable liquid moonlight" (1925).
Maple, unlike other trees, does not have such a definite, formed figurative core in Russian poetry. In folklore traditions associated with ancient pagan rituals, he did not play a significant role. Poetic views on him in Russian classical literature were mainly formed in the 20th century and therefore have not yet acquired clear outlines.
The maple image is most formed in the poetry of S. Yesenin, where he acts as a kind of lyrical hero of the "woody novel". Maple is a daring, slightly rollicking guy, with a wild mop of uncombed hair, as he has a round crown that looks like a mop of hair or a hat.
Hence the motif of assimilation, that primary similarity from which the image of the lyrical hero developed.
Because that old maple
Head looks like me.
("I left my dear home ...", 1918)

In the poem "Son of a bitch" (1824), the lyrical hero is sad about the bygone youth, which "faded",
Like maple rotted under the windows.

In folk poetry, a rotten or withered tree is a symbol of grief, the loss of something dear that cannot be returned.
The hero remembers his youthful love. The symbol of love here is viburnum, with its "bitter" semantics, it is also combined with the "yellow pond". Yellow color in the superstitions of the people is a symbol of separation, grief. Therefore, we can say that parting with a beloved girl was already destined by fate itself.
Maple or sycamore in the ethnological traditions of the Slavs is a tree into which a person has been turned ("sworn"). S. Yesenin also anthropomorphizes the maple, he appears as a person with all his mental states and periods of life. In the poem “You are my fallen maple ...” (1925), the lyrical hero is like a maple with his daring, he draws a parallel between himself and the maple:

And, like a drunken watchman, going out onto the road,
He drowned in a snowdrift, froze his leg.
Oh, and now I myself have become somewhat unstable,
I won't get home from a friendly drinking party.

It is not even always clear who this poem is about - a person or a tree. There he met a willow, there he noticed a pine tree, He sang songs to them under a snowstorm about summer. I myself seemed to be the same maple ...
Reminiscent of maple with its "carefree - curly head", poplar is at the same time aristocratically "slim and straight". This harmony, aspiration upward is a distinctive feature of the poplar, up to the poetry of our days.
In the poem "The Village" (1914), S. Yesenin compares poplar leaves with silk:
In silk poplar leaves.
This comparison was made possible by the fact that poplar leaves have a double structure: the leaves are shiny green on the outside, as if polished, on the inside they are matte silver. Silk fabric also has a double color: the right side is shiny, smooth, and the left side is matte and inexpressive. When silk shimmers, the shades of color can change, just as poplar leaves shimmer with a greenish-silver color in the wind.
Poplars grow along roadsides and are therefore sometimes associated with barefoot wanderers. This theme of wandering is reflected in the poem "Without a hat, with a bast knapsack ..." (1916).
The lyrical hero - the wanderer "wanders" "under the quiet rustle of poplars." Here the wanderer-man and the wanderer-tree echo, complement each other to achieve greater subtlety in the disclosure of the topic.
In the works of Yesenin, poplars are also a sign of the Motherland, like birch.
Saying goodbye to the house, leaving for foreign lands, the hero is sad that

They will no longer be winged foliage
I need to ring poplars.
("Yes! Now it's decided ...", 1922)

Willow is called "weeping". The image of a willow is more unambiguous and has the semantics of melancholy.
In Russian folk poetry, willow is a symbol not only of love, but also of any separation, grief of mothers parting with their sons.
In the poetry of S. Yesenin, the image of a willow is traditionally associated with sadness, loneliness, and separation. This sadness for the past youth, for the loss of a loved one, from parting with the homeland.
For example, in the poem "Night and field, and the cry of roosters ..." (1917)

Here everything is the same as it was then,
The same rivers and the same herds.
Only willows above the red mound
The shabby hem is shaken.

"The dilapidated hem of the willows" - the past, the old time, something that is very expensive, but something that will never return. Destroyed, warped life of the people, the country.
In the same poem, aspen is also mentioned. It emphasizes bitterness, loneliness, as in folk poetry it is always a symbol of sadness.
In other poems, willow, like birch, is a heroine, a girl.

And call the rosary
Willows are meek nuns.
(“Beloved Land…”, 1914)
So I want to close my hands
Over the woody thighs of the willows.
("I'm delirious on the first snow...", 1917)

The lyrical hero, remembering his youth, sad about it, also refers to the image of a willow.

And knocked on my window
September with a crimson willow branch,
So that I was ready and met
His arrival is unpretentious.
(“Let you be drunk by others…” 1923)

September is autumn, and the autumn of life is the imminent arrival of winter - old age. The hero meets this "age of autumn" calmly, although with a little sadness about "mischievous and rebellious courage", because by this time he has gained life experience and looks at the world around him already from the height of his years.
Everything that distinguishes a tree from other forms of vegetation (strength of the trunk, powerful crown) distinguishes the oak from other trees, making it, as it were, the king of the tree kingdom. He personifies the highest degree of firmness, courage, strength, greatness.
Tall, mighty, blooming - the characteristic epithets of the oak, which, among poets, acts as an image of vitality.
In the poetry of S. Yesenin, the oak is not such a constant hero as the birch and maple. Oak is mentioned in only three poems ("Bogatyrsky whistle", 1914; "Oktoih" 1917; "Unspeakable, blue, tender..." 1925)
In the poem "Octoechos" the Mauritian oak is mentioned. Yesenin subsequently explained the meaning of this image in his treatise "The Keys of Mary" (1918) "... that symbolic tree that means "family", it does not matter at all that in Judea this tree bore the name of the Mauritian oak ... "

Under the Mauritian oak
My red-haired grandfather is sitting ...
The introduction of the image of the Mauritian oak into this poem is not accidental, since it speaks of the homeland:
Oh motherland, happy
And a non-starting hour!
about relatives -
"my red-haired grandfather."

This oak, as it were, summarizes everything that the poet wanted to write about in this work, that the family is the most important thing that a person can have.
The image of the "family" is given here in a broader sense: it is both the "father's land", and "native graves", and "father's house", that is, everything that connects a person with this land.
In the poem "The Heroic Whistle" Yesenin introduces the image of an oak to show the power and strength of Russia, its people. This work can be put on a par with Russian epics about heroes. Ilya Muromets and other heroes, jokingly, effortlessly felled oaks. In this poem, the peasant also "whistles", and from his whistle
century-old oaks trembled,
On the oaks, the leaves fall from the whistle.

Coniferous trees convey a different mood and carry a different meaning than deciduous ones: not joy and sadness, not various emotional outbursts, but rather a mysterious silence, numbness, self-absorption.
Pine and spruce trees are part of a gloomy, harsh landscape, around them there is wilderness, dusk, silence. Irreplaceable greenery evokes associations of coniferous trees with eternal peace, deep sleep, over which time has no power, the cycle of nature.
These trees are mentioned in such poems of 1914 as “The winds do not shower the forests ...”, “The melted clay dries”, “I feel the joy of God ...”, “Mustache”, “A cloud tied lace in a grove”. (1915).
In Yesenin's poem "Powder" (1914), the main character, the pine tree, acts as an "old woman":

Like a white scarf
The pine has tied up.
Bent over like an old lady
Leaned on a stick...

The forest where the heroine lives is fabulous, magical, also alive, just like her.

Bewitched by the invisible
The forest is slumbering under the fairy tale of sleep...

We meet with another fabulous, magical forest in the poem "The Sorceress" (1915). But this forest is no longer bright, joyful, but, on the contrary, formidable ("The grove threatens with spruce peaks"), gloomy, severe.
Spruces and pines here represent an evil, unfriendly space, an unclean force that lives in this wilderness. The landscape is painted in dark colors:

The dark night is silently frightened,
The moon is covered with shawls of clouds.
The wind is a pevun with a howl of hysterics ...

Having examined the poems where images of trees are found, we see that S. Yesenin's poems are imbued with a sense of inextricable connection with the life of nature. It is inseparable from a person, from his thoughts and feelings. The image of the tree in Yesenin's poetry appears in the same meaning as in folk poetry. The author's motif of the "tree novel" goes back to the traditional motif of likening man to nature, based on the traditional trope "man - plant".

Drawing nature, the poet introduces into the story a description of human life, holidays, which are somehow connected with the animal and plant world. Yesenin, as it were, interweaves these two worlds, creates one harmonious and interpenetrating world. He often resorts to impersonation. Nature is not a frozen landscape background: it reacts passionately to the destinies of people, the events of history. She is the poet's favorite character.

Bibliography:
1. Koshechkin S. P. "Spring echoing early ..." - M., 1984.
2. Marchenko A. M. Yesenin's poetic world. - M., 1972.
3. Prokushen Yu. L. Sergey Yesenin "Image, poems, era. - M., 1979.

The theme of nature runs like a red thread through the work of the great Russian poet Sergei Alexandrovich Yesenin, beloved and revered by many generations of readers. From an early age, his poems penetrate our consciousness, capturing a part of our soul, he seems to enchant with his images, which seem to be alive and extremely memorable.

The poetic language of S.A. Yesenin is very original and original, thanks to his living images, which he uses in his poetic work, the natural world seems to come to life. The theme of nature in Yesenin's work occupies one of the central places, his descriptions of natural phenomena are melodic, filled with ringing motives. Nature for him is an animated being that acts, lives its own life. The grove “dissuaded” the poet, the birch was “covered” with snow, poplars whisper, and willows cry.

The poet also selects epithets that are quite accurate, capable of recreating a rather vivid and lively picture, he does not try to embellish or use lush comparisons that are inappropriate, rather, on the contrary, he seeks to show the simple and uncomplicated beauty of everything that surrounds us. Let the clouds look like cheap chintz, but they float above their native land, even if the grain is not rich in harvest, but they are grown in their native land. S.A. Yesenin teaches us to notice and love the simple things that surround us, noticing beauty in the most seemingly ordinary things, which some do not even see in everyday bustle.

The poet in his poems unites the world of people, animals, plants, this world personifies one community, interconnected by inextricable ties of spiritual kinship. With incredible warmth and love, the poet and animals describe, entering into a dialogue with them, feeling their lively participation, kindness and incredible tenderness. In his poem "Kachalov's Dog", the poet has a friendly conversation with her on an equal footing, referring to the dog as a true friend and ally, the tone of his conversation is very warm. With Jim, the poet raises serious topics, talks about everything from relationships, love to life in general, trusting the most intimate thoughts to an ordinary dog.

In the creative heritage of Sergei Alexandrovich, one can feel an inseparable unity with nature, he dreams when humanity understands and realizes the fact that people are just an integral part of nature, that you need to live in harmony with the surrounding world, which is charming and needs our participation. Lyrical works by S.A. Yesenin urge us to love and appreciate mother nature, to live in harmony with her, to take care.

INTRODUCTION

Sergey Yesenin - the most popular, most read poet in Russia.

Creativity S. Yesenin belongs to the best pages not only Russian, but also. world poetry, into which he entered as a subtle, penetrating lyricist.

Yesenin's poetry is distinguished by the extraordinary power of sincerity and immediacy in the expression of feelings, the intensity of moral quests. His poems are always a frank conversation with the reader, the listener. "It seems to me that I write my poems only for my good friends," the poet himself said.

At the same time, Yesenin is a deep and original thinker. The world of feelings, thoughts and passions of the lyrical hero of his works is complex and contradictory - a contemporary of an unprecedented era of the tragic breakdown of human relations. The poet himself also saw the contradictions of his work and explained them this way: "I sang when my land was sick."

A faithful and ardent patriot of his Motherland, S. Yesenin was a poet who was vitally connected with his native land, with the people, with his poetic work.

NATURE IN YESENIN'S WORKS

Nature is a comprehensive, main element of the poet's work, and the lyrical hero is connected with it innately and for life:

I was born with songs in a grass blanket.

Spring dawns twisted me into a rainbow"

("Mother went to the bathing suit through the forest ...", 1912);

"Be blessed forever,

that came to flourish and die"

("I do not regret, I do not call, I do not cry ...", 1921).

The poetry of S. Yesenin (after N. Nekrasov and A. Blok) is the most significant stage in the formation of the national landscape, which, along with traditional motifs of sadness, desolation, poverty, includes surprisingly bright, contrasting colors, as if taken from popular popular prints:

"Blue sky, colored arc,

<...>

My end! Beloved Russia and Mordva!";

"Swamps and swamps,

Blue boards of heaven.

Coniferous gilding

The forest is ringing";

"O Russia - raspberry field

And the blue that fell into the river..."

"blue sucks his eyes"; "smells of apple and honey"; "Oh, my Russia, dear homeland, Sweet rest in the silk of kupyrs"; "Ring, ring golden Russia ...".

This image of bright and sonorous Russia, with sweet smells, silky herbs, blue coolness, was introduced into the self-consciousness of the people by Yesenin.

More often than any other poet, Yesenin uses the very concepts of "land", "Rus", "homeland" ("Rus", 1914; "Goy you, Russia, my dear ...", 1914; "Beloved land! Heart dreaming...", 1914; "Hewn drogs sang...",<1916>; "Oh, I believe, I believe, there is happiness...", 1917; "O land of rains and bad weather...",<1917>).

Yesenin's landscape motifs are closely connected not only with the circulation of time in nature, but also with the age course of human life - a feeling of aging and withering, sadness about the past youth ("This sadness can not be scattered now ...", 1924; "The golden grove dissuaded. ..", 1924; "What a night! I can't...", 1925). A favorite motif, resumed by Yesenin for almost the first time after E. Baratynsky, is separation from his father's house and returning to his "small homeland": images of nature are colored with a sense of nostalgia, refracted in the prism of memories ("I left my dear home ...", 1918 ; "Confessions of a Hooligan", 1920; "This street is familiar to me...",<1923>; "Low house with blue shutters...",<1924>; "I'm walking through the valley. On the back of the head is a kepi...", 1925; "Anna Snegina", 1925).

For the first time with such sharpness - and again after Baratynsky - Yesenin posed the problem of the painful relationship of nature with the victorious civilization: "a steel chariot defeated the living horses"; "... they squeezed the village by the neck // Stone hands of the highway"; "as in a straitjacket, we take nature into concrete" ("Sorokoust", 1920; "I am the last poet of the village ...", 1920; "Mysterious world, my ancient world ...", 1921). However, in later poems, the poet, as it were, forces himself to love "stone and steel", stop loving the "poverty of the fields" ("Uncomfortable liquid moonlight",<1925>).

A significant place in Yesenin's work is occupied by fantastic and cosmic landscapes, designed in the style of biblical prophecies, but acquiring a human-divine and god-fighting meaning:

"Now on the peaks of the stars

The earth is rearing you!";

"I will then thunder with wheels

Suns and moons like thunder..."

Yesenin's poetry of nature, which expressed "love for all living things in the world and mercy" (M. Gorky), is also remarkable in that for the first time it consistently pursues the principle of likening nature to nature, revealing from the inside the richness of its figurative possibilities: calm water..."; "rye does not ring with a swan's neck"; "a curly lamb - a month // Walks in the blue grass", etc.

“My lyrics are alive with one great love - love for the motherland,” said Sergei Yesenin about his work. And the image of the motherland for him is inextricably linked with his native nature. Russian nature for Yesenin is the eternal beauty and eternal harmony of the world, healing human souls. This is how we perceive the poet's poems about our native land, this is how, sublimely and enlightened, they act on us: They knit lace over the forest In the yellow foam of the cloud. In a quiet slumber under a canopy I hear the whisper of a pine forest. The poet, as it were, tells us: stop at least for a moment, look at the world of beauty around you, listen to the rustle of meadow grasses, the song of the wind, the voice of the river wave, look at the morning dawn, foreshadowing the birth of a new day, at the starry night sky. Living pictures of nature in the poems of Sergei Yesenin not only teach us to love the beauty of our native nature, they lay the moral foundations of our character, make us kinder, wiser. After all, a person who knows how to appreciate earthly beauty will no longer be able to oppose himself to it. The poet admires his native nature, filling his lines with tender awe, looking for bright, unexpected and at the same time very accurate comparisons:

Behind the dark strand of copses,

In unshakable blue

Curly lamb - a month

Walking in the blue grass.

Often using the personification of nature, characteristic of his lyrics, Yesenin creates his own unique world, forcing us to see how “the moon, the sad rider, dropped the reins”, how “the blown up road is dozing”, and “thin birch ... looked into into the pond." Nature in his poems feels, laughs and mourns, is surprised and upset.

The poet himself feels himself one with the trees, flowers, fields. Yesenin's childhood friend K. Tsybin recalled that Sergei perceived flowers as living beings, talked to them, trusting them with his joys and sorrows:

Aren't people flowers? Oh dear, feel you, These are not empty words. Like a stem shaking its body, Isn't this head a golden rose for You? The emotional experiences of the poet, important events in his life are always inextricably linked with changes in nature:

Leaves are falling, leaves are falling

The wind is moaning, Long and deaf.

Who will please the heart?

Who will comfort him, my friend?

In poems of the early period, Yesenin often uses Church Slavonic vocabulary. He represents the merging of earth and sky, showing nature as the crown of their union. The poet embodies the state of his soul in pictures of nature, full of bright colors:

Weaved out on the lake the scarlet light of dawn.

Capercaillie are crying in the forest with bells.

An oriole is crying somewhere, hiding in a hollow.

Only I don’t cry - my heart is light.

But carefree youth is over. A colorful, light landscape is replaced by pictures of early withering. In Yesenin's poems, the maturity of a person often echoes the autumn season. The colors have not faded, they even acquired new shades - crimson, gold, copper, but these are the last flashes before the long winter:

The golden grove dissuaded

Birch, cheerful language,

And the cranes, sadly flying,

No more regrets.

And at the same time:

The bitter smell of black burning,

Autumn groves set on fire.

In the lyrics of an even later period, in Yesenin's description of pictures of nature, there is a premonition of untimely death. The poems of this period are full of longing for lost youth, tragedy.

Snowy plain, white moon,

Our side is covered with a shroud.

And birches in white cry through the forests:

Who died here? Died?

Am I myself?

Perceiving nature as a whole with himself, the poet sees in it a source of inspiration. The native land endowed the poet with an amazing gift - folk wisdom, which was absorbed with all the originality of his native village, with those songs, beliefs, tales that he heard from childhood and which became the main source of his work. And even the exotic beauty of distant lands could not overshadow the modest charm of their native expanses. Wherever the poet was, wherever his fate brought him, he belonged to Russia in heart and soul.