What themes are typical for Yesenin's work? Artistic features of S. Yesenin's lyrics. Yesenin's traditions in the poetry of the twentieth century

Introduction …………………………………………………………… ............. 2 - 3

Part 1. The originality of the poetics of S. Yesenin .......................................... .. 4-19

1.1 The beauty and richness of Yesenin's lyrics ............................................ ... 4-13

1.1.1. Features of the artistic style ............................................ 4 - 7

1.1.2. Features of metaphor in Yesenin's poetry ..................................... 7 - 8

1.1.3 Poetic vocabulary ............................................. ....................... 8-10

1.1.4. Poetic technique of S. Yesenin ............................................. .... 10-11

1.1.5. The moon in Yesenin's poetry .............................................. ................. 11-13

2.1 Leading themes of poetry .............................................. ....................... 15-19

2.1.1. Village theme ................................................ ............................... 15-17

2.1.2 The theme of the homeland in Yesenin's lyrics .......................................... .......... 17-19

2.1.3. Love theme ................................................ .....................................19

Part 2. Predecessors and followers ........................................... 20 -33

2.1. Folklore as the basis of the artistic picture of the world in the poetry of S. Yesenin

2.2. Yesenin and Old Russian Literature

2.3. Parallels with Gogol

2.4 Yesenin's traditions in the poetry of the twentieth century

2.4.1 Yesenin's traditions in the poetry of N. Rubtsov

2.4.2. The experience of analyzing N. Rubtsov's poem from the point of view of Yesenin traditions

Conclusion

Introduction

In 1914, in the magazine "Mirok" signed "Ariston", Yesenin's poem "Birch" was first published. Following “Birch”, “surprisingly cordial” and “sweeping” poems by Sergei Yesenin appear in print. Could anyone then, in 1914, have suggested that in the person of an unknown author, hiding under the pseudonym Ariston, a man came to Russian poetry of the twentieth century who was destined to become a worthy successor to Pushkin's glory?

Lovely birch thickets!

You, earth! And you, plains sands!

Before this host of departing

And unable to hide the melancholy.

Yesenin's poetry, surprisingly “earthly”, close to everyone, real to its very roots and at the same time “universal”, universal, illuminated by the unfading light of true love “for all living things in the world”.

It would seem that everything has been said about Yesenin's work. And yet, each person, opening a volume of his poems, opens his Yesenin.

I love Yesenin since childhood. When I was very little, my mother read me the poem "Birch" in the evenings. Although I did not know who this creation belonged to, from childhood I was fascinated by these wonderful lines.

It is hardly possible to say about Yesenin, as about Pushkin, "This is our everything." But at the same time, there is no such person in Russia who does not know at least a few lines from Yesenin's poems. How is it peculiar, original?

In the 11th grade, studying the literature of the twentieth century, I got acquainted with the work of many poets of Yesenin's contemporaries, poets who lived and worked after him. It was then that we wondered where the origins of the work of the popularly beloved poet are, whether he has followers.

So, the theme of the work: Poetry of S. Yesenin. Tradition and innovation.

Purpose of work: To reveal the originality of the poetics of S. Yesenin.

· Reveal the peculiarities of the artistic style and poetic technique.

· Consider the main themes of the poet's work.

· Determine the role of the traditions of Old Russian literature and folklore in the work of S. Yesenin.

· To study the Gogol traditions in the works of S. Yesenin.

· To generalize what Yesenin traditions are inherited in the poetry of the 2nd half of the 20th century (on the example of the works of N. Rubtsov and N. Tryapkin).

To solve the set tasks, the following methods were used:

· Analytical;

· Comparative;

Comparative

Hypothesis: if S. Yesenin drew the origins of his work from ancient Russian literature, folklore and literature of the 19th century, then his discoveries served as the basis for the poetry of the poets of the 20th century.

Working on the research “Poetry of S. Yesenin. Traditions and Innovation ”, we turned to the literary materials of V. F. Khodasevich, P. F. Yushin, V. I. Erlikh, V. I. Gusev. The book by VF Khodasevich “Necropolis” became fundamental in our work. This book contains memories of some writers of the recent past, including S. Yesenin. The book was compiled during the emigration of V.F.Khodasevich. The publication is also dedicated to the works of Bely, Bryusov, Gumilyov and Blok, Gershenzon and Sologub. The book was compiled in Brussels back in 1939, but in its full form this book was first published in the 90s. F. Khodasevich in this book seems to open the secret curtain of Yesenin's work, exploring his work with the help of personal biographies and correspondence with contemporaries. Hence, the simplicity, clarity of this publication.

Part 1. The originality of the poetics of S. Yesenin.

1.1 The beauty and richness of Yesenin's lyrics.

1.1.1. Features of the art style.

An important place in Yesenin's work is occupied by epithets, comparisons, repetitions, metaphors. They are used as a means of painting, convey the diversity of shades of nature, the richness of its colors, the external portrait features of the heroes ("fragrant bird cherry", "a red month like a foal harnessed to our sleigh", "in the gloom of a damp month, like a yellow raven ... hovering over the ground "). Repetitions play an important role in Yesenin's poetry, as well as in folk songs. They are used to convey the state of mind of a person, to create a rhythmic pattern. Yesenin uses repetitions with permutation of words:

Trouble has befallen my soul

Trouble befell my soul.

Yesenin's poetry is full of appeals, often these are appeals to nature:

Lovely birch thickets!

Using the stylistic features of folk lyrics, Yesenin seems to pass them through literary traditions and through his poetic worldview.

In his book "Necropolis" F. Khodasevich argued that the beauty of the native Ryazan expanses and the Russian word, the songs of the mother and the tales of the grandmother, the Bible of the grandfather and the spiritual verses of pilgrims, the village street and the zemstvo school, the lyrics of Koltsov and Lermontov, ditties and books - all these , at times extremely contradictory, influences contributed to the early poetic awakening of Yesenin, whom Mother Nature so generously endowed with the precious gift of the song of the word.

Most often, he wrote about rural nature, which always looked simple and uncomplicated to him. This happened because Yesenin found epithets, comparisons, metaphors in folk speech:

Sparrows are playful

Like lonely children.

Maple you are my fallen,

icy maple,

What are you bending over

under a white blizzard?

Or what did you see?

Or what did you hear?

Like a village

you went out for a walk.

Yesenin's moods and feelings, like those of the people, are in tune with nature, the poet seeks her salvation and tranquility. Nature is compared with human experiences:

My ring was not found.

I went from longing to the meadow.

The river laughed in pursuit of me:

"The cutie has a new friend."

ES Rogover expressed the opinion that Yesenin's poetry of mature years is also directed to the beautiful. The poet knows how to find in nature, man, history and modernity that is truly beautiful, original, enchanting with its poetry and originality. At the same time, he can conjugate these different beginnings of being so that they interpenetrate each other. Therefore, Yesenin again humanizes nature, and the personality assimilates the image of the native landscape, appreciating the natural principle in a person and placing high emphasis on his nature-like actions. He values the same properties in himself:

I'm still the same in my heart

Like cornflowers in rye, the eyes bloom in the face.

…………………………………………………………………..

... My head is like August,

Wet hair is pouring with wine.

……………………………………………………………………

… In the heart there are lilies of the valley of bursting forces.

…………………………………………………………………….

... That old maple looks like me with its head.

Often we are struck by Yesenin's ability to experience the charm of the beautiful, to express himself, in the words of Leskovsky Flyagin, as a “beauty lover”. He has a poem that can be figuratively called Leskovsky. This is the poem “I don’t regret, I don’t call, I don’t cry ...”.

The poem is constructed as a monologue of a person summing up his arduous, but bright, full of events life. The lyrical hero, like Leskov's wanderer, walked the endless paths of the Fatherland, drawn by the "vagrant spirit", experiencing a special charm with silence and sadly experiencing its fading now. The lyrical hero speaks with delight about “the country of birch chintz”; feels how “copper is quietly pouring from the maple leaves”; it seems to him that he is again

... in a spring echoing early

Galloped on a pink horse.

One involuntarily recalls Leskov's Achilles Desnitsyn, who also appears for the first time in the pages of the novel Soboryane on a red horse, bathed in the rainbow rays of the rising sun. The former play of unparalleled forces, infectious enthusiasm and boundless breadth of the soul are felt in the unexpected exclamation that escaped from the chest of Yesenin's lyric hero:

A vagrant spirit! You are less and less frequent

You stir up the flame of the mouth.

Oh my lost freshness

But the monologue-recollection of this wanderer is uttered and aesthetically framed as an elegy. And that is why in the first and last stanzas there is a related sad motive of the withering of nature and man:

Fading gold covered,

I won't be young anymore.

Sensitive to the aesthetic wealth of existence, Yesenin “colors” the phenomena of the surrounding world: “The mountain ash has turned red, / The water has turned blue”; "Swan song / Unliving rainbow of eyes ...". But he does not invent these colors, but peeps in his native nature. At the same time, he gravitates towards clean, fresh, intense, ringing tones. The most common color in Yesenin's lyrics is blue, then blue. Together, these colors convey the richness of colors of reality.

1.1.2. Features of metaphor in Yesenin's poetry.

Metaphor (from the Greek metaphora - transfer) is a figurative meaning of the word, when one phenomenon or object is likened to another, and you can use both similarity and contrast.

Metaphor is the most common means of generating new meanings.

Yesenin's poetics is distinguished not by a gravitation towards abstractions, hints, vague symbols of ambiguity, but towards materiality and concreteness. The poet creates his own epithets, metaphors, comparisons and images. But he creates them according to the folklore principle: he takes material for the image from the same rural world and from the natural world and seeks to characterize one phenomenon or object with another. Epithets, comparisons, metaphors in Yesenin's lyrics do not exist on their own, for the sake of a beautiful form, but in order to more fully and deeper express their perception of the world.

Hence the striving for universal harmony, for the unity of all that exists on earth. Therefore, one of the basic laws of Yesenin's world is universal metaphorism. People, animals, plants, elements and objects - all these, according to Yesenin, are the children of one mother - nature.

Yesenin's programmatic article “The Keys of Mary” says that “all our imagery” is built on the addition of “two opposite phenomena”, that is, on a metaphor, and examples are given as a model: “The moon is a hare, the stars are hare tracks”. It is likely that Yesenin knew the works of A.A. Potebnya. It is with him that we find reasoning that explains a lot to us in the figurative language of the poet: “When a person creates the myth that a cloud is a mountain, the sun is a wheel, thunder is the sound of a chariot or the roar of a bull, the howling of the wind is a howling dog, then there is no other explanation for him. exists". With the advent of conceptual thinking, the myth disappears and a metaphor is born: “And we, like ancient man, can call small, white clouds lambs, another kind of cloud cloth, soul and life - steam; but for us these are only comparisons, but for a person in the mythical period of consciousness, these are full truths ... ”.

The system of comparisons, images, metaphors, all verbal means is taken from peasant life, dear and understandable.

Reaching out for the warmth, breathing in the softness of bread

And mentally biting cucumbers with a fragility,

Behind a flat surface, the trembling sky

Leads the cloud out of the stall by the bridle.

Even the mill is a log bird

With a single wing - standing, eyes closed.

1.1.3 Poetic vocabulary.

ES Rogover in one of his articles asserted that each poet has his own “visiting card”: either it is a feature of poetic technique, or it is the richness and beauty of lyrics, or the originality of vocabulary. All of the above, of course, applies to Yesenin, but I would like to note the peculiarities of the poet's vocabulary.

The concreteness and distinctness of the poetic vision is expressed in the most everyday everyday vocabulary, the dictionary is simple, it lacks bookish and even more abstract words and expressions. This language was used by fellow villagers and fellow countrymen, and in it, beyond any religious connotation, there are religious words that the poet uses to express his purely secular ideas.

In the poem "Smoke in the flood ..." haystacks are compared with churches, and the mournful singing of a capercaillie with the call to all-night vigil.

And nevertheless, one should not see the poet's religiosity in this. He is far from her and paints a picture of his native land, forgotten and abandoned, flooded with floods, cut off from the big world, left alone with a dull yellow month, the dim light of which illuminates the haystacks, and they, like churches, surround the village by the sprinkles. But, unlike churches, haystacks are silent, and for them the capercaillie, with mournful and sad singing, calls for all-night vigil in the silence of the swamps.

The grove is also visible, which “covers the wood with a blue gloom”. That's the whole low-key, unhappy picture created by the poet, everything that he saw in his native, flooded and darkened land, devoid of the joy of people, for whom, really, it is not a sin to pray.

And this motive of regret about poverty and deprivation of the native land will pass through the early work of the poet, and the ways of expressing this deep social motive in pictures of nature, seemingly neutral to the social aspects of life, will be increasingly improved in parallel with the development of the poet's vocabulary.

In the poems "Imitation of a song", "Under the wreath of a forest chamomile", "Tanyusha was good ...", "Play, play, talyanochka ...", the poet's gravitation towards the form and motives of oral folk art is especially noticeable. Therefore, there are a lot of traditional folklore expressions such as: "dastardly separation", like "insidious mother-in-law", "I will admire if I look at it", "in the dark tower", scythe - "gas chamber-snake", "blue-eyed guy".

Folklore constructions of a poetic image are also used. “It’s not the cuckoos that are sad - Tanya’s relatives are crying” (a type of image well known to the poet from the Russian folk song and “The Lay of Igor's Campaign”).

The poem "Tanyusha was good ..." can serve as an example of the skilful treatment of the beginning poet with folklore. The poem contains a lot of folklore words, expressions, images, and it is built on the basis of a folk song, the hand of the future master is felt on it. Here the poet uses psychological parallelism, which is often used in folk art to express grief, misfortune, sadness. Yesenin, however, combined it with a vigorous ditty melody and thereby achieved a deep penetration into the soul of his heroine: “She turned pale like a shroud, turned cold like dew, her scythe developed like a snake-killer”; “Oh, you blue-eyed guy, I’ll say no offense, I came to tell you: I’m marrying someone else.”

Simple, uncomplicated words and expressions borrowed from folk art create that genuine style of S. Yesenin that is close to many.

1.1.4. Poetic technique of S. Yesenin.

The lyrical talent of Sergei Yesenin is also noticeable in the design of lines, stanzas and individual poems, in the so-called poetic technique. Let us first of all note the verbal originality of the poet: he expresses the joy and sorrow, riot and sadness that fill his poems in a verbose manner, achieving expressiveness in every word, in every line. Therefore, the usual size of his best lyric poems rarely exceeds twenty lines, which is enough for him to embody sometimes complex and deep feelings or create a complete and vivid picture.

A few examples:

They did not give the mother a son,

The first joy is not for the future.

And on a stake under an aspen

The breeze fluttered the skin.

The last two lines not only explain the first, the metonymic assimilation they contain contains a whole picture characteristic of rural life. A skin on a stake is a sign of a committed murder that remains outside the poem.

A bit poet and to the colors available in the word itself or in a number of words. The cows speak in his "nodding tongue", the cabbage is "wave". In the words one can hear the roll call of a nod - liv, waves - nov, vo - va.

Sounds, as it were, pick up and support each other, preserving the given sound design of the line, its melody. This is especially noticeable in the harmony of vowels: your lake melancholy; into the dark tower, into the green forest.

The poet's stanza is usually four-line, in which each line is syntactically complete, a hyphenation that interferes with melodiousness is an exception. Four - and two - line stanzas do not require a complex rhyme system and do not give its variety. In terms of their grammatical composition, Yesenin's rhymes are not the same, however, the poet's gravitation towards precise rhyme is noticeable, which gives a special smoothness and sonority to the verse.

The moon butts the cloud with a horn,

Dust bathes in blue.

And nodded her month behind the mound,

Dust bathes in blue.

1.1.5. The moon in Yesenin's poetry.

Yesenin is perhaps the most lunar poet in Russian literature. The most common image of the poetic paraphernalia of the moon, the month is mentioned in 351 of his works more than 140 times.

Yesenin's lunar spectrum is very diverse and can be subdivided into two groups.

First: white, silver, pearl, pale. The traditional colors of the moon are collected here, although poetry is exactly where it turns out, where the traditional is transformed into the unusual.

The second group, in addition to yellow, includes: scarlet, red, red, gold, lemon, amber, blue.

Most often, Yesenin's moon or month is yellow. Then there are: gold, white, red, silver, lemon, amber, scarlet, red, pale, blue. Pearl color is used only once:

Not the sister of the month from the dark swamp

She threw the kokoshnik into the sky in pearls, -

Oh, how Martha went out the gate ...

A very characteristic technique for Yesenin - in the sense of its uncharacteristic: the poet uses pure, natural colors, traditional for Old Russian painting.

Yesenin does not have a red moon at all. Perhaps only in Poem about 36:

The month is wide and scarlet ...

Yesenin's moon color is not ominous, not apocalyptic. These are not M. Voloshin's moons:

And blooms like a red fern,

Ominous moon ...

To the snowy moon, hyacinth blue

Together with your face I will snuggle.

Slaves are hostile to me

Deathly - wet moon ...

The Yesenin moon is always in motion. This is not a limestone ball, ascended into the sky and hanging a sleepy stupor on the world, but necessarily alive, spiritualized:

The road is pretty good

Nice cold link.

Moon of gold powder

Showered the distant villages.

Complex metaphor, which Yesenin does not avoid, cannot be attributed to some kind of poetic exoticism. “Our speech is that sand in which a small pearl is lost,” Yesenin wrote in the article “Father's Word”.

Yesenin's varied moon turns out to be rigidly subordinate to the traditional - folklore imagery, on which it depends as much as its celestial counterpart on the Earth. But at the same time: as the real moon controls the tides of the earth's seas and oceans, so the study of Yesenin's lunar metaphor allows us to see in the seemingly repetitive simplicity of folk images a concentrate of “very long and complex definitions of thought” (Yesenin).

But only from a month

Silver light will sprinkle

Another turns blue for me,

The other seems to be in the fog.

You can even call Yesenin a lunatic, explaining for caution: his long dialogue with the moonlight is caused by the feeling that it is the moon that absorbs and reflects the sun's rays, it is the moon that turns out to be the best exponent of the lyrical essence: to transfer the meaning of the word from the main to its additional meanings.

Turn your face to the seventh heaven

On the moon, wondering about fate,

Calm down mortal and don't demand

The truth that you do not need.

Gold frog moon

Spread out on calm water ...

If the world is not cognizable in the word, then it cannot escape from the depiction of the word.

Yesenin's lyrics are very beautiful and rich. The poet uses various artistic means and techniques. The main ones are:

Yesenin often uses words with diminutive suffixes. He also uses old Russian words, fabulous names: howl, svei, etc.

Yesenin's poetry is figurative. But his images are also simple: "Autumn is a red mare." These images are again borrowed from folklore, for example, a lamb - the image of an innocent victim.

Yesenin's color scheme is also interesting. He most often uses three colors: blue, gold and red. And these colors are also symbolic.

Blue - striving for the sky, for the impossible, for the beautiful:

In the blue evening, moonlit evening

I was once handsome and young.

Gold is the original color from which everything appeared and in which everything disappears: “Links, links, golden Russia”.

Red is the color of love, passion:

Oh, I believe, I believe, there is happiness!

The sun has not gone out yet.

Dawn with a red prayer book

Prophesies the good news ...

Often Yesenin, using the rich experience of folk poetry, resorts to the method of personification:

His bird cherry "sleeps in a white cape," the willows cry, the poplars whisper, "the girls ate," "like a pine tree tied with a white kerchief," "a snowstorm is crying like a gypsy violin," etc.

2.1 Leading themes of poetry.

Whatever Yesenin writes about, he thinks in images taken from the natural world. Each of his poems, written on any topic, is always unusually colorful, close and understandable to everyone.

2.1.1. Village theme.

Very often Yesenin turns to Russia in his works. At first, he glorifies the patriarchal principles in the life of his native village: he draws “huts - in the vestments of the image”, likens the Motherland to a “black nun” who “reads psalms for her sons”, idealizes joyful and happy “good fellows”. These are the poems "Goy you, my dear Russia ...", "You are my abandoned land ...", "Dove", "Russia". True, sometimes the poet can hear “warm sadness” and “cold sorrow” when he meets peasant poverty, sees the abandonment of his native land. But this only deepens and strengthens his boundless love for the yearning lonely land.

About Russia - a crimson field

And the blue that fell into the river -

I love to joy and pain

Your lake melancholy

Yesenin knows how to feel in the very melancholy of the native side of gaiety, in slumbering Russia - the accumulation of heroic forces. His heart responds to the laughter of the divine, to the dance by the fires, the children’s talianka. You can, of course, stare at the "bumps", "hummocks and depressions" of your native village, or you can see "how the skies are turning blue all around." Yesenin assimilates a bright, optimistic view of the fate of his Fatherland. That is why so often lyrical confessions addressed to Russia are heard in his poems:

But I love you, meek homeland!

And for what I can not guess.

…………………………….

Oh you, my Rus, dear homeland,

Sweet rest in the clink of kupyr.

……………………………..

I am here again, in my own family,

My land, brooding and tender!

For the inhabitant of this Rus', the whole feat of life is peasant labor. The peasant is hammered, beggar, naked. His land is also wretched:

Hearing rakitas

Wind whistle ...

You are my forgotten land

The image of Yesenin's country cannot be imagined without such familiar signs as “blue plate of heaven”, “saline melancholy”, “limestone” and “birch - candle”, and in mature years - “red mountain ash fire” and “low house” , "In the dashing steppe acceleration, the bell laughs to tears." It is difficult to imagine Yesenin's Russia without such a picture:

Blue sky, color arc.

The banks of the steppe run quietly,

Smoke stretches, near the crimson villages

The wedding of the crows encircled the palisade.

Born and growing out of landscape miniatures and song stylizations, the theme of the Motherland absorbs Russian landscapes and songs, and in Yesenin's poetic world these three concepts: Russia, nature and the "song word" merge together, the poet hears or composes a song "about the fatherland and the father's house ”, while in the quiet of the fields“ the sobbing tremor of unoffered cranes ”and“ golden autumn ”“ cries on the sand with foliage ”.

This is Yesenin Rus. "This is all that we call homeland ..."

2.1.2 The theme of the homeland in Yesenin's lyrics.

The theme that took center stage in Yesenin's poetry is the theme of the Motherland.

Yesenin was an inspired Russian singer. All the most lofty ideas and innermost feelings were associated with her. “My lyrics are alive with one great love - love for the Motherland,” the poet confessed. - the feeling of the Motherland is the main thing in my work ”.

The poeticization of the native nature of central Russia, so constant in Yesenin's poetry, was an expression of a feeling of love for his native land. When you read such early poems as “Spreads the bird cherry with snow…”, “Beloved land! The heart is dreaming ... ", when, as if in reality, you see fields with their" crimson breadth ", the blue of lakes and rivers, the lulling" shaggy forest "with its" pine forest "," the path of villages "with" roadside herbs ", tender Russian birches with their joyful hello, involuntarily, the heart, like the author's, “glows with cornflowers”, and “turquoise burns in it”. You begin to love this “dear land”, “the country of birch calico” in a special way.

In turbulent revolutionary times, the poet already speaks of “revived Rus”, a formidable country. Yesenin now sees it as a huge bird, prepared for further flight (“O Rus, flap your wings”), gaining “another support”, stripping off the old black tar. The image of Christ appearing in the poet symbolizes both the image of insight and, at the same time, new torment and suffering. Yesenin writes in despair: "After all, this is not the kind of socialism that I thought about." And the poet painfully experiences the collapse of his illusions. However, in Confessions of a Hooligan, he reiterates:

I love my homeland.

I love my Motherland very much!

In the poem "Departing Russia" Yesenin already definitely speaks of the old that dies and inevitably remains in the past. The poet sees people who believe in the future. Let it be timid and apprehensive, but "they are talking about a new life." The author peers into the seething of the changed life, into the “new light” that is burning “of another generation near the huts”. The poet is not only surprised, but also wants to take this new thing into his heart. True, even now he introduces a reservation in his poems:

I will accept everything.

I accept everything as it is.

I am ready to follow the beaten tracks.

I will give my whole soul to October and May,

But I will not give up the sweet lyre.

And yet Yesenin extends his hand to a new generation, a young, unfamiliar tribe. The idea of the inseparability of one's own fate from the fate of Russia is expressed by the poet in the poem “The feather grass is asleep. Plain dear ... "and" Untold, blue, gentle ... "

Khodasevich's book mentions the statement of the poet D. Semenovsky, who knew Yesenin well, testifying: "... he said that all his work is about Russia, that Russia is the main theme of his poems." And that was exactly how it was. All Yesenin's works are a wreath of songs woven to the Motherland.

2.1.3. Love theme.

Yesenin began to write about love in the late period of his work (until that time he rarely wrote on this topic). Yesenin's love lyrics are very emotional, expressive, melodic, in the center of it are the complex vicissitudes of love relationships and the unforgettable image of a woman. The poet managed to overcome that touch of naturalism and bohemianism that was characteristic of him in the Imagist period, freed himself from vulgarisms and abusive vocabulary, which sometimes sounded dissonant in his poems about love, and sharply reduced the gap between gross reality and the ideal that was felt in individual lyric works.

Yesenin's outstanding creation in the field of love lyrics was the cycle "Persian Motives", which the poet himself considered the best of all that he had created.

The poems included in this cycle, in many respects, contradict those lines about love that sounded in the collection "Moscow tavern". This is evidenced by the very first poem of this cycle - “My old wound has settled down”. In "Persian motives" an ideal world of beauty and harmony is drawn, which, for all its obvious patriarchy, is devoid of rough prose and catastrophicness. Therefore, to reflect this beautiful realm of dreams, peace and love, the lyric hero of this cycle is touching and gentle.

Part 2. Predecessors and followers.

“Tradition is always a dialogue that does not exclude polemics, a continuation of the conversation about life begun by a predecessor, a return to the problems he posed and an attempt to solve them at a new level, from different socio-historical and aesthetic positions. This dialogue includes an attitude towards the world and a person, and not only the figurative and stylistic manner of the predecessor, ”K. Shilova asserts.

2.1. Folklore as the basis of the artistic picture of the world in the poetry of S. Yesenin.

From the age of five, Sergei learned to read, and this filled his boyish life with new content. “The book was not an exceptional and rare occurrence in our country, as in other huts,” the poet recalled. "As far as I can remember, I also remember thick leather-bound books." At first, these were folios of spiritual writings, but then there were books for home reading, and works of Russian classics.

"A poet can only write about what he is organically connected with." Yesenin was associated with Russian nature, with the countryside, with the people. He called himself “the poet of the golden log hut”. Therefore, it is natural that folk art influenced Yesenin's work.

The very theme of the poetry suggested this. Most often, he wrote about rural nature, which always looks simple and uncomplicated to him. This is because Yesenin found epithets, comparisons, metaphors in folk speech:

Behind a flat surface, the trembling sky

Leads the cloud out of the stall by the bridle.

Sparrows are playful

Like lonely children.

Yesenin often used folklore expressions: "silk carpet", "curly head", "maiden-beauty" and so on.

The plots of Yesenin's poems are also similar to those of the people: unhappy love, fortune-telling, religious rites ("Easter Annunciation"), historical events ("Martha the Posadnitsa").

As well as for the people, it is characteristic for Yesenin to animate nature, ascribing human feelings to it, that is, the method of personification:

You are my fallen maple, icy maple,

Why are you standing bent over under a white blizzard?

But in folk works one can feel a sincere faith, and Yesenin looks at himself from the outside, that is, he writes about what was once and what is not now: “I myself seemed to be the same maple”.

Yesenin's moods and feelings, like those of the people, are in tune with nature, the poet seeks her salvation and tranquility. Nature is compared with human experiences:

A girl walks along the coast is sad

A gentle foam wave weaves her shroud, -

Or it is opposed:

My ring was not found.

I went out of anguish to the meadow.

The river laughed not in pursuit:

"The cutie has a new friend."

Many of Yesenin's poems are similar to folklore in form. These are poems-songs: “Tanyusha was good”, “Play, play, talyanochka ...” and so on. Such poems are characterized by the repetition of the first and last lines. And the very structure of the line is taken from folklore:

Then do not the dawns in the streams of the lake weaved a pattern,

Your scarf, decorated with sewing, flashed over the slope.

Sometimes a poem begins like a fairy tale:

At the edge of the village

Old hut,

There in front of the icon

The old woman is praying.

Yesenin often uses words with diminutive suffixes. He also uses old Russian words, fabulous names: howl, gamayun, svei ...

Yesenin's poetry is figurative. But his images are also simple: “Autumn is a red mare”. These images are again borrowed from folklore, for example, a lamb - the image of an innocent victim.

2.2. Yesenin and Old Russian Literature.

In 1916, the first collection of poems by S. Yesenin "Radunitsa" appeared, combining poems depicting peasant life and interpreting religious subjects. In the rhythm of the poems of "Radunitsa", in their alternation and repetition, there is something of folk ornament, embroidery on a peasant's towel.

Separately, it should be said about the powerful impact on Yesenin of Old Russian literature and icon painting. According to him, the literature of Ancient Russia is “great literature” that “outweighs all other world literature”. Sometimes the development of one or another plot of ancient written monuments is found in the poet's work, in other cases - of individual motives; sometimes he uses metaphors and comparisons gleaned from walks, life and military stories. Especially often Yesenin refers to the "Lay of Igor's Host", which he knew by heart. In such works as "The Song of the Great March", "In the autumn, the owl is gagging ...", we constantly find motives and phraseology of the great creation of antiquity:

An owl gags like an autumn

Over the expanse of a road wound

My head flies

The golden hair bush withers.

Field, steppe "ku-gu",

Hello mother blue aspen!

Soon a month, bathing in the snow,

Will sit in the rare curls of his son.

And the themes of the glorified Russian icon painting (the youth Christ, the Savior, the Trinity, the Crucifixion, the Walking of the Mother of God, the Dormition of the Mother of God), we meet in the poems "Inonia", "Octoich", "Father". The Savior acts here as a symbol of the long-suffering Fatherland. The pure red color in Yesenin's poems reminds of the cinnabar of icons, and the blue - of a Russian wall fresco. These means enter into a complex combination with biblical imagery. That is why the Old Russian and Church Slavonic vocabulary is so characteristic of Yesenin's poetic lines ("wide", "blue", "sun", "gat", "howl", "support", "link", "dark", "mart" ).

Plots and images, expressive means of ancient Russian culture were reflected in a number of Yesenin's epic works. This is an early "The Legend of Evpatiy Kolovrat", written on the basis of "The Tale of the Ruin of Ryazan by Batu" and folk-poetic legends about the legendary feat of Yesenin's compatriot - the governor. This is "Martha Posadnitsa", which poeticizes the people's freemen, written in the traditions of Russian literature, in which Novgorod acts as a bulwark of freedom and heroism. Yesenin glorifies in these poems the primordial folk heroism.

The close cohesion of Yesenin's poems with folklore, in particular with song, largely determined their musicality. His poems are sung, “asking” for their embodiment in romances and other musical genres. And it is no coincidence that many composers turned to Yesenin's lyrics in their work.

2.3. Parallels with Gogol.

To say a new word about Russia, one must not only love her, but be her.

“My lyrics are alive with one great love - love for the Motherland. The feeling of the Motherland is the main thing in my work, "Yesenin wrote in 1921. “Do you know why I am a poet? - he asked Wolf Ehrlich, - ... I have a homeland! I have Ryazan! " In his Autobiography (1922) Yesenin admitted: "My favorite writer is Gogol." According to numerous testimonies of his contemporaries, the poet more than once turned to his work, admired The Inspector General, and recited whole pages of his beloved Dead Souls by heart. Quotes from Gogol were replete with his letters to friends.

In his memoirs about the poet A. K. Voronsky wrote: “His favorite prose writer was Gogol. He put Gogol above everyone else, above Tolstoy, about whom he spoke with restraint. Once he saw Dead Souls in my hands, he asked:

- Would you like to read to you the passage that I love most of all at Gogol's? - And he read by heart the beginning of the 6th chapter of the first part. "

Much becomes clear upon a careful reading of Gogol's lines:

“Before, long ago, in the years of my youth, in the years of my childhood irrevocably flashed, it was fun for me to drive up to an unfamiliar place for the first time: it doesn't matter whether it was a village, a poor county town, a village, a suburb, - I discovered a lot of curiosities in it a childish curious look ...

“Now I indifferently drive up to any unfamiliar village and indifferently look at its vulgar appearance, my chilled gaze is uncomfortable, it’s not funny to me, and what would have awakened in previous years a lively movement in the face, laughter and silent speech, now slips by, and my immovable lips keep indifferent desire. "

Rereading the passage line by line, we can easily determine the Yesenin line generated in one way or another. So, the 3rd and 4th stanzas of the famous “I don’t regret, I don’t call, I don’t cry ...” is a direct transposition of Gogol's lines:

Wandering spirit, you are less and less frequent

You stir up the flame of the mouth.

Oh my lost freshness

A riot of eyes and a flood of feelings.

Now I have become more stingy in desires,

My life? Or did you dream about me?

As if I am echoing in the spring

Ride on a pink horse ...

2.4 Yesenin's traditions in the poetry of the twentieth century.

Themes, thoughts and ideas raised in Yesenin's lyrics were reflected in the poetry of the twentieth century. Nikolai Tryapkin is the largest continuer of the tradition of the young Yesenin in our time. Yesenin's folk song tradition lives on in many poems by N. Tryapkin: “The loon flew,” “Round dance,” “Curl, birch ...” and so on. Another source of creativity S. Yesenin - A. Prasolov. Let us recall the lines of “Anna Snegina”: “I think / How beautiful / the Earth / And there is a man on it…” Yesenin's moral and philosophical theme was especially loved for Prasolov.

And many more will find in Yesenin's work something of their own, dear. Such a poet was N. Rubtsov, who inherited the foundations of S. Yesenin's work.

2.4.1 Yesenin's traditions in the poetry of N. Rubtsov.

N. Rubtsov went through a harsh life school: he was brought up in orphanages, worked as a fireman on a fishing vessel, and later as a worker at the Kirov plant in Leningrad. He served in the navy. But in spite of everything, his poems are a kingdom of beauty and primordial harmony. At the same time Rubtsov “everything is tormented by the line between town and village”; in his opinion, "the city rams the village." However, the rural, natural world in Rubtsov's poetry is tragic: cruelty is characteristic not only of people living among nature, but also of nature itself. The poet often describes a storm, a river swelling from flooding, a terrible winter night, a piercing cold wind. The poet in his poems refers to folk poetry, goes back to mythological archetypes. This is due to the fact that Rubtsov's creative style was formed under the influence of such poets as F. Tyutchev, N. Nekrasov, A. Fet and S. Yesenin.

An idea of the literature of the early 1960s is best given by the memoirs of a contemporary, poet and literary critic R. Vinonen, who studied at the Literary Institute together with N. Rubtsov. They capture both an expressive picture of the poetic predilections of literary youth, and the piercing loneliness of N. Rubtsov, a complete lack of understanding by his young contemporaries. This misunderstanding sometimes pushed N. Rubtsov to actions incomprehensible to those around him: once he removed from the walls portraits of Russian poets - Pushkin, Lermontov, Nekrasov ... - and, retiring with them, read them his poems. It would seem an eccentricity, but there is a deep meaning here: N. Rubtsov felt he was the heir of the great national poetic tradition and through the heads of “loud” poets - his contemporaries turned to eternity, to genuine enduring values.

“Rubtsov, following Yesenin, comes from the feeling that the world is dominated by harmony, which should be shown ... It is, first of all, in nature, in accordance with nature, and not contrary to nature - this is the undeclared, but unshakable motto of Yesenin and Rubtsov. It is in everything that is connected with nature: in the village and its values, in an integral feeling, in the melodic and melodic rhythmic beginning of the world, as the beginning of natural harmony. "

The closeness of the poetics of Rubtsov and Yesenin, is noted by almost all researchers of N. Rubtsov's work.

“The poetry of Nikolai Rubtsov has become a fundamentally important poetic phenomenon. The lyrics of N. Rubtsov, one of the brightest successors of the Yesenin tradition, are imbued with love for the Motherland, for its past and present. "

Is the term "Yesenin tradition" correct in general? S. Kunyaev in the article "Testament of love for life" in the collection of articles "In the world of Yesenin", writes: "Yesenin entered the host of the great, in the mainstream of a single Russian poetic tradition, which means there is no need to bother the poet's name without good reason." It seems that this statement is still too categorical.

By the way, Rubtsov himself strongly objected to those who called him Yesenin's direct heir. This, of course, does not mean that Nikolai Rubtsov did not treat Yesenin's poetry well enough, on the contrary, he valued it extremely highly and loved with all his being. Suffice it to recall his poem "Sergei Yesenin":

Yes, he did not look at Russia for long

With the blue eyes of a poet.

But was there a tavern sadness?

Sadness, of course, was ... But not this!

Versts of all the shaken earth,

All earthly shrines and bonds

As if the nervous system would enter

Into the waywardness of Yesenin's muse!

This is not the muse of the last day

I love her with her, I am indignant and cry.

She means a lot to me

If I mean anything myself.

And yet, in Rubtsov's love for Yesenin, there was not that exclusivity that some critics and poets would like to see in her. Rubtsov's mature poetry has little in common with the Yesenin style; in it, in particular, that aesthetics and poetics of color, without which Yesenin's work is unthinkable, is completely absent:

I love my destiny

I am running from obscurations!

I'll stick my face in the wormwood

And get drunk

Like an evening beast ...

From the snowy ice

I raise my knees

I see a field, wires

I understand everything!

Vaughn Yesenin -

in the wind!

The block stands slightly in the fog.

Like an extra one at a feast

Modestly Khlebnikov is a shaman ...

The study of traditions is important for understanding the entire literary process no less than identifying the innovative features of one or another author. Refusal to single out certain traditions within the framework of the general method significantly narrows the field of study of this problem and does not give a correct understanding of the development of the literary process as a dialectical mutual denial of individual directions.

Ideological and artistic closeness of N. Rubtsov to the new peasant poets is obvious. Suffice it to note that the main idea of poetry in both N. Rubtsov and Yesenin is the assertion of the spiritual world of national originality, which is seen in the interest in the art of pre-Petrine Russia; in the little noticed spiritual culture of the common people, especially the peasantry. However, unlike, for example, Klyuev, who even in society, according to his contemporaries, posed as a simple peasant, hiding his encyclopedic education and subtle talent as a pianist, N. Rubtsov did not oppose himself to bookish, "erudite" poetry.

N. Rubtsov and Yesenin have much in common in the concept of nature. In particular, it is typical for S. Yesenin to supplement the sphere of nature with objects of peasant life, which are considered as its natural continuation. Rubtsov: "wires", "muzzle", "bucket". Yesenin: "ossaffranite", "accordion".

Among the general trends in the depiction of nature, one should also note the perception of nature as a source of spiritual human strength, a bizarre combination of pagan and Christian principles in the worldview:

With every hitch and cloud,

With thunder ready to fall

I feel the most burning

The most mortal bond.

It seems that it was from the new peasant poetry, from S. Yesenin and N. Klyuev (the pines pray, the schema-monk is bor), that the religious epithets and metaphors migrated into N. Rubtsov's work "Aspens of melancholy groans and prayers" in the poem "In a Siberian village" are akin to the images of poetry early S. Yesenin.

We can say that "the features that unite them are tangible both in the music of the verse, and in the village images, and in the unique intimate and confidential intonation, on the whole, their poetry is an expression of a special kind of artistic consciousness associated with peasant labor, with ancient peasant views. to nature, with special symbols and vocabulary, illuminated by centuries of experience, with bright colors of pagan imagery that have not faded to this day ”.

V. Gusev, comparing the peculiarities of the poetic world of S. Yesenin and N. Rubtsov, notes that N. Rubtsov sometimes acts as "one-color" and "one-color" Yesenin. Monochromatic - probably so, but not monochromatic. In general, the critic's statement must be qualified as a metaphor, which, of course, cannot be taken literally.

Fortunately for us and especially for the future of Russian culture, Russian poets of the Soviet period were able to preserve and convey to us and to future generations the living muse of Russian poetry. Yes, each of them has its own, but there is something in it that brings everyone together and what A. Peredreev said in the poem "In Memory of the Poet":

And you served his land and heaven,

And to please anyone or demand

You conquered the tongue-tied world

2.4.2. The experience of analyzing N. Rubtsov's poem from the point of view of Yesenin traditions.

One of the most striking poems by N. Rubtsov is the poem "The Star of the Fields" (1964):

The star of the fields in the icy haze,

Stopping looking into the wormwood.

Already on the clock, twelve rang,

And a dream enveloped my homeland ...

Star of the fields! In moments of turmoil

I remembered how quiet over the hill

She burns over autumn gold,

It burns over winter silver ...

The star of the fields burns without fading away

For all the anxious inhabitants of the earth,

With its friendly ray touching

All the cities that have risen in the distance.

But only here, in the icy darkness,

She rises brighter and fuller

The star in this work acts as a traditional symbol of fate and eternity. The image of the poem declared in the title in each of the four stanzas is actualized by repetition. Why does Rubtsov call the poem "Star of the Fields"? Obviously, the field, like the dome of heaven, is one of the favorite images that characterize the artistic space in Rubtsov's lyrics. It is noteworthy that in another poem of the poet "Green Flowers" the lyrical hero "is easier where there are fields and flowers," that is, space, freedom. However, the image - the symbol of the “star of the fields” in the poem also carries a social connotation. After all, it burns over the peacefully sleeping homeland. The poem emphasizes the feeling of immense expanses, the breadth of the horizons of the Russian land.

The fate of the lyrical hero and the fate of the homeland are linked in Rubtsov's work by “the most burning and most mortal connection”. As the lyrical plot develops, the artistic space of the poem expands significantly. The Rubtsovskaya star of the fields is no longer only burning over Russia, but also “for all anxious inhabitants of the earth”. Thus, happiness is perceived by the hero as the peace and tranquility of all mankind. However, in the last stanza of the poem, the artistic space is again compositionally narrowed. Only at home, the star "rises brighter and fuller." In the final line, the theme of the small homeland is updated:

And I am happy as long as in the world of white

The star of my fields is burning, burning ...

The poet worked on the text of this key poem in the collection for a long time and carefully.

In this poem Rubtsov widely used folklore symbols: the image of a bird as an image of time, fate and soul, the image of a star as a symbol of fate, happiness and spiritual purity, the image of a temple as a symbol of holiness, and so on. A deepening of the classical tradition of Russian poetry is evident in the poet's work. No wonder N. Rubtsov is called the heir of Yesenin's poetry. V. Gusev justly noted: “Rubtsov, following Yesenin, comes from the feeling that harmony prevails in the world, which should be shown ... It is, first of all, in nature, in accordance with nature, and not contrary to nature - this is an undeclared, but unshakable motto Yesenin and Rubtsov. It is in everything that is connected with nature: in the village and its values, in an integral feeling, in the melodic and melodic rhythmic beginning of the world, as the beginning of natural harmony. "

Conclusion.

His poetry is, as it were, scattering by both

Fistfuls of the treasures of his soul.

A. N. Tolstoy.

The words of A. N. Tolstoy about Yesenin can be put as an epigraph to the work of the outstanding Russian poet of the twentieth century. And Yesenin himself admitted that he would like to “pour out my whole soul into words”. The “flood of feelings” that flooded his poetry cannot but evoke a reciprocal emotional excitement and empathy.

Yesenin is Russia. His poems are conversations about Russia, its past, present and future. And, of course, time has determined the meaning of Yesenin poetry, folk in its essence. At its center are the great contradictions of our era, and above all - the national tragedy of the Russian people, the split between the people and the government, the government and the individual, its orphanhood and tragic fate. These traits in the character of the Russian people, in the Russian soul, and entered the character of the lyrical hero S. Yesenin.

Yesenin is an example for such poets as N. Rubtsov. Fortunately for us and especially for the future of Russian culture, our poets of the twentieth century were able to preserve and convey to us and to future generations the living muse of Russian poetry. Yes, each of them has its own, but there is something in it that brings everyone together and what A. Peredreev said well in his poem "In Memory of a Poet":

Your gift is given to you by this vastness,

And you served his land and heaven,

And to please anyone or demand

Didn't beat the empty and poor drum.

You remembered those, distant, but alive,

You conquered the tongue-tied world

And in our day you have lifted their lyre,

Though the classical lyre is heavy!

Thus, the purpose of the work was to identify the originality of the poetics of S. Yesenin.

For this, the following tasks were solved:

Revealing the peculiarities of the artistic style and poetic technique of S. Yesenin.

As a result: for Yesenin it is characteristic to animate nature, ascribing human feelings to it, that is, the method of personification

Yesenin's poetry is full of appeals, often these are appeals to nature.

An important place in Yesenin's work is occupied by epithets, comparisons, repetitions, metaphors.

Consideration of the main themes of creativity.

As a result of the study, it was concluded that the main themes of Yesenin's work were the theme of the village, homeland and love.

Determination of the role of the traditions of ancient Russian literature and folklore.

It was determined that the poetry of Sergei Yesenin and folklore have a very close connection, and it should also be said about the powerful influence of ancient Russian literature and icon painting on Yesenin.

Study of Gogol traditions in the works of S. Yesenin.

We find direct parallels with Gogol in Yesenin's poems "The Country of Scoundrels", "Anna Snegina", "Black Man", in the article "Iron Mirgorod", numerous lyric poems. Hidden parallels permeate, perhaps, the entire creative legacy of Yesenin.

Generalization of Yesenin traditions inherited in poetry of the 2nd half of the 20th century.

Nikolai Tryapkin is the largest continuer of the tradition of the young Yesenin in our time. Yesenin's folk song tradition lives on in many poems by N. Tryapkin. Rubtsov, following Yesenin, comes from the feeling that the world is dominated by harmony, which should be shown ... It, first of all - in nature, in accordance with nature, and not contrary to nature - this is the undeclared, but unshakable motto of Yesenin and Rubtsov.

The practical orientation is seen in the possibility of using literature in the classroom.

Appendix No. 1.

Photographs by S. Yesenin.

S.A. Yesenin. 1913 year.

S.A. Yesenin. Photo from a foreign passport. 1922 year.

N.I. Kolokolov, S.A. Yesenin, I. G. Filipchenko. 1914 year.

	S.A. Yesenin. 1922 year.

Sergei Yesenin with N.A.Klyuev. Autumn 1916

S.A. Yesenin. 1924 year.

Sergey Yesenin and Isadora Duncan

S.A. Yesenin with Isidora Duncan and her adopted daughter Irma. 1922 year.

Bibliography

1. Esenin S.A. Collected cit .: in 3 volumes.Vol. 1, 3.M., 1977.

2. Gogol N. V. Sobr. cit .: in 8 volumes.Vol. 1, 7.M., 1984.

3. Rubtsov N .: Time, heritage, destiny: Literary - artistic almanac. 1994.

4.Agenosov V., Ankudinov K. Modern Russian poets.- M .: Megatron, 1997.- 88s ..

5. Gusev V. I. Unobvious6 Yesenin and Soviet poetry. M., 1986.S. 575

6. Yesenin's life: contemporaries tell. M., 1988.

7. Lazarev V. Long memory // Poetry of Russian villages, M., 1982, p. 6, / 140 /.

8. Literature at school. Scientific - methodical journal. M., 1996.

9. Prokushev Yu. L.: The life and work of Sergei Yesenin. M .: Det. Lit., 1984.- 32s ..

10. Rogover E. S. Russian literature of the twentieth century: textbook. - 2nd edition. - SPb. 2004.- 496s.

11. V.F. Khodasevich. Necropolis: Memories.- M .: Soviet writer, 1991.- 192s.

V.F. Khodasevich. Necropolis: Memories.- M .: Soviet writer, 1991.- 192s.

The originality of the poetics of S. Yesenin.

The beauty and richness of Yesenin's lyrics.

Features of the art style.

Yesenin's lyrics are very beautiful and rich. The poet uses various artistic means and techniques. An important place in Yesenin's work is occupied by epithets, comparisons, repetitions, metaphors. They are used as a means of painting, convey the variety of shades of nature, the richness of its colors, the external portrait features of the heroes ("fragrant bird cherry", "a red month like a foal harnessed to our sleigh", "in the darkness a damp month like a yellow raven hovers over the ground") ... Repetitions play an important role in Yesenin's poetry, as well as in folk songs. They are used to convey the state of mind of a person, to create a rhythmic pattern. Yesenin uses repetitions with permutation of words:

Trouble has befallen my soul

Trouble befell my soul.

Yesenin's poetry is full of appeals, often these are appeals to nature:

Lovely birch thickets!

Using the stylistic features of folk lyrics, Yesenin seems to pass them through literary traditions and through his poetic worldview.

Often he wrote about rustic nature, which always looked he has a simple and uncomplicated. This happened because Yesenin found epithets, comparisons, metaphors in folk speech:

Like lonely children.

As well as for the people, it is characteristic for Yesenin to animate nature, ascribing human feelings to it, that is, the method of personification:

Maple you are my fallen,

What are you bending over

under a white blizzard?

Or what did you hear?

Yesenin's moods and feelings, like those of the people, are in tune with nature, the poet seeks her salvation and tranquility. Nature is compared with human experiences:

My ring was not found.

I went from longing to the meadow.

The river laughed in pursuit of me:

"The cutie has a new friend."

Features of metaphor in Yesenin's poetry.

Metaphor (from the Greek metaphora - transfer) is a figurative meaning of the word, when one phenomenon or object is likened to another, and you can use both similarity and contrast.

Metaphor is the most common means of generating new meanings.

The system of comparisons, images, metaphors, all verbal means is taken from peasant life, dear and understandable.

Reaching out for the warmth, breathing in the softness of bread

And with a crunch mentally biting cucumbers,

Behind a flat surface, the trembling sky

Leads the cloud out of the stall by the bridle.

Even the mill is a log bird

With a single wing - standing, eyes closed.

ES Rogover in one of his articles asserted that each poet has his own “visiting card”: either it is a feature of poetic technique, or it is the richness and beauty of lyrics, or the originality of vocabulary. All of the above, of course, also applies to Yesenin, but I would like to note the peculiarities of the poet's vocabulary. [Ibid., P. 198.]

In the poem "Smoke in the flood ..." haystacks are compared with churches, and the mournful singing of a capercaillie with the call to all-night vigil.

The grove is also visible, which “covers the wood with a blue gloom”. That is the whole low-key, bleak picture created by the poet, everything that he saw in his native, flooded and darkened land, devoid of the joy of people, for whom, truly, it is not a sin to pray.

In the poems "Imitation of a song", "Under the wreath of a forest chamomile", "Tanyusha was good ...", "Play, play, talyanochka ...", the poet's gravitation towards the form and motives of oral folk art is especially noticeable. Therefore, there are a lot of traditional folklore expressions in them like: "dastardly separation", like "insidious mother-in-law", "I will admire if I look at it", "in the dark tower", the scythe - "gas chamber-snake", "blue-eyed guy".

Poetic technique of S. Yesenin.

They did not give the mother a son,

The first joy is not for the future.

And on a stake under an aspen

The breeze fluttered the skin.

The poet's stanza is usually four-line, in which each line is syntactically finished, a hyphenation that interferes with melodiousness is an exception. Four - and two - line stanzas do not require a complex rhyme system and do not give its variety. According to their grammatical composition, Yesenin's rhymes are not the same, however, the poet's gravitation towards precise rhyme is noticeable, which gives a special smoothness and sonority to the verse. [. P.F. Yushin. Poetry of Sergei Yesenin 1910-1923. M., 1966.- 317s ..]

The moon butts the cloud with a horn,

Dust bathes in blue.

And nodded her month behind the mound,

Dust bathes in blue.

The moon in Yesenin's poetry.

Yesenin is perhaps the most lunar poet in Russian literature. The most common image of poetic paraphernalia is the moon, the month is mentioned in 351 of his works more than 140 times.

Yesenin's lunar spectrum is very diverse and can be subdivided into two groups.

First: white, silver, pearl, pale. The traditional colors of the moon are collected here, although poetry is exactly where it turns out, where the traditional is transformed into the unusual.

The second group, in addition to yellow, includes: scarlet, red, red, gold, lemon, amber, blue.

Most often, Yesenin's moon or month is yellow. Then there are: gold, white, red, silver, lemon, amber, scarlet, red, pale, blue. Pearl color is used only once:

Not the sister of the month from the dark swamp

She threw the kokoshnik into the sky in pearls, -

Oh, how Martha went out the gate ...

A very characteristic technique for Yesenin - in the sense of its uncharacteristic: the poet uses pure, natural colors, traditional for Old Russian painting.

Yesenin does not have a red moon at all. Perhaps only in Poem about 36:

The month is wide and scarlet ...

The Yesenin moon is always in motion. This is not a limestone ball, ascended into the sky and hanging a sleepy stupor on the world, but necessarily alive, spiritualized:

The road is pretty good

Nice cold link.

Moon of gold powder

Showered the distant villages.

But only from a month

Silver light will sprinkle

Another turns blue for me,

The other seems to be in the fog.

Yesenin often uses words with diminutive suffixes. He also uses old Russian words, fabulous names: howl, svei, etc.

Yesenin's color scheme is also interesting. He most often uses three colors: blue, gold and red. And these colors are also symbolic.

Blue - striving for the sky, for the impossible, for the beautiful:

In the blue evening, moonlit evening

I was once handsome and young.

Gold is the original color from which everything appeared and in which everything disappears: “Links, links, golden Russia”.

Red is the color of love, passion:

Oh, I believe, I believe, there is happiness!

The sun has not gone out yet.

Dawn with a red prayer book

Prophesies the good news.

Often Yesenin, using the rich experience of folk poetry, resorts to the method of personification:

His bird cherry “sleeps in a white cape,” the willows cry, the poplars whisper, “the girls ate,” “like a pine tree is tied with a white kerchief,” “a blizzard is crying like a gypsy violin,” etc.

Images of animals in the poetry of S. Yesenin.

Yesenin's poetry is figurative. But his images are also simple: "Autumn is a red mare." These images are again borrowed from folklore, for example, a lamb - the image of an innocent victim.

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

In the poetry of Sergei Yesenin there is also a 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 a little"., 1924)

Along with pets, we find images of representatives of the wild with him.

Of the 339 considered poems, 123 mention animals, birds, insects, fish. Horse (13), cow (8), raven, dog, nightingale (6), calves, cat, pigeon, crane (5), sheep, mare, dog (4), foal, swan, rooster, owl (3), sparrow, wolf, wood grouse, cuckoo, horse, frog, fox, mouse, tit (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 the peasant life as an integral part of the life of the Russian peasant. Since ancient times, a horse, a cow, a dog and a cat accompanied a person in his difficult 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 the breadwinner in a peasant family, and the cat caught mice and simply personified the comfort of home. The image of a horse, as an integral part of everyday life, is found in the poems "Tabun" (1915), "Farewell, dear Pushcha ..." (1916), "This sadness can not be scattered now ..." (1924). The pictures of village life change in connection with the events taking place in the country. And if in the first poem we see "herds of horses in the green hills", then in the following ones already:

Crying sheep, and in the distance in the wind

A horse is waving its skinny tail,

Looking into an unkind pond.

("This sadness can not be scattered now ...", 1924)

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

The innovation and originality of S. Yesenin - the poet manifested itself in the fact that while drawing or mentioning animals in everyday space (field, river, village, yard, house, etc.), he is not an animalist, that is, he does not set the goal of recreating 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 comprehension of the surrounding world, allow revealing the content of a person's spiritual life.

Leading themes of poetry.

Whatever Yesenin writes about, he thinks in images taken from the natural world. Each of his poems, written on any topic, is always unusually colorful, close and understandable to everyone.

The early Yesenin poetry is based on love for the native land. It is to the native land of the peasant land, and not to Russia with its cities, factories, factories, universities, theaters, and political and social life. Russia in the sense that we understand it, he essentially did not know. For him, his homeland is his own village and those fields and forests in which she is lost. Russia is Russia, Russia is a village.

About Russia - a crimson field

And the blue that fell into the river -

I love to joy and pain

Your lake melancholy

Yesenin knows how to feel in the very melancholy of the native side of gaiety, in slumbering Russia - the accumulation of heroic forces. His heart responds to the girlish laughter, to the dance around the fires, to the children’s talianka. You can, of course, stare at the "bumps", "hummocks and depressions" of your native village, or you can see "how the skies are turning blue all around." Yesenin assimilates a bright, optimistic view of the fate of his Fatherland. That is why so often lyrical confessions addressed to Russia are heard in his poems:

But I love you, meek homeland!

And for what I can not guess.

Oh you, my Rus, dear homeland,

Sweet rest in the clink of kupyr.

I am here again, in my own family,

My land, brooding and tender!

For the inhabitant of this Rus', the whole feat of life is peasant labor. The peasant is hammered, beggar, naked. His land is also wretched:

You are my forgotten land

You are my dear land.

You can use Yesenin's poems to restore his early peasant - religious tendencies. It turns out that the mission of the peasant is divine, for the peasant is, as it were, involved in the creativity of God. God is the father. The earth is mother. The son is the harvest.

Russia for Yesenin is Russia, that fertile land, the homeland in which his great-grandfathers worked and now his grandfather and father are working. Hence the simplest identification: if the land is a cow, then the signs of this concept can be transferred to the concept of homeland. [V.F. Khodasevich. Necropolis: Memories.- M .: Soviet writer, 1991.- 192s ..]

Blue sky, color arc.

The banks of the steppe run quietly,

Smoke stretches, near the crimson villages

The wedding of the crows encircled the palisade.

Homeland theme in Yesenin's lyrics.

I love my Motherland very much!

I accept everything as it is.

I am ready to follow the beaten tracks.

I will give my whole soul to October and May,

But I will not give up the sweet lyre.

Yesenin's outstanding creation in the field of love lyrics was the cycle "Persian Motives", which the poet himself considered the best of all that he had created.

Features of creativity
“The pathographic study of the poet's personality is the only correct method of approach to the analysis of his work ... The poet's fantasy was of an autistic nature ... Yesenin came to the tavern due to his psychopathic insecurity, not adaptability to reality, his autism ... Alcoholism, in our opinion , giving the appropriate coloring to the works of the last period of Yesenin's work, is not something self-suppressing in them (with the exception of only a few purely alcoholic poems). Alcoholism only reveals, soaks up the basic constitutional roots of his poetry. Autistic tendencies are intensifying. " (Grinevich, 1927, p. 82, 84, 90.)
“The poem" The Black Man "thus gives us a clear, typical picture of the alcoholic psychosis that Yesenin suffered. This typical alcoholic delirium with visual and auditory hallucinations, with severe states of fear and melancholy, with excruciating insomnia, with severe remorse and an urge to commit suicide ... based on dulling the emotional-volitional sphere. First of all, such a characteristic cynicism of alcoholics is striking ... Yesenin in "Moscow tavern" reflects his psyche, where poetry is closely intertwined with alcoholic cynicism and typical
the licentiousness of the emotional and volitional sphere of the alcoholic. " (Galant, 1926a, pp. 118-119.)

“The combination of infantile character traits, enhanced by alcoholism and a dissolute way of life, led to social maladjustment and chanting of it (a cycle of poems“ Moscow tavern ”), mood swings, moodiness, irritability, excessive suspiciousness and hypochondriacia. Gradually, Yesenin's works lost their emotional variety, the prevailing background of their mood became monotonously depressive, the range of experiences narrowed. " (M.I.Buyanov, 1995, p. 93.)
“Oddities, eccentricities, surprises, leprosy, the undoubted purpose of which to shock, amaze anyone, make you open your mouth with surprise, penetrate into Yesenin's verse, and as a result, verses like lines in“ Confessions of a Hooligan ”appear:“ ... Today I really want / Piss the moon out of the window ". Or deliberate, recklessly emphasized, not just anti-religious, but obvious blasphemy like" Lord, calve! " in "Transfiguration" ... And the extraordinary, striking lines in the poems of 1919-24, one might think, not so much because the poet was at that time in the Imagist group, including, of course, in creativity, "to surprise with surprises." Imagism, on the other hand, presented new, wide possibilities for this ... The individual mental makeup of the poet's personality first of all determined his genius, and his inconsistency, and his desire to "surprise with surprises", and his irrepressible craving for fantasy, and his desire always, everywhere and in
everyone be the first. " (Panfilov. 1996. p. 18-19, 28.)

“It is surprising that the last two years of the year were the most intense creatively for Yesenin. The tension experienced by him seemed to break through now and then with bright poetic creations, many of which are now recognized as masterpieces. " (Miroshnichenko, 1998, p. 222.)

Characteristics of creativity

Creativity is characterized by propaganda, mass character, social orientation:

“I want to be a singer and a citizen,

So that everyone, as pride and example,

Be a real, not a half-son

In the great states of the USSR ".

Orientation to one's own state: "I never lie with my heart."

Realism is romanticism. His realism always has a romantic connotation. “I am a realist, and if there is something vague in me for a realist, then this is romance, but the romance is not of the old tender and lady-adoring way of life, but the real earthly one, which rather pursues adventurous goals in the plot than rotten moods about Roses, Crosses and any other rubbish ”(5, p. 166).

His heroes are doubles of the author's "I". In the poem "The Black Man", he brought out the image of the "dark" force, his double. In dialogue with him, he does not spare himself, calls himself "a bum", "a scoundrel", his inner voice is demanding and ruthless. But still he wants to defeat the "black man":

“I'm furious, furious,

And my cane flies

Straight to his face,

On the bridge of the nose ... ".

In the play "The Country of Scoundrels" - his double - Nomakh. "And once, once ... A merry guy, All the smell of steppe grass to the bone, I came to this city empty-handed, But with a full heart And not with an empty head."

Features of language and style

"The poetic ear should be the magnet that unites different figurative meanings into a sound one-blow on the sound of words, only then does it matter."

Reality, concreteness, tangibility are characteristic of Yesenin's figurative structure.

“Words are images of all objectivity and all phenomena around a person; the word is inseparable from being. It is a fellow traveler of everyday life ”(5, p. 442).

An ingenious master of landscape poetry, he perceived nature as a universal human value. She is not a frozen landscape background: she lives, acts, she is the poet's favorite hero:

"O side of the feather-grass forest,

You are close to your heart with evenness,

But yours is lurking thicker

Saline melancholy ".

Epithets, comparisons, metaphors in Yesenin's lyrics do not exist by themselves and not for the sake of the beauty of form. For example, his month alone has many faces - "curly lamb - the month walks in the blue grass"; “The red-haired moon was harnessed to our sleigh like a foal”; "Look: in the darkness a damp moon, like a yellow raven ... hovers over the ground."

“Art for me is not the intricacy of patterns, but the most necessary word of the language with which I want to express myself” (3, p. 37).
Creative process

He had an "archive" - a box where he put sheets of paper with words, phrases, rhymes. When he didn't have the right rhyme, he picked them up from this storeroom. There was no orderliness in my work, I wrote according to my mood - in many ways the creative process depended on external life circumstances. He composed on the go, impromptu, wrote on napkins in taverns, gave it to friends on pieces of paper, even wrote on the walls of the Sretensky Monastery and Tigulevka. The period of his stay in Batumi and Tiflis in 1924 was fruitful.

"Galya, dear," Persian motives "I have a whole book of 20 poems. Print anything, anywhere. I do not share anyone's literary policy. I have my own - myself. Give "Letter to a Woman" to "Zvezda", also 2 rubles a line. One of these days I will send "Flowers" and "A Letter to Grandfather." Find in the "Dawn of the East" "Letter from the mother" and "Answer". Pop in all magazines. I'll flood you with stuff soon. It is very rare in life to write so much and easily. This is simply because I am alone and concentrated in myself ”(from a letter to Galina Beneslavskaya, Tiflis, 1924) (5, p. 173).

Characteristics of Yesenin's creativity, general characteristics of Yesenin's creativity, features of Yesenin's creativity

Yesenin's poetry is really extraordinary figurative. For us: the moon is shining, and its light falls on the roof of the village hut. For Yesenin: "Cleans a month in a thatched roof, cuffed with blue horns." What incarnations and reincarnations only occur in his poems! The moon turns into a curly lamb, a yellow crow, a bear, a foal, a shepherd's horn, a horse's face, etc., etc.

One of the researchers calculated: "Yesenin gave Russian poetry more than fifty unforgettable images of the moon-month, without ever mentioning an epithet." He also called the Yesenin image "a fabulous werewolf". However, Yesenin's originality is not simply in the dense metaphoricity and not even in the unexpectedness of figurative definitions of thought, especially since many of these extraordinary "images" were actually borrowed or could be borrowed by the poet from A. Afanasyev's book "Poetic views of the Slavs on nature" or from the collection of D. Sadovnikov "The Mysteries of the Russian People". However, no matter how well we know that the image of, for example, the edge of the moon was not invented by Yesenin, it will still seem to have been born before our eyes and, moreover, involuntarily, just as the poet said: “And involuntarily the image breaks into the sea of bread from the tongue: the calving palate is licked by a red heifer.

Yesenin himself divided his images into three groups and thus explained this separation principle (in "The Keys of Mary"):

* splash screen, or "assimilation of one object to another."
* For example - the sun is a wheel, a body, and a squirrel.

Ship, that is, a flowing, unfolded, floating path. According to Yesenin's, as always, an unusual, extremely individual definition, it is "a catch in some object, phenomenon or being of a stream, where the splash image floats like a boat on water."

The third type of image, the most complex and the most, as Yesenin put it, "significant" - "angelic", that is, "breaking through from a given screensaver or ship image of some window." The moment is very important, and, explaining it, Yesenin was especially persistent. And Bloku said that the poet should "not stick like a burbot to the reflection of the moon on the ice, otherwise the moon will flee to the sky", but "splash out to the moon." The same thought in a letter to R. V. Ivanov-Razumnik: "The word ... does not gilded, but hatches from the heart of itself as a chick."

The compositional structure of the poem depends on what type of image - a splash or a ship image - is laid as the cornerstone in the poem. If figurativeness is local, “splash”, if its length and “grasping power” is enough for only one line or quatrain, then the poem takes the form of stanzas. When the image moves and even unites several poems by its movement, its final “face” (the result of many transformations and transformations) can become indistinct, and a poem, torn from the cycle, too mysterious.

Yesenin wrote in The Keys of Mary:

* “In our language there are many words that, like“ seven lean cows devoured seven fat cows, they lock up a whole series of other words, expressing sometimes a very long and complex definition of thought. For example, the word skill (is able) harnessed the mind in itself, has a few more words, lowered into the air, expressing their attitude to the concept in the hearth of this word. This is especially remarkable in our grammar of verbal provisions, which are devoted to the whole rule of conjugation, arising from the concept of "harness, that is, putting on the harness of words of some thought on one word, which can serve, just like a horse in harness, a spirit going on a journey by country of presentation. All our imagery is built on the same devouring by the lean words of the fat, putting together two opposite phenomena through similarity in movement, it gave birth to a metaphor:

* The moon is a hare,
* The stars are rabbit tracks. "
The way of Yesenin's pictorial reasoning, when he speaks not in poetry, but in prose, is so sharply individual that his non-humorous speech may well seem "tongue-tied." In all likelihood, for this reason, "The Keys of Mary" do not enjoy special trust either among readers or among researchers. And this prejudice was not born today. A friend of Yesenin's journalist G. Ustinov recalls that once in the editorial office of the central Pravda between Yesenin and Ustinov, on the one hand, and Pik. Yves. Bukharin, on the other hand, started a dispute - they were arguing about the "Keys of Mary". Bukharin, bursting out laughing like a schoolboy, announced that the author had “dislocated brains”: “Your metaphysics is not new, this is a boyish theory, confusion, nonsense. We need to deal more seriously with Marx. "

V.V. Osinsky, who was present at this incident, reacted to the great "confusion" more condescendingly, agreeing that awkward and tongue-tied "nonsense", for all its unscientific nature, is still acceptable as a poetic theory - not for "serious people", of course, but for poets.

Indeed, the Keys of Mary are scientifically untenable. However, not feeling that a seemingly confused theory has the same ancestral hearth as Yesenin's poetry, not realizing that without this road trip, those who decide to go on a journey through the country of Yesenin's ideas will never reach their goal - they will get lost right away, at the crossing of the border strip. Or maybe they will not see anything unique in a unique country at all, they will not see anything, except for reseda and birch trees reproduced by fiction writers from the poetry! After all, each Yesenin image, any of its figurativeness contains a complex definition of a far from simple thought. This is the first thing. Secondly, above each movement of this coherence, a whole swarm of details and shades of its ship's stream, lowered into the air, soar ...

It is they who replenish the volume: outside the "fat" context, both the word, and the image, and the poem as a whole "grow thin" - it becomes poorer both in meaning and expressiveness ... Yesenin's popular poems “I don’t regret, I don’t call, I don’t cry ...”, it must be remembered that the poet looks at the apple tree, both flowering and fruiting, as if with “double vision”; this is both a real tree, perhaps the very same one - “under the dear window”, and the image of the soul:

* Good for autumn freshness
* Shake off the apple-tree soul with the wind ...

In these poems, written at the beginning of 1919, the poet sees the autumn apple tree not fading, leafless, but crowned with fruits. The hero admires the abundance of the creative gift. The same image in a poem of 1922 is illuminated with a completely different feeling:

* I do not regret, do not call, do not cry…
* Everything will pass like smoke from white apple trees.
* Fading gold covered

1.1 The beauty and richness of Yesenin's lyrics.

1.1.1. Features of the art style.

Trouble has befallen my soul

Trouble befell my soul.

Yesenin's poetry is full of appeals, often these are appeals to nature:

Lovely birch thickets!

Using the stylistic features of folk lyrics, Yesenin seems to pass them through literary traditions and through his poetic worldview.

Most often, he wrote about rural nature, which always looked simple and uncomplicated to him. This happened because Yesenin found epithets, comparisons, metaphors in folk speech:

Sparrows are playful

Like lonely children.

Maple you are my fallen,

icy maple,

What are you bending over

under a white blizzard?

Or what did you see?

Or what did you hear?

Like a village

you went out for a walk.

Yesenin's moods and feelings, like those of the people, are in tune with nature, the poet seeks her salvation and tranquility. Nature is compared with human experiences:

My ring was not found.

I went from longing to the meadow.

"The cutie has a new friend."

ES Rogover expressed the opinion that Yesenin's poetry of mature years is also directed to the beautiful. The poet knows how to find in nature, man, history and modernity that is truly beautiful, original, enchanting with its poetry and originality. At the same time, he can conjugate these different beginnings of being so that they interpenetrate each other. Therefore, Yesenin again humanizes nature, and the personality likens the image of the native landscape, appreciating the natural principle in a person and placing high on his nature-like actions. He values the same properties in himself:

I'm still the same in my heart

Like cornflowers in rye, bloom in the face of the eye.

…………………………………………………………………..

... My head is like August,

Wet hair is pouring with wine.

……………………………………………………………………

… In the heart there are lilies of the valley of bursting forces.

…………………………………………………………………….

... That old maple looks like me with its head.

Often we are amazed at Yesenin's ability to experience the charm of the beautiful, to express himself, in the words of Leskovsky Flyagin, as a “beauty lover”. He has a poem that can be figuratively called Leskovsky. This is the poem “I don’t regret, I don’t call, I don’t cry ...”.

... in a spring echoing early

Galloped on a pink horse.

A vagrant spirit! You are less and less frequent

You stir up the flame of the mouth.

Oh my lost freshness

Fading gold covered,

I won't be young anymore.

1.1.2. Features of metaphor in Yesenin's poetry.

Metaphor (from the Greek metaphora - transfer) is a figurative meaning of the word, when one phenomenon or object is likened to another, and you can use both similarity and contrast.

Metaphor is the most common means of generating new meanings.

The system of comparisons, images, metaphors, all verbal means is taken from peasant life, dear and understandable.

Reaching out for the warmth, breathing in the softness of bread

And mentally biting cucumbers with a fragility,

Behind a flat surface, the trembling sky

Leads the cloud out of the stall by the bridle.

Even the mill is a log bird

With a single wing - standing, eyes closed.

1.1.3 Poetic vocabulary.

The concreteness and distinctness of the poetic vision is expressed in the most everyday everyday vocabulary, the dictionary is simple, it lacks bookish and even more abstract words and expressions. This language was used by fellow villagers and fellow countrymen, and in it, outside of any religious connotation, there are religious words that the poet uses to express his purely secular ideas.

In the poem "Smoke in the flood ..." haystacks are compared with churches, and the mournful singing of a capercaillie with the call to all-night vigil.

In the poems "Imitation of a song", "Under the wreath of a forest chamomile", "Tanyusha was good ...", "Play, play, talyanochka ...", the poet's gravitation towards the form and motives of oral folk art is especially noticeable. Therefore, there are a lot of traditional folklore expressions in them like: "dastardly separation", like "insidious mother-in-law", "I will admire if I look at it", "in the dark tower", the scythe - "gas chamber-snake", "blue-eyed guy".

Simple, uncomplicated words and expressions borrowed from folk art create that genuine style of S. Yesenin that is close to many.

1.1.4. Poetic technique of S. Yesenin.

A few examples:

They did not give the mother a son,

The first joy is not for the future.

And on a stake under an aspen

The breeze fluttered the skin.

The poet's stanza is usually four-line, in which each line is syntactically finished, a hyphenation that interferes with melodiousness is an exception. Four - and two - line stanzas do not require a complex rhyme system and do not give its variety. In terms of their grammatical composition, Yesenin's rhymes are not the same, however, the poet's gravitation towards precise rhyme is noticeable, which gives a special smoothness and sonority to the verse.

The moon butts the cloud with a horn,

Dust bathes in blue.

And nodded her month behind the mound,

Dust bathes in blue.

1.1.5. The moon in Yesenin's poetry.

Yesenin is perhaps the most lunar poet in Russian literature. The most common image of the poetic paraphernalia of the moon, the month is mentioned in 351 of his works more than 140 times.

Yesenin's lunar spectrum is very diverse and can be subdivided into two groups.

First: white, silver, pearl, pale. The traditional colors of the moon are collected here, although poetry is exactly where it turns out, where the traditional is transformed into the unusual.

The second group, in addition to yellow, includes: scarlet, red, red, gold, lemon, amber, blue.

Most often, Yesenin's moon or month is yellow. Then there are: gold, white, red, silver, lemon, amber, scarlet, red, pale, blue. Pearl color is used only once:

Not the sister of the month from the dark swamp

Oh, how Martha went out the gate ...

A very characteristic technique for Yesenin - in the sense of its uncharacteristic: the poet uses pure, natural colors, traditional for Old Russian painting.

Yesenin does not have a red moon at all. Perhaps only in Poem about 36:

The month is wide and scarlet ...

Yesenin's moon color is not ominous, not apocalyptic. These are not M. Voloshin's moons:

And blooms like a red fern,

Ominous moon ...

To the snowy moon, hyacinth blue

Together with your face I will snuggle.

Slaves are hostile to me

Deathly - wet moon ...

The Yesenin moon is always in motion. This is not a limestone ball, ascended into the sky and hanging a sleepy stupor on the world, but necessarily alive, spiritualized:

The road is pretty good

Nice cold link.

Moon of gold powder

Showered the distant villages.

But only from a month

Silver light will sprinkle

Another turns blue for me,

The other seems to be in the fog.

Turn your face to the seventh heaven

On the moon, wondering about fate,

Calm down mortal and don't demand

The truth that you do not need.

Gold frog moon

Spread out on calm water ...

If the world is not cognizable in the word, then it cannot escape from the depiction of the word.

Yesenin's lyrics are very beautiful and rich. The poet uses various artistic means and techniques. The main ones are:

Ø Yesenin often uses words with diminutive suffixes. He also uses old Russian words, fabulous names: howl, svei, etc.

Ø Yesenin's poetry is figurative. But his images are also simple: "Autumn is a red mare." These images are again borrowed from folklore, for example, a lamb - the image of an innocent victim.

Ø Yesenin's color scheme is also interesting. He most often uses three colors: blue, gold and red. And these colors are also symbolic.

Blue - striving for the sky, for the impossible, for the beautiful:

In the blue evening, moonlit evening

I was once handsome and young.

Gold is the original color from which everything appeared and in which everything disappears: “Links, links, golden Russia”.

Red is the color of love, passion:

Oh, I believe, I believe, there is happiness!

The sun has not gone out yet.

Dawn with a red prayer book

Prophesies the good news ...

Ø Often Yesenin, using the rich experience of folk poetry, resorts to the method of personification:

His bird cherry "sleeps in a white cape," the willows cry, the poplars whisper, "the girls ate," "like a pine tree tied with a white kerchief," "a snowstorm is crying like a gypsy violin," etc.

2.1 Leading themes of poetry.

Whatever Yesenin writes about, he thinks in images taken from the natural world. Each of his poems, written on any topic, is always unusually colorful, close and understandable to everyone.

2.1.1. Village theme.

About Russia - a crimson field

And the blue that fell into the river -

I love to joy and pain

Your lake melancholy

But I love you, meek homeland!

And for what I can not guess.

…………………………….

Oh you, my Rus, dear homeland,

Sweet rest in the clink of kupyr.

……………………………..

I am here again, in my own family,

My land, brooding and tender!

For the inhabitant of this Rus', the whole feat of life is peasant labor. The peasant is hammered, beggar, naked. His land is also wretched:

Hearing rakitas

Wind whistle ...

You are my forgotten land

Blue sky, color arc.

The banks of the steppe run quietly,

Smoke stretches, near the crimson villages

The wedding of the crows encircled the palisade.

This is Yesenin Rus. "This is all that we call homeland ..."

2.1.2 The theme of the homeland in Yesenin's lyrics.

The theme that took center stage in Yesenin's poetry is the theme of the Motherland.

I love my homeland.

I love my Motherland very much!

I will accept everything.

I accept everything as it is.

I am ready to follow the beaten tracks.

I will give my whole soul to October and May,

But I will not give up the sweet lyre.

2.1.3. Love theme.

Yesenin's outstanding creation in the field of love lyrics was the cycle "Persian Motives", which the poet himself considered the best of all that he had created.

Part 2. Predecessors and followers.

2.1. Folklore as the basis of the artistic picture of the world in the poetry of S. Yesenin.

Behind a flat surface, the trembling sky

Leads the cloud out of the stall by the bridle.

Sparrows are playful

Like lonely children.

Yesenin often used folklore expressions: "silk carpet", "curly head", "maiden-beauty" and so on.

The plots of Yesenin's poems are also similar to those of the people: unhappy love, fortune-telling, religious rites ("Easter Annunciation"), historical events ("Martha the Posadnitsa").

As well as for the people, it is characteristic for Yesenin to animate nature, ascribing human feelings to it, that is, the method of personification:

You are my fallen maple, icy maple,

Why are you standing bent over under a white blizzard?

But in folk works one can feel a sincere faith, and Yesenin looks at himself from the outside, that is, he writes about what was once and what is not now: “I myself seemed to be the same maple”.

Yesenin's moods and feelings, like those of the people, are in tune with nature, the poet seeks her salvation and tranquility. Nature is compared with human experiences:

A girl walks along the coast is sad

A gentle foam wave weaves her shroud, -

Or it is opposed:

My ring was not found.

The river laughed not in pursuit:

"The cutie has a new friend."

Then do not the dawns in the streams of the lake weaved a pattern,

Your scarf, decorated with sewing, flashed over the slope.

Sometimes a poem begins like a fairy tale:

At the edge of the village

Old hut,

There in front of the icon

The old woman is praying.

Yesenin often uses words with diminutive suffixes. He also uses old Russian words, fabulous names: howl, gamayun, svei ...

Yesenin's poetry is figurative. But his images are also simple: “Autumn is a red mare”. These images are again borrowed from folklore, for example, a lamb - the image of an innocent victim.

2.2. Yesenin and Old Russian Literature.

An owl gags like an autumn

Over the expanse of a road wound

My head flies

The golden hair bush withers.

Field, steppe "ku-gu",

Hello mother blue aspen!

Soon a month, bathing in the snow,

Will sit in the rare curls of his son.

2.3. Parallels with Gogol.

To say a new word about Russia, one must not only love her, but be her.

- Would you like to read to you the passage that I love most of all at Gogol's? - And he read by heart the beginning of the 6th chapter of the first part. "

Much becomes clear upon a careful reading of Gogol's lines:

Wandering spirit, you are less and less frequent

You stir up the flame of the mouth.

Oh my lost freshness

A riot of eyes and a flood of feelings.

Now I have become more stingy in desires,

My life? Or did you dream about me?

As if I am echoing in the spring

Ride on a pink horse ...

2.4 Yesenin's traditions in the poetry of the twentieth century.

And many more will find in Yesenin's work something of their own, dear. Such a poet was N. Rubtsov, who inherited the foundations of S. Yesenin's work.

2.4.1 Yesenin's traditions in the poetry of N. Rubtsov.

The closeness of the poetics of Rubtsov and Yesenin, is noted by almost all researchers of N. Rubtsov's work.

Yes, he did not look at Russia for long

With the blue eyes of a poet.

But was there a tavern sadness?

Sadness, of course, was ... But not this!

Versts of all the shaken earth,

All earthly shrines and bonds

As if the nervous system would enter

Into the waywardness of Yesenin's muse!

This is not the muse of the last day

I love her with her, I am indignant and cry.

She means a lot to me

If I mean anything myself.

I love my destiny

I am running from obscurations!

I'll stick my face in the wormwood

And get drunk

From the snowy ice

I raise my knees

I see a field, wires

I understand everything!

Vaughn Yesenin -

in the wind!

The block stands slightly in the fog.

Like an extra one at a feast

Modestly Khlebnikov is a shaman ...

With every hitch and cloud,

With thunder ready to fall

I feel the most burning

The most mortal bond.

And you served his land and heaven,

And to please anyone or demand

Didn't beat the empty and poor drum.

You conquered the tongue-tied world

Though the classical lyre is heavy!

2.4.2. The experience of analyzing N. Rubtsov's poem from the point of view of Yesenin traditions.

One of the most striking poems by N. Rubtsov is the poem "The Star of the Fields" (1964):

The star of the fields in the icy haze,

Stopping looking into the wormwood.

Already on the clock, twelve rang,

And a dream enveloped my homeland ...

Star of the fields! In moments of turmoil

I remembered how quiet over the hill

She burns over autumn gold,

It burns over winter silver ...

The star of the fields burns without fading away

For all the anxious inhabitants of the earth,

With its friendly ray touching

All the cities that have risen in the distance.

But only here, in the icy darkness,

She rises brighter and fuller

And I am happy as long as in the world of white

The star of my fields is burning, burning ...

The poet worked on the text of this key poem in the collection for a long time and carefully.

Conclusion.

His poetry is, as it were, scattering by both

Fistfuls of the treasures of his soul.

A. N. Tolstoy.

Your gift is given to you by this vastness,

And you served his land and heaven,

And to please anyone or demand

Didn't beat the empty and poor drum.

You remembered those, distant, but alive,

You conquered the tongue-tied world

And in our day you have lifted their lyre,

Though the classical lyre is heavy!

Thus, the purpose of the work was to identify the originality of the poetics of S. Yesenin.

For this, the following tasks were solved:

As a result: for Yesenin it is characteristic to animate nature, ascribing human feelings to it, that is, the method of personification

Yesenin's poetry is full of appeals, often these are appeals to nature.

An important place in Yesenin's work is occupied by epithets, comparisons, repetitions, metaphors.

Ø Consideration of the main themes of creativity.

As a result of the study, it was concluded that the main themes of Yesenin's work were the theme of the village, homeland and love.

Ø Determination of the role of the traditions of ancient Russian literature and folklore.

Ø Study of Gogol traditions in the works of S. Yesenin.

Ø Generalization of Yesenin traditions inherited in poetry of the 2nd half of the 20th century.

4.Agenosov V., Ankudinov K. Modern Russian poets.- M .: Megatron, 1997.- 88s ..

5. Gusev V. I. Unobvious6 Yesenin and Soviet poetry. M., 1986.S. 575

6. Yesenin's life: contemporaries tell. M., 1988.

7. Lazarev V. Long memory // Poetry of Russian villages, M., 1982, p. 6, / 140 /.

8. Literature at school. Scientific - methodical journal. M., 1996.

9. Prokushev Yu. L.: The life and work of Sergei Yesenin. M .: Det. Lit., 1984.- 32s ..

10. Rogover E. S. Russian literature of the twentieth century: textbook. - 2nd edition. - SPb. 2004.- 496s.

11. V.F. Khodasevich. Necropolis: Memories.- M .: Soviet writer, 1991.- 192s.

12. Erlikh V.I. The right to song // S.A. Yesenin in the memoirs of contemporaries: in 2 volumes. Vol. 2. M., 1986.

13. P.F. Yushin. Poetry of Sergei Yesenin 1910-1923. M., 1966.- 317s ..

See the bibliography at the end of the work.

Lazarev V. Long memory. // Poetry of Russian villages, M., 1982, p. 6, / 140 /.

Literature at school. Scientific - methodical journal. M., 1996.

Agenosov V., Ankudinov K. Modern Russian poets.- M .: Megatron, 1997.- 88s ..