Inexpressible, blue, tender...
My land is quiet after storms, after thunderstorms,
And my soul is a boundless field -
Breathes the scent of honey and roses.
S. Yesenin
S. Yesenin is a great Russian poet. His poems make an extraordinary impression - they are so light and natural. Yesenin's poems attract us with some special romance, lightness, spirituality. S. Yesenin wrote many poems. He was called the "singer of birch chintz", "singer of love, sadness, sorrow" and even ... "Moscow mischievous reveler." But the most important direction in his work is poems about nature.
Nature - forests, fields, rivers, seas, animals, birds and ... And for S. Yesenin, nature is the eternal beauty and eternal harmony of the world.
In his poems about nature, S. Yesenin says that you can hear how the stream speaks, what songs of extraordinary beauty birds sing, and we read about his native Konstantinovsky sky in the poem “The sky is like a bell ...”, and the moon in the blue sky of the night becomes its sonorous tongue...
All the poet's poems are written with great love for his native land.
Beloved edge! Dreaming of the heart
Stacks of the sun in the waters of the womb.
I would like to get lost
In the greens of your bells.
Gently, without any external pressure, nature "heals people's souls." This is how we perceive Yesenin's poems about nature, this is how, sublimely enlightened, they affect us.
The feather grass is sleeping. Dear plain,
And the lead freshness of wormwood.
No other homeland
Do not pour my warmth into my chest.
In this poem, the poet, as it were, tells us all that we need to look around us, at the world of earthly beauty surrounding us, listen to the rustle of meadow grasses, the song of the wind and ...
All the best works of Yesenin are connected with the fatherland, the beauty of nature. Yesenin rose to the heights of poetry from the depths of folk life. “The Ryazan fields, where the peasants mowed, where they sowed their grain,” were the country of his childhood. The world of folk poetic images surrounded him from the first days of his life.
I was born with songs in a grass blanket.
Spring dawns twisted me into a rainbow.
And then he grew up among the expanse of Central Russian nature, and she taught him to love "everything in this world that clothes the soul in flesh." Spending a lot of time among nature, the poet develops in himself a special perception of the world, as if he feels himself a particle of this nature. You feel it when you read the poems of the poet.
Bird cherry sprinkles with snow,
Greenery in bloom and dew.
In the field, leaning towards shoots,
Rooks are walking in the band.
Or "Fields are compressed ..."
All the beauty of the native land was cast into poems full of people's love for the Russian land.
O Rus - raspberry field
And the blue that fell into the river -
I love to joy and pain
Your lake longing.
“What a pure and what a Russian poet,” M. Gorky said about him.
Yesenin's poems touch upon the most pressing, most fundamental, truly global problems of our time. Whatever the most important aspects of modern life, today's reality, we touched, we are convinced that S. Yesenin also thought about many of them.
Sweet, sweet, funny fool.
But where is he, where is he going?
Doesn't he know that living horses
Did the steel cavalry win?
In this poem, S. Yesenin posed the acute problem of protecting the living beauty of nature - this most precious and holy gift of the Earth. Now it has become global and concerns everyone and everyone. We can say that these are the poems of the century. They will excite not only our generation, but also the future. Yesenin's poems not only teach to love and preserve the world of earthly beauty. They, like nature itself, contribute to the formation of the moral foundations of our character and, most importantly, our worldview. Yesenin's poems are imbued with love and tenderness for his native land. The poet is also fond of “the light of the moon, mysterious and long”, and the cry of the willow, and the whisper of poplars. Nothing can make him fall out of love with the "father's fields." Nature in S. Yesenin is multicolored, multicolored. It shimmers with all the colors of the rainbow. Like a person, she is born, grows, dies, sad and rejoices. The poet skillfully shows this, for example, “a cloud knitted lace in a grove”, “the sleepy earth smiled at the sun”.
The theme of nature is the leitmotif in the work of S. Yesenin. I really like his poetry. Today we say with alarm that in the pursuit of material things we begin to lose humanity and mercy more and more. And Yesenin ... He cleanses our souls, because real Russian literature has always been the conscience of the people, their sincerity and moral support. Only a person whose soul is bright and pure, like a spring, and whose heart is full of inexhaustible love and mercy for all living things in the world, only a poet reveals all the beauty of his native land, a poet who firmly believes in the unchanging truth that "the world is beautiful" could feel, so express yourself in your poems. Yesenin's golden grove, the edge of the Ryazan expanses - this is everything dear and close to us, this is a living soul, the living beauty of Russia. Poems by Sergei Yesenin - for centuries.

The theme of nature in the poetry of S. Yesenin. All the poetry of S. Yesenin is imbued with a deep love for the beauty of his homeland. Brought up in the village, in the family of his grandfather, while still very young, Seryozha Yesenin often ran away from home for several days to meadows, to small lakes, where he lived with shepherds.
He admired his native nature, like a child, even in his youth, at a time when many are immersed in the study of their souls. Yesenin knew himself by observing the sky, earth, water ...
Where there are cabbage patches
Sunrise pours red water,
Maple tree small womb
Green udder sucks.
His lines dedicated to forests, lakes, meadows, the sun, and rain are filled with gentle trepidation. The images and comparisons of the poet are as vivid and accurate as they are unexpected. Well, who else would have managed to compare autumn with a red mare, a sunset on a pond with a red swan, a maple tree in winter with a drunken watchman who froze his leg in a snowdrift, tree leaves with green fire?
Blue May. A glowing warmth.
The ring at the gate will not ring.
Wormwood has a sticky smell.
Sleeping bird cherry in a white cape.
Yesenin was very fond of wild flowers. His childhood friend K. Tsybin recalled: “In the spring, before mowing, our meadows are a colorful carpet. There are no flowers in them! For him, flowers are like living friends.” Levkoy, mignonette, cornflowers talked with the poet, because he knew how to hear their quiet, indistinct voices and understood them with his heart.
I don't like flowers from the bushes.
I don't call them flowers.
Though I touch them with my lips,
But I can not find tender words for them.
I only love the flower
which is rooted in the ground,
I love him and accept
Like our northern cornflower.
The idea that a person is a part of nature, that he is vitally connected with it, is expressed in Yesenin's poems through the entire figurative system.
Animal poems of my sadness
I fed mignonette and mint.
Yesenin's favorite artistic technique is personification. That is why nature in his poems feels, thinks, talks, is perplexed, indignant or rejoices. A person, in turn, feels like a tree, grass, meadow, river, merges with the surrounding landscape, sees the world in a new way.
... Hello, mother blue aspen!
Soon a month, bathing in the snow.
He will sit in his son's sparse curls.
Soon I will get cold without foliage ...
Russian nature is generous and rich, just like the poetry of S. Yesenin. All important events in the life of the poet, his experiences, thoughts, happiness and disappointment were reflected in picturesque images of nature, many of which are simply impossible to forget, they are so capacious and ambiguous. What can I say, even if Yesenin managed to see the signs of his early death in a dramatic winter picture:
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?
The literary heritage that Yesenin left us is saturated with love, the roots of which are in our native land. The poet often traveled abroad, saw a lot, but his heart always remained firmly attached to his native birches, feather grass, views of the village outskirts. And wherever his fate led him, Yesenin always returned home to Russia.
The feather grass is sleeping. Dear plain,
And the lead freshness of wormwood.
No other homeland
Do not pour my warmth into my chest.

“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.

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.

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 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 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 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.

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”.

Images of animals and "tree motifs" in Yesenin's lyrics

"Wood motifs" lyrics by S. Yesenin

Many of the poems of early S. Yesenin are imbued with a sense of inextricable connection with the life of nature (" Mother in the bath …", "I do not regret, do not call, 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 person, she is born, grows and dies, sings and whispers, is 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 “woody romance”, the heroes of which 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 "The reeds rustled over the backwater" we are talking about an important and fascinating action of the Semitsko-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 the approaching death "the bark is eaten on the birch." A tree without bark dies, but here the association "birch - girl". The motive of misfortune is enhanced by the use of such images as "mice", "spruce", "shroud".

In the poem "Green Hairstyle". (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" - the flowering of trees in 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 "to wander 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, it 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, since 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 blizzard about summer.

I myself seemed to be the same maple ...

Reminiscent of maple with its "carefree - curly head", poplar at the same time, aristocratically "slender 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: on the outside, the leaves are shiny green, 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 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” is 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.

("Lovely 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 past years.

Everything that distinguishes a tree from other forms of vegetation (strength of the trunk, mighty crown) highlights oak among other trees, making, as it were, the king of the tree kingdom. He personifies the highest degree of firmness, courage, strength, greatness.

Tall, mighty, blooming are 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 "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 leafy 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", "The cloud tied the lace in the grove." (1915).

In Yesenin's poem "Powder" (1914), the main character, the pine, 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 songbird 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 ardently to the destinies of people, the events of history. She is the poet's favorite character.

Images of animals in the lyrics of S. Yesenin.

The images of animals in literature are a kind of mirror of humanistic consciousness. Just as the self-determination of a person is impossible outside its relation to another person, so the self-determination of the entire human race cannot be accomplished outside its relation to the animal kingdom.

The cult of animals has existed for a very long time. In a distant era, when the main occupation of the Slavs was hunting, and not agriculture, they believed that wild animals and humans had common ancestors. Each tribe had its own totem, that is, a sacred animal that the tribe worshiped, believing that it was their blood relative.

Images of animals have always been present in the literature of different times. They served as material for the emergence of the Aesopian language in animal tales, and later in fables. In the literature of the "new time", in the epic and in the lyrics, animals acquire equality with humans, becoming the object or subject of the narrative. Often a person is "tested for humanity" by the attitude towards the animal.

The poetry of the 19th century is dominated by images of domestic and household animals, tamed by man, sharing his life and work. After Pushkin, the everyday genre becomes predominant in animalistic poetry. All living things are placed in the framework of household inventory or household yard (Pushkin, Nekrasov, Fet). In the poetry of the 20th century, images of wild animals became widespread (Bunin, Gumilyov, Mayakovsky). Gone is the worship of the beast. But the "new peasant poets" re-introduce the motif of the "brotherhood of man and animal." Their poetic work is dominated by domestic animals - a cow, a horse, a dog, a cat. Relationships reveal the features of a family way of life.

In the poetry of Sergei Yesenin, there is also the motive of "blood relationship" with the animal world, he calls them "smaller brothers".

Happy that I kissed women

Crumpled flowers, rolled on the grass

And the beast, like our smaller brothers

Never hit on the head.

("We are now leaving little by little", 1924)

In him, along with domestic animals, we find images of representatives of the wild. Of the 339 poems examined, 123 mention animals, birds, insects, and fish.

Horse (13), cow (8), raven, dog, nightingale (6), calves, cat, dove, crane (5), sheep, mare, dog (4), foal, swan, rooster, owl (3), sparrow, wolf, capercaillie, cuckoo, horse, frog, fox, mouse, titmouse (2), stork, ram, butterfly, camel, rook, goose, gorilla, toad, snake, oriole, sandpiper, chickens, corncrake, donkey, parrot , magpies, catfish, pig, cockroaches, lapwing, bumblebee, pike, lamb (1).

S. Yesenin most often refers to the image of a horse, a cow. He introduces these animals into the story of peasant life as an integral part of the life of a Russian peasant. Since ancient times, a horse, a cow, a dog and a cat have accompanied a person in his hard work, shared with him both joys and troubles.

The horse was an assistant when working in the field, in transporting goods, in military combat. The dog brought prey, guarded the house. The cow was a drinker and breadwinner in a peasant family, and the cat caught mice and simply personified home comfort.

The image of a horse, as an integral part of everyday life, is found in the poems "Tabun" (1915), "Farewell, dear forest ..." (1916), "Now do not scatter this sadness ..." (1924). Pictures of village life are changing in connection with the events taking place in the country. And if in the first poem we see "in the hills green herds of horses", then in the following already:

Mowed hut,

Weeping sheep, and away in the wind

The little horse waving its scrawny tail,

Looking into the unkind pond.

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

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

The innovation and originality of S. Yesenin, the poet, manifested itself in the fact that when drawing or mentioning animals in everyday space (field, river, village, yard, house, etc.), he is not an animal painter, that is, he does not aim to recreate the image of one or another animal. Animals, being part of the everyday space and environment, appear in his poetry as a source and means of artistic and philosophical understanding of the world around them, and allow revealing the content of a person’s spiritual life.

In the poem "Cow" (1915), S. Yesenin uses the principle of anthropomorphism, endowing the animal with human thoughts and feelings. The author describes a specific domestic and life situation - the old age of the animal

decrepit, teeth fell out,

scroll of years on the horns ...

and his future fate, "soon ... they will tie a noose around her neck // and lead to the slaughter", he identifies the old animal and the old man.

Thinking a sad thought...

If we turn to those works in which the image of a dog occurs, then, for example, in the poem "Song of the Dog" (1915). "Song" (emphasized "high" genre) is a kind of hymnography, which became possible due to the fact that the subject of "chanting" is the sacred feeling of motherhood, inherent in a dog to the same extent as in a woman - a mother. The animal worries about the death of its cubs, which the "gloomy master" drowned in the hole.

Introducing the image of a dog into his poems, the poet writes about the long-standing friendship of this beast with man. The lyrical hero of S. Yesenin is also a peasant by origin, and in childhood and adolescence - a villager. Loving his fellow villagers, he is at the same time, in essence, completely different from them. In relation to animals, this is manifested most clearly. His affection and love for "sisters - bitches" and "brothers - males" are feelings for equals. That is why the dog "was my youth friend".

The poem "Son of a bitch" reflects the tragedy of the consciousness of the lyrical hero, which arises from the fact that in the world of wildlife and animals everything looks unchanged:

That dog died a long time ago

But in the same suit as with a blue tint,

With barking lively - stunned

I was shot by her young son.

It seems that the "son" genetically received love for the lyrical hero from his mother. However, the lyrical hero next to this dog feels especially keenly how he has changed externally and internally. For him, returning to his young self is possible only at the level of feeling and for a moment.

With this pain, I feel younger

And at least write notes again .

At the same time, the irreversibility of what has passed is realized.

Another animal that "accompanies" a person through life for a very long time is a cat. It embodies home comfort, a warm hearth.

The old cat sneaks up to the shawl

For fresh milk.

("In the hut.", 1914)

In this poem, we also meet with other representatives of the animal world, which are also an invariable "attribute" of the peasant hut. These are cockroaches, chickens, roosters.

Having considered the everyday meanings of the images of animals, we turn to their symbolic meanings. The symbols that animals are endowed with are very widespread in folklore and classical poetry. Each poet has his own symbolism, but basically they all rely on the folk basis of one image or another. Yesenin also uses folk beliefs about animals, but at the same time, many images of animals are rethought by him and receive new significance. Let's go back to the image of the horse.

The horse is one of the sacred animals in Slavic mythology, an attribute of the gods, but at the same time a chthonic creature associated with fertility and death, the afterlife, a guide to the “other world”. The horse was endowed with the ability to portend fate, especially death. A. N. Afanasyev explains the meaning of the horse in the mythology of the ancient Slavs in this way: “As the personification of gusty winds, storms and flying clouds, fairy horses are endowed with wings, which makes them related to mythological birds ... fiery, fire-breathing ... the horse serves as a poetic image of either the radiant sun or a cloud of lightning flashing ... ".

In the poem "Dove" (1916), the horse appears in the image of "quiet fate". Nothing foreshadows change and the lyrical hero lives a quiet, measured life, with his household chores from day to day, just like his ancestors lived.

The day will go out, flashing with a shock of gold,

And in the box of years the works will settle down.

But in the history of the country, the revolutionary events of 1917 take place, and the hero’s soul becomes anxious for the fate of Russia, his region. He understands that now a lot will change in his life. The lyrical hero recalls with sadness his strong, well-established life, which is now broken.

... He took my horse away ...

My horse is my power and strengthen.

He knows that now his future depends on the future of his homeland, he is trying to escape from the events that are taking place.

... he beats, rushes about,

Pulling a tight lasso ...

("Open the guard beyond the clouds to me", 1918),

but he does not succeed, it remains only to submit to fate. In this work, we observe a poetic parallelism between the "behavior" of the horse and its fate and the state of mind of the lyrical hero in the "life torn apart by a storm".

In the 1920 poem "Sorokoust", Yesenin introduces the image of a horse as a symbol of the old patriarchal village, which has not yet realized the transition to a new life. The image of this "past", which is trying with all its might to fight change, is a foal, which appears as a component of the whole symbolic situation of "competition" between the "cast-iron horse-train" and the "red-maned colt".

Dear, dear, funny fool

Well, where is he, where is he chasing?

Doesn't he know that living horses

Did the steel cavalry win?

The struggle of the village for survival is lost, more and more preference is given to the city.

In other works, the horse becomes a symbol of past youth, a symbol of what a person cannot return, it remains only in memories.

Now I have become more stingy in desires,

My life? did you dream of me?

Like I'm a spring echoing early

Ride on a pink horse.

(“I don’t regret, I don’t call, I don’t cry…”, 1921)

"I rode on a pink horse" - a symbol of a quickly gone, irrevocable youth. Thanks to the additional symbolism of color, it appears as a "pink horse" - a symbol of sunrise, spring, the joy of life. But even a real peasant horse at dawn turns pink in the rays of the rising sun. The essence of this poem is a thankful song, the blessings of all living things. The horse has the same meaning in the poem "Oh, you sleigh ..." (1924)

Everything is gone. Thinned my hair.

The horse is dead.

Remembering his youth, the lyrical hero also refers to the image of a dog.

I remember a dog today

What was my youth friend

("Son of a bitch". 1924)

In this poem, the poet recalls his youth, his first love, which is gone, but lives in memories. However, the old love is replaced by a new one, the older generation is replaced by the young, that is, nothing in this life returns, but at the same time the life cycle is uninterrupted.

That dog died a long time ago

But in the same suit, with a tint of blue ...

I was shot by her young son .

If we turn to other representatives of the animal world, for example, ravens, we will see that in Yesenin they have the same symbolism as in folk poetry.

Black crows croaked:

Terrible troubles a wide scope.

("Rus", 1914)

In this poem, the raven is a harbinger of impending trouble, namely the war of 1914. The poet introduces the image of this bird not only as a folk symbol of misfortune, but also in order to show his negative attitude to current events, feelings for the fate of the Motherland.

Many poets use various types of word transfer to create images, including metaphor. In poetry, metaphor is used mainly in a secondary function for it, introducing attributive and evaluative values ​​into nominal positions. For poetic speech, a binary metaphor is characteristic (metaphor - comparison). Thanks to the image, metaphor connects language and myth with the corresponding way of thinking - mythological. Poets create their own epithets, metaphors, comparisons and images. Metaphorization of images is a feature of the poet's artistic style. S. Yesenin also turns to the help of metaphors in his poems. He creates them according to the folklore principle: he takes material from the rural world and from the natural world for the image and seeks to characterize one noun by another.

Here is an example of the moon:

"The moon, like a yellow bear, tosses and turns in the wet grass."

Yesenin's motive of nature is supplemented in a peculiar way with images of animals. Most often, the names of animals are given in comparisons in which objects and phenomena are compared with animals, often not related to them in reality, but combined according to some associative feature that serves as the basis for its selection. ( "Like the skeletons of skinny cranes // Plucked willows stand..."; "Blue dusk, like a flock of sheep...").

By color match:

On the pond like a red swan

A quiet sunset floats.

("Here it is stupid happiness ...", 1918) ;

by proximity and similarity of functions:

Like birds whistling versts

From under the horse's hooves...

("About arable land, arable land, arable land ...", 1917-1918) ;

according to some associative, sometimes subjectively distinguished feature:

I was like a horse driven in soap,

Spurred by a bold rider.

("Letter to a Woman", 1924)

Sometimes the poet also uses a form of parallelism characteristic of Russian folk poetry - songs, including a negative one:

Not the cuckoos were sad - Tanya's relatives are crying.

(“Tanyusha was good…”, 1911)

In the works of S. Yesenin, an animalistic (image of animals) comparison or zoomorphic metaphor often develops into a detailed image:

Autumn - a red mare - scratches her mane.

("Autumn", 1914 - 1916)

The red color of autumn leaves is associated with the "red mare". But autumn is not only a "red mare" (similarity in color), it "scratches its mane": the image is revealed through comparison with an animal visibly, in colors, sounds, movements. The tread of autumn is compared to the tread of a horse.

There are comparisons of natural phenomena with animals: a month - " curly lamb "," foal ", " golden frog", Spring - " squirrel", clouds - " wolves." Objects are equated to animals and birds, for example, a mill - "log bird", bake - "camel brick"On the basis of complex associative comparisons, natural phenomena have organs characteristic of animals and birds (paws, muzzles, snouts, claws, beaks):

Cleans the moon in the thatched roof

Horns covered in blue.

("The red wings of the sunset go out.", 1916)

Waves of white claws

Golden sand.

("Heavenly Drummer.", 1918)

Maple and lindens in the windows of the rooms

Throwing branches with paws,

Looking for those who remember.

("Honey, let's sit next to me.", 1923)

The colors of animals also acquire a purely symbolic meaning: "red horse" is a symbol of revolution, "pink horse" is an image of youth, "black horse" is a harbinger of death.

Figurative embodiment, a clear metaphor, a sensitive perception of folklore underlie the artistic research of Sergei Yesenin. The metaphorical use of animalistic vocabulary in original comparisons creates the originality of the poet's style.

Having considered the images of animals in the poetry of S. Yesenin, we can conclude that the poet solves the problem of using animalistics in his works in different ways.

In one case, he turns to them in order to show with their help some historical events, personal emotional experiences. In others - in order to more accurately, more deeply convey the beauty of nature, native land.

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.

Every poet enters the temple of nature with

his "prayer" and his palette.
V. Bazanov

Probably, for every person who was born in Russia, the feeling and perception of nature has always been as reverent as, perhaps, no one else in the world. Spring, summer, autumn, and especially the Russian “zimushka-winter”, as our simple but great Russian people lovingly used to say about it, took and take the soul for a living, forcing to experience deep feelings similar to exciting love experiences. Yes, and how not to love all the beauty and charm that surrounds us: white snow, fresh greenery of vast forests and meadows, dark depths of lakes and rivers, pure gold of falling leaves, which from childhood please the eye with their multicolor, overflowing with seething emotions the excited heart of any person, but especially the poet and creator of the word. Such as the wonderful poet Sergei Alexandrovich Yesenin, who in his many-sided work, in his sincere lyrics, left a special place for the sometimes harsh, but always beautiful Russian mother nature. And it's not smart.

Born in the village of Konstantinovo, in the center of Russia, Yesenin saw and contemplated around him such indescribable beauty and charm that can only be found in the Motherland, whose vast expanses, whose solemn grandeur inspired already in childhood those thoughts and reflections that he conveyed to us later in his inspirational and moving lyrics.

The village of Konstantinovo, native Ryazan region - these places aroused in Sergei Yesenin awe and a poetic passion for creativity. It was the native north that was the most inspiring for the poet. I think that only there, only in the north of Russia, with its special, strong, but gentle spirit, could one be imbued with the same feelings that Yesenin experienced, giving birth to these magical lines on one of the long winter evenings:

I'm going. Quiet. Ringing is heard

Under the hoof in the snow
Only gray crows

Made a noise in the meadow.

This is not the usual "Coachman's Romance". It lacks both the coachman and the rider, they are replaced by the poet himself. The trip does not cause him any associations, he does without the usual road sadness. Everything is exceptionally simple, as if written off from nature:

Bewitched by the invisible
The forest slumbers under the fairy tale of sleep,
Like a white scarf

The pine has tied up.

In the simplicity of these lines, in the naturalness of the style, lies the true genius and mastery expressed by the poet with the help of the mighty Russian language. This mastery makes one imagine so vividly a blizzard, a winter forest, and the sound of hooves on a snow crust that one no longer needs to see the real picture: the imagination, released into the wild, immediately completes the picture of the winter forest. Well, how can one not remember Surikov, Shishkin, Savrasov!

Both the painter’s brush and Yesenin’s pen vividly and brightly brought out on white sheets of paper those wonderful paintings that did not have to go far from home to Spain, France, Germany or anywhere else: they were right here - in the forests Ryazan, in the white nights of St. Petersburg, in the autumn gilded Konstantinov. Wherever the poet cast a glance, everywhere they seemed to roll over him full of creative inspiration, sometimes permeated with sadness and quiet melancholy, like nature itself:

You are my abandoned land,
You are my land, wasteland,
Haymaking uncut
Forest and monastery.

When you read Yesenin's poems about nature, the full power of the great and mighty Russian word falls upon your consciousness, forcing it to appeal to true life images, perhaps never truly seen, but so surprisingly real.

Goy you, my dear Russia,
Huts - in the robes of the image ...
He can not see the end and edge -

Only blue blinds the eyes.

Only the words of such a magnificent master as Sergei Yesenin can create images that cannot be seen otherwise than with your own eyes. And strength and inspiration, which can rarely be found even in the smell, sounds, color of the life around us, but captured on paper, gush from every Yesenin's line - as in the passage below:

How birds whistle miles

From under the horse's hooves.
And the sun splashes with a handful

Your rain on me.

These short lines fit, without losing their fullness, an amazing image of a wide steppe road, free wind and a bright sunny day. Many words would not suffice for another to accurately, vividly and aptly depict the attractive view of the Russian country road that involuntarily appears before us.

You read and enjoy the simplicity of the poetic skill of Sergei Yesenin, who is not without reason put in one of the first places among the great Russian poets.

Yesenin claimed to be "the last poet of the village" in Russia. In his poems, small details of village life are lovingly written out:

It smells of loose drachens;
At the threshold in a bowl of kvass,
Over turned stoves

Cockroaches climb into the groove.
Soot curls over the damper,
In the oven, the threads of popelits,
And on the bench behind the salt shaker -
Husks of raw eggs.

Every phrase is an artistic detail. And we feel: every detail evokes the tenderness of the poet, all this is dear to him.

He often resorts to impersonation. His bird cherry “sleeps in a white cape”, willows “cry”, poplars “whisper”, “a cloud tied lace in a grove”.

Sergey Yesenin's nature is multicolored, colorful. The poet's favorite colors are blue and blue. These color tones enhance the feeling of the immensity of the blue expanses of Russia (“blue that fell into the river”, “only blue sucks eyes”, “on a heavenly blue dish”),

And always the description of nature by Sergei Yesenin correlates with the expression of the poet's moods. No matter how closely his name is connected with the idea of ​​poetic pictures of Russian nature, his lyrics are not landscape in the corresponding sense of the word. Maple, bird cherry, autumn in the poet's poems are not just signs of native Russian nature, they are a chain of metaphors with which the poet talks about himself, about his moods, about his fate. The poetry of Sergei Yesenin also teaches us to see, feel, reflect, that is, live.