The positive ideal of fonvizin in comedy. Enlightenment ideals in the comedy “Minor”

Solovyova Elena

As a result of the study, it was concluded that the main themes of creativity; S. Yesenin were the theme of the village, homeland and love.; It was determined that the poetry of Sergei Yesenin and folklore have a very close connection, and it should also be said about powerful influence on Yesenin ancient Russian literature and icon painting. The practical orientation is seen in the possibility of using it in literature lessons.

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Research

« Artistic originality poetry
S. Yesenin"

11th grade student Elena Solovyova

Head: teacher of Russian language and literature

Municipal Educational Institution Mikhailovskaya Secondary School Yablokova S.V.

Plan.

1. Introduction. page 2

2. The originality of S. Yesenin’s poetics.

2.1.1. Peculiarities artistic style. page 3

2.1.2. Features of metaphor in Yesenin's poetry. page 4

2.1.3 Poetic vocabulary. page 5

2.1.4. Poetic technique of S. Yesenin. page 5

2.1.5. The moon in Yesenin's poetry. page 6

2. 1.6. Images of animals in the poetry of S. Yesenin. p.8

3.1 Leading themes of poetry.

3.1.1. Village theme. page 9

3.1.2 The theme of the homeland in Yesenin’s lyrics. page 10

3.1.3. Theme of love. page 11

4. Conclusion. page 12

5. Bibliography. page 13

Introduction.

In 1914, Yesenin’s poem “Birch” was published for the first time in the magazine “Mirok” under the signature “Ariston”. Could anyone then, in 1914, have imagined that in the face unknown author, hiding under the pseudonym Ariston, a man came into Russian poetry of the twentieth century who was destined to become worthy successor Pushkin's glory. Following “Birch,” “surprisingly heartfelt” and “sweeping” poems by Sergei Yesenin appeared in print.

Lovely birch thickets!

You, earth! And you, plain 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, is illuminated by an unfading light true love“to all living things in the world.”

It would seem that everything has already been said about Yesenin’s work [See bibliography at the end of the work.]. And yet, every person, opening a volume of his poems, discovers his own Yesenin.

I have loved Yesenin since childhood. When I was very little, my mother read me the poem “Birch” in the evenings. Although I didn’t know who this creation belonged to, I have been fascinated by these wonderful lines since childhood.

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

In the 11th grade, while studying the literature of the 20th century, I became acquainted with the work of many of Yesenin’s contemporaries, poets who lived and worked after him. It was then that we began to wonder where the origins of the work of the popularly beloved poet were, and whether he had followers.

So, the topic of the work: “The artistic originality of S. Yesenin’s poetry.”

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

Tasks:

· Identify the features of artistic style and poetic technique.

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

To solve the problems, the following methods were used:

· analytical;

· comparative;

· comparative

While working on the research, we turned to the literary materials of V. F. Khodasevich, P. F. Yushin, V. I. Erlikh, V. I. Gusev. The book “Necropolis” by V.F. Khodasevich became fundamental in our work. This book contains memories of some writers of the recent past, including S. Yesenin.

Part 2. The originality of S. Yesenin’s poetics.

2.1 The beauty and richness of Yesenin’s lyrics.

2.1.1. Features of the artistic style.

Yesenin's lyrics are very beautiful and rich. The poet uses various artistic media and techniques. Great place Yesenin's works are dominated by epithets, comparisons, repetitions, and metaphors. They are used as a means of painting, they convey the variety of shades of nature, the richness of its colors, the external portrait features of the heroes (“fragrant bird cherry”, “the red moon was harnessed to our sleigh like a foal”, “in the darkness the damp moon, like a yellow raven... hovering above the ground "). An important role in Yesenin’s poetry, as well as in folk songs, replays play. They are used to transfer state of mind person to create a rhythmic pattern. Yesenin uses repetitions with rearrangement 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 stylistic features folk lyrics, Yesenin seems to pass them through literary traditions and through his poetic worldview. [ Lazarev V. Long memory. // Poetry of Russian villages, M., 1982, p. 6, /140/. ]

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

Sparrows are playful,

Like lonely children.

Just like the people, Yesenin is characterized by animating nature, attributing to it human feelings, i.e., the technique of personification:

You are my fallen maple,

icy maple,

Why are you standing bent over?

under a white snowstorm?

Or what did you see?

Or what did you hear?

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

My ring was not found.

Out of sadness, I went to the meadow.

The river laughed after me:

"Cutie has a new friend."

The poet knows how to find in nature, man, history and modernity what is truly beautiful, original, enchanting with its poetry and uniqueness. At the same time, he can combine these different beginnings existence, that they interpenetrate each other. Therefore, Yesenin again humanizes nature, and likens the personality to the images of his native landscape. He values ​​these same properties in himself [Rogover E. S. Russian literature of the twentieth century: Tutorial. - 2nd edition. - St. Petersburg. 2004.- 194 p.]:

I'm still the same in my heart

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

…………………………………………………………………….

... That old maple tree’s head looks like me.

Sensitive to the aesthetic richness of existence, Yesenin “colors” the phenomena of the surrounding world: “The mountain ash turned red, / the water turned blue”; “Swan singing / Undead rainbow eyes...”. But he doesn’t invent these colors, but looks at them in his native nature. At the same time, he gravitates toward clean, fresh, intense, ringing tones. The most common color in Yesenin’s lyrics is blue, followed by blue. These colors in their totality convey the color richness of reality.

2.1.2. Features of metaphor in Yesenin's poetry.

Metaphor (from the Greek metaphora - transfer) is figurative meaning words when one phenomenon or object is likened to another, and both similarity and contrast can be used.

Metaphor is the most common means of creating new meanings.

Yesenin's poetics are distinguished by a tendency not to abstractions, hints, vague symbols of ambiguity, but to 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 from the same village world and from the natural world and seeks to characterize one phenomenon or object by another. Epithets, comparisons, metaphors in Yesenin’s lyrics do not exist on their own, for the sake of beautiful shape, but in order to more fully and deeply express your worldview.

Hence the desire for universal harmony, for the unity of all things on earth. Therefore, one of the basic laws of Yesenin’s world is universal metaphorism. People, animals, plants, elements and objects - all of these, according to Sergei Alexandrovich, are children of one mother - nature.

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

I reach for the warmth, inhale the softness of the bread

And mentally biting the cucumbers with a crunch,

Behind the smooth surface the trembling sky

Leads the cloud out of the stall by the bridle.

Here even the mill is a log bird

With only one wing, he stands with his eyes closed.

(1916)

2.1.3 Poetic vocabulary.

E. S. Rogover in one of his articles argued that every poet has his own, as it were, “ business card”: either this is a feature of poetic technique, or it is the richness and beauty of the lyrics, or the originality of the vocabulary. All of the above, of course, applies to Yesenin, but I would like to note the peculiarities of the poet’s vocabulary. [Ibid., p. 198.]

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

In the poem “The Smoke Floods...” the haystacks are compared to churches, and the mournful singing of the wood grouse with a call to the all-night vigil.

And yet one should not see the poet’s religiosity in this. He is far from her and paints a picture native land, forgotten and abandoned, flooded, cut off from big world left alone with the dull yellow moon, Low light which is illuminated by the stacks, and they, like churches, surround the village by the spinning wheels. But, unlike churches, the stacks are silent, and for them the wood grouse, with mournful and sad singing, calls for an all-night vigil in the silence of the swamps.

A grove is also visible, which “covers the bare forest with blue darkness.” That’s all the low-key, joyless picture created by the poet, all that he saw in his native land, flooded and covered with blue darkness, devoid of the joy of people for whom, truly, it would not be a sin to pray.

And this motive of regret about the poverty and deprivation of his 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 vocabulary poet.

In the poems “Imitation of a Song”, “Under the Wreath of Forest Daisies”, “Tanyusha Was Good...”, “Play, Play, Talyanochka...”, the poet’s attraction to the form and motives of the oral is especially noticeable. folk art. Therefore, they contain a lot of traditional folklore expressions such as: “likhodeya separation”, like “insidious mother-in-law”, “I’ll fall in love with you if I look at you”, “in the dark mansion”, scythe - “snake gas chamber”, “blue-eyed guy”.

2.1.4. Poetic technique of S. Yesenin.

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

A few examples:

They didn't give the mother a son,

The first joy is not for future use.

And on a stake under the aspen

The breeze ruffled the skin.

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

The poet is also sensitive to the colors contained in the word itself or in a series of words. His cows speak “in a nodding language,” and his cabbage is “wavy.” In the words one can hear the roll call of nod - liv, vol - nov, vo - va.

The sounds seem to pick up and support each other, maintaining the given sound design lines, its melody. This is especially noticeable in the harmony of vowels: your lake melancholy; the tower is dark, the forest is green.

The poet's stanza is usually four-line, in which each line is syntactically complete; hyphenation, which interferes with melodiousness, is an exception. Four- and two-line stanzas are not required and complex system rhymes and do not provide its diversity. In terms of their grammatical composition, Yesenin’s rhymes are not the same, but the poet’s attraction to precise rhyme is noticeable, giving a special smoothness and sonority to the verse.[. P.F. Yushin. Poetry of Sergei Yesenin 1910-1923. M., 1966.- 317 p..]

The moon butts the cloud with its horn,

Bathed in blue dust.

And he nodded for a month behind the mound,

Bathed in blue dust.

2.1.5. The moon in Yesenin's poetry.

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

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

First: white, silver, pearl, pale. Collected here traditional colors the moon, although poetry is precisely there 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 come: 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

In pearls, she threw the kokoshnik into the sky, -

Oh, how Martha walked out of the gate...

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

Yesenin has no red moon at all. Maybe only in “Poem about 36”:

The month is wide and al...

The Yesenin moon is always on the move. This is not a lime ball ascended into the sky and casting a sleepy stupor over the world, but necessarily living, spiritual:

The road is pretty good

Nice chill ringing.

Moon with golden powder

Scattered the distance of villages.

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

Yesenin's diverse moon turns out to be strictly subordinated to traditional folklore imagery, on which it is just as dependent as its celestial counterpart is on the Earth. But at the same time: just as the real moon controls the tides of the earth’s seas and oceans, so the study of Yesenin’s lunar metaphors allows us to see in the simplicity that seems due to repetition folk images a concentrate of “very long and complex definitions of thought” (Yesenin).

In the white autograph of “The Black Man” the author crossed out the stanza:

But only from a month

Silver light will splash

Something else turns blue to me,

Something else appears in the fog.

If the world is not cognizable in words, then it cannot escape from depicting it in words. [Rogover E. S. Russian literature of the twentieth century: Textbook. - 2nd edition. - St. Petersburg. 2004.- 496 pp.]

Yesenin often uses words with diminutive suffixes. He also uses old Russian words, fairy tale names: howl, sway, 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 - the desire for the sky, for the impossible, for the beautiful:

In the blue evening, in the moonlit evening

I was once handsome and young.

Gold is the original color from which everything appeared and in which everything disappears: “Ring, ring, golden Rus'.”

Red is the color of love, passion:

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

The sun hasn't gone out yet.

Dawn with a red prayer book

Prophesies good news...

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

His bird cherry tree is “sleeping in a white cape,” the willows are crying, the poplars are whispering, “the spruce girls are sad,” “it’s like a pine tree is tied with a white scarf,” “the blizzard is crying like a gypsy violin,” etc.

2. 1.6. 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 is an 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 Aesopian language in fairy tales about animals, and later in fables. In the literature of “modern times,” in epic and lyric poetry, animals acquire equal rights with humans, becoming the object or subject of the narrative. Often a person is “tested for humanity” by his attitude towards an animal.

Sergei Yesenin’s poetry also contains the motif of “blood relationship” with the animal world; he calls them “lesser brothers.”

I'm happy that I kissed women,

Crushed flowers, lying on the grass

And animals, like our smaller brothers

Never hit me on the head. (“Now we are leaving little by little.”, 1924)
Along with his pets, we find images of representatives wildlife.

Of the 339 poems examined, 123 mention animals, birds, insects, and fish. Horse (13), cow (8), raven, dog, nightingale (6), calves, cat, dove, crane (5), sheep, mare, dog (4), foal, swan, rooster, owl (3), sparrow, wolf, capercaillie, cuckoo, horse, frog, fox, mouse, 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 turns to the image of a horse or cow. He introduces these animals into the narrative of 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 have accompanied a person in his hard work, sharing both joys and troubles with him.
The horse was an assistant when working in the field, in transporting goods, and in military combat. The dog brought prey and guarded the house. The cow was the nurse in peasant family, and the cat caught mice and simply personified home comfort. The image of a horse, as an integral part of everyday life, is found in the poems “The Herd” (1915), “Farewell, dear Pushcha...” (1916), “This sadness cannot be scattered now...” (1924). Paintings village life change due to events taking place in the country. And if in the first poem we see “herds of horses in the green hills,” then in the subsequent ones:

A mowed hut,

The cry of a sheep, and in the distance in the wind

The little horse wags his skinny tail,

Looking into the unkind pond.

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

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

The innovation and originality of S. Yesenin, the poet, was manifested in the fact that when 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 everyday space and environment, appear in his poetry as a source and means of artistic and philosophical understanding of the surrounding world, allowing one to reveal the content of a person’s spiritual life.

3.1 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.

3.1.1. Village theme.

At the heart of Yesenin's early poetry is the love of native land. It is to the native land of the peasant land, and not to Russia with its cities, plants, factories, universities, theaters, political and social life. He essentially did not know Russia in the sense that we understand it. For him, his homeland is his own village and those fields and forests in which it is lost. Russia - Rus', Rus' - village.

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

About Rus' - raspberry field

And the blue that fell into the river -

I love you to the point of joy and pain

Your lake melancholy.

Yesenin knows how to feel gaiety in the very melancholy of his native land, and accumulation in dormant Rus'. heroic forces. His heart responds to girls’ laughter, to dancing around the fires, to the boys’ dancing. You can, of course, stare at the “potholes”, “bumps and depressions” of your native village, or you can see “how the skies turn blue all around.” Yesenin adopts a bright, optimistic view of the fate of his Fatherland. That is why his poems so often contain lyrical confessions addressed to Rus':

But I love you, gentle motherland!

And I can’t figure out why.

…………………………….

Oh, my Rus', dear homeland,

Sweet rest in the crack of the kupira.

……………………………..

I'm here again, in my own family,

My land, thoughtful and gentle!

For an inhabitant of this Rus', the entire feat of life is peasant labor. The peasant is downtrodden, poor, goalless. His land is just as poor:

The willows are listening

Wind whistle...

You are my forgotten land,

You are my native land.

Based on Yesenin's poems, it is possible to reconstruct his early peasant-religious tendencies. It turns out that the peasant’s mission is divine, for the peasant is, as it were, involved in God’s creativity. God is the father. Earth is mother. The son is the harvest.

Russia for Yesenin is Rus', that fertile land, the homeland on which his great-grandfathers worked and where his grandfather and father work now. Hence the simplest identification: if the earth is a cow, then the signs of this concept can be transferred to the concept of homeland. [V.F. Khodasevich. Necropolis: Memoirs.- M.: Soviet writer, 1991.- 192 p..]

It is impossible to imagine the image of Yesenin’s country without such familiar signs to us all as “blue cloth of heaven”, “salt melancholy”, “lime of bell towers” ​​and “birch - candle”, and in mature years- “a fire of red rowan” and “a low house”, “in the rollicking steppe acceleration the bell laughs to the point of tears.” It is difficult to imagine Yesenin’s Russia without such a picture:

Blue sky, colored arc.

Quietly the steppe banks flow,

Smoke stretches near the crimson villages

The wedding of crows covered the palisade.

Born and growing from landscape miniatures and song stylizations, the theme of the Motherland absorbs Russian landscapes and songs, and poetic world Yesenin, these three concepts: Russia, nature and the “song word” - merge into one, the poet hears or composes a song “about his father’s land and his father’s house,” and at this time the “sobbing trembling of unflying cranes” and “golden autumn” are heard in the silence of the fields. “leaves are crying on the sand.” [V.F. Khodasevich. Necropolis: Memoirs. - M.: Soviet writer, 1991. - 192 p.]

This is Yesenin's Rus'. “This is all that we call homeland...”

3.1.2 The theme of the homeland in Yesenin’s lyrics.

Yesenin was an inspired singer of Russia. All his most sublime ideas and innermost feelings were connected with her. “My lyrics live alone great love“love for the Motherland,” the poet admitted. “The feeling of the Motherland is the main thing in my work.”

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

In turbulent revolutionary times, the poet already speaks of “revived Rus',” a formidable country. Yesenin now sees her as a huge bird, preparing for further flight (“O Rus', flap your wings”), acquiring “different strength,” clearing off the old black tar. The image of Christ that appears in the poet symbolizes both the image of insight and, at the same time, new torment and suffering. Yesenin writes with despair: “After all, the socialism that is coming is completely different from what I thought.” And the poet painfully experiences the collapse of his illusions. However, in “Confessions of a Hooligan” he repeats again:

I love my homeland.

I love my Motherland very much!

In the poem “Departing Rus',” Yesenin already definitely speaks of that old thing that is dying and inevitably remains in the past. The poet sees people who believe in the future. Albeit timidly and apprehensively, but “they are talking about a new life.” The author peers into the boiling of a changed life, into the “new light” that burns “of another generation near the huts.” The poet is not only surprised, but also wants to absorb this new thing into his heart. True, even now he adds a disclaimer to his poems:

I accept everything.

I take everything as is.

Ready to follow the beaten tracks.

I will give my whole soul to October and May,

But I won’t give the lyre to my dear one.

And yet Yesenin extends his hand to a new generation, a young, unfamiliar tribe. The idea of ​​the inseparability of one’s fate from the fate of Russia is expressed by the poet in the poem “The feather grass is sleeping. Dear plain...” and “Unspeakable, blue, tender...”

Khodasevich’s book mentions a statement by the poet D. Semenovsky, who knew Yesenin well, testifying: “... he said that all his work is about Russia, that Russia is main topic his poems." And that's exactly how it was. All of Yesenin’s works are a wreath of songs woven for the Motherland.[V.F. Khodasevich. Necropolis: Memoirs. - M.: Soviet writer, 1991. - 192 p.]

2.1.3. Theme of love.

Yesenin began writing about love in late period 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 complex vicissitudes love relationship and an unforgettable image of a woman. The poet managed to overcome the touch of naturalism and bohemianism that was characteristic of him during the Imagist period, freed himself from vulgarisms and abusive language, which sometimes sounded dissonant in his poems about love, and sharply reduced the gap between rough reality and the ideal that was felt in individual lyrical works.

Yesenin's outstanding creation in the field love lyrics became the cycle “Persian Motifs,” which the poet himself considered the best of all that he had created.

The poems included in this cycle largely contradict those lines about love that sounded in the collection “Moscow Tavern”. This is evidenced by the first poem of this cycle - “My former wound has subsided.” In “Persian Motifs” drawn perfect world beauty and harmony, which, for all its obvious patriarchy, is devoid of rough prose and catastrophism. Therefore, to reflect this beautiful kingdom of dreams, peace and love, the lyrical hero of this cycle is touching and soft.

Conclusion.

His poetry is, as it were, a scattering of both

Fistfuls of the treasures of his soul.

A. N. Tolstoy.

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

Yesenin is Russia. His poems are conversations about Rus', its past, present and future. And, of course, time determined the meaning of Yesenin’s 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 authorities, the authorities and the individual, its orphanhood and tragic fate. These traits are in the character of the Russian people, in the Russian soul, and have become part of the character lyrical hero S. Yesenina.

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 their own, but there is something in it that unites everyone and which A. Peredreev said well about in the poem “In Memory of the Poet”:

This gift of space has been given to you,

And you served his earth and heaven,

And to please anyone or demand

Didn't beat the empty and poor drum.

Did you remember those distant but alive,

You have overcome the tongue-tied world,

And these days you have raised their lyre,

Even though the classical lyre is heavy!

Thus, the goal of the work was to identify the originality of S. Yesenin’s poetics.

To achieve this, the following tasks were solved:

identifying the features of S. Yesenin’s artistic style and poetic technique.

As a result: Yesenin is characterized by animating nature, attributing human feelings to it, i.e. the technique of personification

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

Epithets, comparisons, repetitions, and metaphors occupy a large place in Yesenin’s work.

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.

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.

The practical orientation is seen in the possibility of usingin literature lessons.

Bibliography

1. Yesenin S.A. Collection Op.: in 3 volumes. T. 1, 3. M., 1977

2. Gogol N.V. Collection. cit.: in 8 volumes. T.1, 7. M., 1984.

3. Rubtsov N.: Time, heritage, fate: Literary and artistic almanac. 1994.

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

5. Gusev V.I. Unobvious: Yesenin and Soviet poetry. M., 1986. P.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 and methodological journal. M., 1996.

9. Prokushev Yu. L.: Life and work of Sergei Yesenin. M.: Det. Lit., 1984.- 32 p..

10. Rogover E. S. Russian literature of the twentieth century: Textbook. - 2nd edition. - St. Petersburg. 2004.- 496 p.

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Slide captions:

The artistic originality of S. Yesenin's poetry His poetry is, as it were, scattering with both handfuls of the treasures of his soul. A. N. Tolstoy. The presentation was prepared by 11th grade student Elena Solovyova

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

Objectives: Identify the features of artistic style and poetic technique. Consider the main themes of the poet’s work.

Analytical methods were used; comparative; comparative

Comparisons In his poems, the “actions” of trees are compared to natural phenomena: “Like a blizzard, the bird cherry “waves its sleeve”, “like a tree quietly drops its leaves, so I drop sad words”

Art world S. Yesenina Color epithets: red, scarlet, pink, blue, light blue, green, white

Personification Personification occurs 10 times in the studied poems: The sleepy birch trees smiled, the silk braids were disheveled

Metaphors The language of Yesenin’s early poems seems to be oversaturated with complex metaphors. Sunrise waters the cabbage beds with pink water. Sunset floats across the pond like a red swan. Night light the month is the “moon feathers of silver”. sunlight- these are “stacks of the sun in the waters of the bosom” or “sun oil” pouring on the green hills. Birch groves- “birch milk” flowing across the plains. Dawn “knocks down the apples of dawn with the hand of cool dew.” The sky is blue "heavenly sand". The golden stars dozed off. The mirror of the backwater trembled.

Repetitions Repetitions play an important role in Yesenin’s poetry, as in folk songs. They are used to convey a person’s state of mind and to create a rhythmic pattern. Yesenin uses repetitions with rearrangement of words: Trouble has befallen my soul, Trouble has befallen my soul.

Appeals Yesenin's poetry is full of appeals, often these are appeals to nature: Dear birch thickets! These visual aids give artistic painting the world drawn by the poet has a bright, visible, visual, almost tangible character. .

The artistic world of S. Yesenin In the poems of Sergei Yesenin, very often, especially in poems about nature, there are images of trees, there are more than 20 species: birch, poplar, maple, spruce, linden, willow, bird cherry, willow, rowan, aspen, pine, oak , apple tree, cherry tree, willow and others. The poet does not like to talk about faceless and abstract trees; for him, each tree has its own appearance, its own character, behind each tree special image. And the poet often compares himself to a tree.

Birch is the most common White birch Under my window Covered with snow, Like silver. In the poems of the wonderful poet of the log cabin, the image of a birch plays a large role. She is shown as a young girl, constantly having "sticky earrings drooping to the ground."

Rowan The rowan turned red, the water turned blue. The month, the sad rider, dropped the reins. If on early stage Yesenin is in love with the world, then already in mature creativity“The fire of red rowan” is the withering of feelings in a cold heart. And the sad rowan tree stands, swaying...

Maple (in 6 poems) The image of the maple in the poem “You are my fallen maple, icy maple...” is multi-valued and symbolic, helping to understand the state of the lyrical hero during a period of turmoil. And the maple is most often depicted either on one leg or in a sitting position: “the maple squatted down to warm itself,” “and, like a drunken watchman, going out onto the road, he drowned in a snowdrift and froze his leg.”

Bird cherry, poplar, aspen (in 3 poems) Bird cherry sprinkles with snow, Greenery in bloom and dew. The fragrant bird cherry blossomed in spring and the golden branches curled like curls. The image of bird cherry is inextricably linked with snow, Yesenin exposes his face to bird cherry snow: “you, bird cherry, are covered in snow, sing, you birds in the forest.” Bird cherry is a mysterious tree. Either it “waves its sleeve like a blizzard,” then suddenly it changes its appearance and “curls its curls.” If the birch is a young girl, then the aspen or pine tree is shown in mature age, in the form of a mother: “Hello, mother, blue aspen!”

Images of animals in the poetry of S. Yesenin In the poetry of Sergei Yesenin there is also a motif of “blood relationship” with the animal world; he calls them “lesser brothers”. Happy that I kissed women, crushed flowers, lay on the grass, and never hit animals on the head like our smaller brothers. (“We are now leaving little by little.”, 1924)

Images of animals in the poetry of S. Yesenin In him, along with domestic animals, we find images of representatives of wild nature. Of the 60 poems examined, 43 mention animals, birds, insects, and fish. Horse (13), cow (8), raven, dog, nightingale (6), calves, cat, dove, crane (5), sheep, mare, dog (4), foal, swan, rooster, owl (3), sparrow, wolf, capercaillie, cuckoo, horse, frog, fox, mouse, 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).

The moon in Yesenin's poetry. Yesenin is perhaps the most lunar poet in Russian literature. The most common image of poetic attributes is the moon and month, which are mentioned in 351 of his works more than 140 times. Yesenin's lunar spectrum is very diverse and can be divided into two groups. First: white, silver, pearl, pale. The traditional colors of the moon are collected here, although poetry is precisely 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 come: gold, white, red, silver, lemon, amber, scarlet, red, pale, blue. Pearl color is used only once:

Poetic vocabulary of S. Yesenin. He expresses the poet's verbal originality: joy and grief, riot and sadness that fill his poems verbosely, 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 experiences or create a complete and vivid picture.

Poetic vocabulary of S. Yesenin. The poet is also sensitive to the colors contained in the word itself or in a series of words. His cows speak “in a nodding language,” and his cabbage is “wavy.” In the words one can hear the roll call of nod - liv, vol - nov, vo - va. The sounds seem to 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; the tower is dark, the forest is green.

Poetic technique of S. Yesenin. The poet's stanza is usually four-line, in which each line is syntactically complete; hyphenation, which interferes with melodiousness, is an exception. Four- and two-line stanzas do not require a complex rhyme system and do not provide its variety. In terms of their grammatical composition, Yesenin’s rhymes are not the same, but the poet’s attraction to precise rhyme is noticeable, giving a special smoothness and sonority to the verse.

Leading themes of poetry Theme of the village Theme of the motherland in Yesenin’s lyrics Theme of love

The result for Yesenin is characterized by the animation of nature, the attribution of human feelings to it, i.e. the technique of personification. Yesenin’s poetry is full of appeals, often these are appeals to nature. Epithets, comparisons, repetitions, and metaphors occupy a large place in Yesenin’s work. that the main themes of Yesenin’s work were the theme of the village, homeland and love. It was determined that the poetry of Sergei Yesenin and folklore have a very close connection.

Information sources 1. Yesenin S.A. Collection cit.: in 3 volumes. T. 1, 3. M., 1977 2. Gogol N.V. Collection. cit.: in 8 volumes. T.1, 7. M., 1984. 3. Rubtsov N.: Time, heritage, fate: Literary and artistic almanac. 1994. 4. Agenosov V., Ankudinov K. Modern Russian poets. - M.: Megatron, 1997. - 88 p.. 5. Gusev V. I. Unobvious: Yesenin and Soviet poetry. M., 1986. P.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 and methodological journal. M., 1996. 9. Prokushev Yu. L.: Life and work of Sergei Yesenin. M.: Det. Lit., 1984.- 32 p.. 10. Rogover E. S. Russian literature of the twentieth century: Textbook. - 2nd edition. - St. Petersburg. 2004.- 496 p. 11. V.F. Khodasevich. Necropolis: Memoirs.- M.: Soviet Writer, 1991.- 192 p. 12. Erlikh V.I. The right to a song // S.A. Yesenin in the memoirs of his contemporaries: in 2 volumes. T.2. M., 1986.. 13. P.F. Yushin. Poetry of Sergei Yesenin 1910-1923. M., 1966.- 317 p..

In the history of the development of the national literary language in the 20th century, Yesenin’s role as an innovator was undeniable. The Russian classic, a native of the peasantry, continuing the great work of Pushkin, Gogol, Tolstoy, “pushed the boundaries” even further in poetry vernacular. Yesenin’s figurative speech principle, his ornamental style, and “feeling of the Motherland” determined the essence of his work. Discoveries that occurred in literary language in the 20th century, are directly related to the innovative achievements of Yesenin. This was especially evident in his style.

Absorbing traditions folk culture, he passed on this experience, developing and enriching it, to new generations. Yesenin's lyrics, according to him in my own words, “lives with one great love - love for the motherland” and fosters the purest, highest moral and patriotic feelings. An intimate and all-consuming “feeling of the Motherland” from the first steps creative path Sergei Yesenin was determined for him by his attitude to the world, man and literature. forms. The system of values ​​in S. Yesenin’s poetry is single and indivisible, all its components are interconnected and, interacting, form a single, holistic picture of the lyrical work.

To convey the state of mind of the lyrical hero, his character, to describe the pictures of nature of the “Beloved Motherland”, as well as to convey his feelings and thoughts, the poet uses the visual, expressive, aesthetic possibilities of the artistic style. Yesenin's first collection of poems was published when the poet... was only 20 years old. In the early poems of S. Yesenin we come across many such sketches, which can be called small lyrical sketches or pictures of village life. The strength of Yesenin’s lyrics lies in the fact that in it the feeling of love for the Motherland is expressed not abstractly and rhetorically, but specifically, in visible images, in pictures of native nature. Often the landscape is not inspiring. The poet exclaims with pain:

You are my abandoned land, you are my abandoned land. But Yesenin saw not only a sad landscape, joyless pictures; he saw another Motherland: in joyful spring decoration, with fragrant flowers and herbs, with the bottomless blue of the sky. Already in Yesenin’s early poems there are declarations of love for Russia. Thus, one of his most famous works is “Go away, my dear Rus'...” One of the earliest stylistic devices Yesenin was writing poetry in a language that gravitated towards ancient Russian speech (for example, “The Song of Evpatiy Kolovrat”). The poet uses ancient Russian names to construct images; he uses both visual medium such ancient words Another group of Yesenin’s stylistic techniques is associated with a focus on the romanization of rural life and with the desire to express the beauty of strong lyrical feeling (for example, a feeling of admiration for nature, falling in love with a woman, love for a person, for life), the beauty of being in general.

Composition

The feeling of homeland is fundamental

in my creativity.

S. Yesenin

The difficult times of the beginning of the 20th century gave Russian (and world) literature a lot of wonderful poets, among whom it was impossible not to notice S. Yesenin. “His poetry is, as it were, scattering the treasures of his soul with both handfuls,” A. Tolstoy said about this poet.

Yesenin's poems captivate with their simplicity and sincerity. Sometimes it seems that there was no barrier between his thoughts, feelings, experiences and the paper. Yesenin simply lived, felt, believed, lost hopes, suffered - and poems appeared.
I meet everything, I accept everything,
Glad and happy to take out my soul.
I came to this earth
To leave her quickly.

The Motherland, its vast expanses with forests, lakes, meadows have always been the main theme in Yesenin’s work, no matter where he was, no matter whose influence he experienced. The image of the Motherland in the poet’s heart was firmly connected with the beauty of Russian nature - lush and lush or completely discreet. Green birch trees, sunrises and sunsets, harsh snowy winters and crumbling bird cherry blossoms - everything resonated in the soul of the impressionable and observant S. Yesenin.
Quietly in the juniper thicket along the cliff.
Autumn - a red mare - scratches her mane.
Above the river bank cover
The blue clang of her horseshoes can be heard.

Considering yourself " the last poet villages,” Yesenin confessed his endless love for Russia in his poems. Like a beloved girl, the poet dressed his country in various clothes: “beloved land”, “My dear Rus'”, “sweet homeland”, “thoughtful and gentle land”, Motherland for Yesenin began in home and poured out from the threshold in all directions, huge, beautiful, eternal.

Goy, Rus', my dear,
Huts - in the robes of the image...
No end in sight -
Only blue sucks his eyes.

Understanding and accepting Rus' with all his soul, in all its wretchedness and wealth, simplicity and unpredictability, S. Yesenin in his poetry was able to surprisingly fully and deeply reflect all those changes in the life of the Motherland that were taking place before his eyes. The poet connected all his hopes and sorrows, joys and grievances with the fate of the country.
I'm wandering through the first snow,
In the heart are lilies of the valley of flaring forces.
Evening star with a blue candle
It shone over my road.

For many, S. Yesenin’s simple and confidential poems are akin to folk poetry. They are remembered by themselves, without any effort, because they are full of bright and unexpected images and are extremely melodic. It is no coincidence that more than a hundred of Yesenin’s poems have become songs that are sung by both young and old. The Motherland gave us an amazing, wonderful, unique, talented poet, and for this he gratefully praised his beloved “country of birch chintz” in his work.
If the holy army shouts:
“Throw away Rus', live in paradise!” -
I will say: “There is no need for heaven,
Give me my homeland."