Projects on various themes of Yesenin’s creativity. The image of Russia in the works of S.A. Yesenin
The work of the great poet is permeated with love for the Motherland. Purpose research work is: coverage of the work and life of S.A. Yesenin in the context of his attitude to the Motherland, to trace how the theme of the Motherland is revealed in the author’s poetry.
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MUNICIPAL EDUCATIONAL BUDGETARY INSTITUTION
MIDDLE SCHOOL OF GENERAL EDUCATION
VILLAGE OF ARKAULOVO NAMED AFTER BAIK AIDAR
MUNICIPAL DISTRICT SALAVATSKY DISTRICT
REPUBLIC OF BASHKORTOSTAN
Research work on the topic:
“The Image of Russia in the Works of S. A. Yesenin”
Completed by a student of grade 8B:
MOBO secondary school s. Arkaulovo
Named after Baik Aidar
Fatykhova Zemfira Ilfatovna
Head: Girfanova F. R.
Arkaulovo, 2015
INTRODUCTION
1. THE FEELING OF HOMELAND IS THE MAIN THING IN YESENIN’S WORK
2. THE THEME OF THE MOTHERLAND IN THE WORK OF S.A. ESENINA
3. THE IMAGE OF RUSSIA IN THE WORK OF S.A. ESENINA
4. CONCLUSION
5. REFERENCES
Introduction
But most of all
Love for the native land
I was tormented
Tormented and burned.
S. Yesenin
The theme of the Motherland in Russian literature is one of the most favorite themes of Russian writers and poets. There is not a single creator I know who would not touch on this topic in his works. Some of them only briefly touched on it, others dedicated all their creations to the Motherland, putting love and feelings into them, proving that the Motherland is an important, and sometimes the most important part of their lives and creativity. This attitude towards their native land burst into their works with a stormy flow of emotions, during which there was admiration for the Russian land and immense love for the Motherland. “The theme of the Motherland, Russia is the main one in all my poems,” Yesenin often mentioned. Yes, it is the ardent love for Russia, for that corner globe, where he was born, was the force that inspired him to new works.Material for this workThe basis was the memoirs of his contemporaries about him (L. Belskaya, A. Marchenko, A. Mariengof, V. Druzin, V. Polonsky, I. Belyaev), literary works about the poet’s work, as well as his poems. Purpose This work is to highlight the work and life of S. Yesenin in the context of his attitude towards his homeland, to trace how the theme of the Motherland is revealed in the poet’s work. Face to face You can't see your face. Great things are seen from a distance - this is how one can characterize in the words of the poet himself his gaze turned to Russia from the “beautiful distance.” Creating the cycle “Persian Motifs,” Yesenin, having never been to Persia, gives a wonderful image of the Motherland. Even being in a fertile land, he cannot forget that the moon there is a hundred times larger, No matter how beautiful Shiraz is, It is no better than the expanses of Ryazan, Because I’m from the north, or what? Sharing with Russia the tragic turns of its fate, he often refers to it as to a loved one, looking for sympathy and answers to bitter insoluble questions.
“Ah, homeland!
How funny I have become.
But I'm still happy.
In a host of storms
The whirlwind has dressed up my destiny
In golden bloom.
Field Russia!
It hurts to see your poverty
And birches and poplars.
And like a drunken watchman,
out on the road
Behind the apparent simplicity of the images there is great skill, and it is the master’s word that conveys to the reader a feeling of deep love and devotion to his native land. But Rus' is unthinkable without a sense of respect and understanding of the complex nature of the Russian people. Sergei Yesenin, experiencing a deep feeling of love for the Motherland, could not help but bow to his people, their strength, power and endurance, a people who managed to survive both famine and devastation.
Ah, my fields, dear furrows,
You are good in your sadness!
I love these frail huts
Waiting for gray-haired mothers.
I will fall to the birch bark little shoes,
Peace be with you, rake, scythe and plow!
But it is impossible to clearly formulate why exactly the Motherland is loved.
1. The feeling of the Motherland is fundamental in Yesenin’s work.Characterizing his lyrics, Yesenin said: “My lyrics are alive with one great love, love for my homeland. The feeling of homeland is fundamental in my work.” Indeed, every line of Yesenin’s poems is imbued with ardent love for the homeland, and for him the homeland is inseparable from Russian nature and the countryside. This fusion of the homeland, the Russian landscape, the village and the personal fate of the poet is the originality of S. Yesenin’s lyrics. In the poet’s pre-revolutionary poems, there is pain for his poor homeland, for this “abandoned land.” In the poems: “The hewn horns began to sing,” “Go you, Rus', my dear,” the poet says that he loves the “lake melancholy” of his homeland to the point of “joy and pain.” “But I can’t learn not to love you!” - he exclaims, turning to Rus'. The poet’s love for his homeland gave birth to such heartfelt lines:
If the holy army shouts:
“Throw away Rus', live in paradise!”
I will say: “There is no need for heaven,
Give me my homeland.”
Great October socialist revolution Yesenin greeted him joyfully, but with certain doubts and hesitations; as he himself said: “He took everything in his own way with a peasant bias.” Not knowing the Marxist-Leninist theory, Yesenin imagined socialism as a kind of peasant paradise, unknown by whom and how, created in his beloved, poor and wretched, illiterate and downtrodden peasant Russia. He believed that since the revolution had occurred, then give everyone “a new hut, covered with cypress planks,” give everyone, at their first request, “a golden ladle with mash.” And the fire in the country did not go out civil war, the interventionists tormented the homeland, devastation and hunger were doing their job. The poet saw empty villages, unsown fields, black cobwebs of cracks on the drought-scorched land, and his heart sank with pain. And then it was necessary to heal the wounds, break the old way of village life, and put the peasantry on the “iron horse.” Seeing all this, Yesenin exclaimed bitterly: Russia! Dear land to the heart! The soul shrinks from pain! Experiencing acute disappointment, Yesenin begins to curse the “iron horse” - the city with its industry, which brings death to the village dear to the poet’s heart, and begins to mourn the old, departing Rus'. The anxious thoughts of the poet, who thought that the revolution had brought ruin to his lovely village, were reflected in the poem “Sorokoust”. The break with the past was painful for Yesenin. It took him a while to understand the new things that were entering the life of the country. This was the heavy spiritual drama that the poet wrote about in the poem “Leaving Rus'.”
The old village was living out its last days. Yesenin felt this, understood it, and sometimes it began to seem to him that he, too, was living out his term together with her. The trip abroad forced the poet to look at his country with new eyes, to re-evaluate everything that happens in it. He, in his words, “fell even more in love with communist construction.” Having visited his native Konstantinov in 1924, after returning from abroad, Yesenin saw what changes had taken place there. He writes about this in the poem “Soviet Rus'”. The poet returned to the country of his childhood and hardly recognized it. It seemed to him that death was coming to the village, life was ending, but he saw something completely different there: the men were discussing their “life.” It turns out that life is not over, it has turned in a different direction, and it is already difficult to catch up with it. Instead of the old desperate groans, instead of the mournful funeral service, new motives are born.
And although he, the poet, does not find a place for himself in this life, and he is very sad at this thought. He accepts this life and glorifies the new one. The poet, of course, is offended that his songs are new village they don't sing. He feels a bitter feeling of resentment for the fact that in his native place he is like a foreigner, but this resentment is already against himself. It’s his own fault that he didn’t sing new songs, it’s his own fault that in the village they don’t accept him as one of their own. However, Yesenin’s greatness lies in the fact that he was able to rise above his personal fate and did not lose the prospect of development. The poet feels that new people have a different life and still blesses it, regardless of his personal fate. The poem ends with bright lines addressed to young people, to the future of their native country. Yesenin even more definitely declares his new views in the poem “Uncomfortable liquid lunarity" It is no longer the passing Rus', but the Soviet Rus' that the poet wants to glorify.
Now he is no longer fond of “shacks”, “songs of the taiga”, “hearth fire”, because all this is connected with our Russia, with the “poverty of the fields”. He wants to see Rus' “steel”, he already foresees the power of his native country. Yesenin sang his song about Russia; he could not imagine life or creativity without his people. Courageous, selfless love for his homeland helped Yesenin find his way to the great truth of the century.
2 . The theme of the Motherland in the works of S.A. Yesenina
In Yesenin’s poetry, he is struck by the aching feeling of his native land. The poet wrote that throughout his entire life he carried one great love. This is love for the Motherland. And indeed, every poem, every line in Yesenin’s lyrics is filled with warm filial love for the Fatherland. Yesenin was born and raised in the outback, among the vast Russian expanses, among fields and meadows.
Therefore, the theme of the Motherland in the poet’s work is inseparably linked with the theme of nature. Yesenin wrote the poem “The bird cherry tree is pouring snow” at the age of fifteen. But how subtly the poet feels the inner life of nature, what interesting epithets and comparisons he gives to the spring landscape! The author sees how the bird cherry tree sprinkles not petals, but snow, how “silk grass is drooping,” feels the smell of “resinous pine”; hears the singing of “birds”.
In the later poem “Beloved Land, My Heart Dreams” we feel that the poet is merging with nature: “I would like to get lost in the greenery of your hundred-bellied greenery.” Everything about the poet is beautiful: the mignonette, the cassock robe, the evocative willows, the swamp, and even the “smoldering fire in the heavenly rocker.” These beauties are dreams of the heart. The poet meets and accepts everything in Russian nature; he is happy to merge in harmony with the world around him. In his works, Yesenin spiritualizes nature, merges with it, gets used to its world, speaks its language. He not only gives it the feelings and sensations of a person, but often compares human dramas with the experiences of animals. The theme of “our little brothers” has always been present in Yesenin’s work. He depicted animals, caressed and offended, domesticated and destitute. The poet sympathizes with a decrepit cow dreaming of a heifer (“Cow”), feels the pain of a whelping dog (“Song of a Dog”), empathizes with a wounded fox (“Fox”). Characteristic feature Yesenin's poetry of this period is that, together with nature, he glorifies patriarchal and religious Rus'. In the poem “Go away, my dear Rus',” huts, low outskirts, and churches appear before the poet’s gaze. With these poetic images Yesenin connected the life and customs of the Russian village.
He is happy to hear girlish laughter, ringing like earrings, and to contemplate the merry dance in the meadows. Therefore, to the cry of the holy army - “Throw away Rus', live in paradise!” - the poet can only answer this way: I will say: “No need for paradise, Give me my homeland.” Similar motives are heard in the poem “The hewn horns began to sing.” The feelings of “warm sadness” and “cold sorrow” are as contradictory as the landscape of the Russian village. On the one hand, there are chapels and memorial crosses along the road, and on the other, poetic and “prayerful” feather grass rings. The year 1917 became a definite milestone in Yesenin’s understanding of the theme of the Motherland. The poet becomes painfully aware of his duality and attachment to the old patriarchal Rus'. We find such experiences in the poems “Leaving Rus'”, “Letter to Mother”, “Hooligan”, “I am the last poet of the village”. In the work “Letter to a Woman,” the poet feels himself “in a life torn apart by a storm.” He is tormented because he will not understand “where the fate of events is taking us.”
In the poem “The feather grass is sleeping. Dear plain,” the poet pronounces confessional words. If someone “rejoices, rages and suffers, lives well in Rus',” then Yesenin, lost in the new life, preserves his own “I”. And now, when fate has touched my life with a new light, I still remain the poet of the Golden Log Hut.
Old rituals and traditions are becoming a thing of the past. Festive haymaking is replaced by the “iron guest”. In the poems “Sorokoust”, “Return to the Motherland”, “Soviet Rus'” the poet tries to penetrate Soviet style life, tries to understand “Rus, reared up by the Commune.” But New World the other generation still doesn’t warm up. Yesenin feels like a gloomy pilgrim. His words sound annoyed and sad
Ah, Motherland! How funny I have become. A dry blush flies onto my sunken cheeks, The language of my fellow citizens has become like a stranger to me, In my own country I am like a foreigner. With the image of the Motherland, Yesenin personifies maternal affection. The poems “Letter to Mother”, “Letter from Mother”, “Answer” are written in the form of a message in which Yesenin opens his soul to the closest person - his mother.
The poet connects the image of the Motherland with the spring floods of rivers; he calls spring “the great revolution.” Despite the despair sounding in this poem, the poet believes in Pushkin’s style: “she will come, the desired time!” And this time came for Yesenin at the end of his life. He glorifies Soviet Rus' in the lyrical-epic works “The Ballad of Twenty-Six” and “Anna Snegina”. The author strives to understand his new native Fatherland, to become a real son of the “great states of the USSR.” After all, even in “Persian Motifs” Yesenin remains a singer of the Ryazan expanses, contrasting them with the “saffron land”. Thus, the theme of the Motherland runs through the poet’s entire work. Despite all the doubts and disappointments in Soviet Russia, Yesenin’s heart remained with his Motherland and its beauties.
In our minds, the poet will forever be remembered as a singer of the Russian expanses. I love my homeland very much (“Confession of a Hooligan”) “Genius is always popular,” said Alexander Blok. Perhaps these words can be applied to any writer whose works are commonly called world classics. And we are talking here not only about the “accessibility” of works to the widest circle of readers or about topics that literally concern the people. Blok very accurately grasped the relationship that exists between talent and a special feeling for the Motherland. Everyone, to one degree or another, feels their connection with the people, and therefore with the Motherland, because these two concepts are inseparable. A truly great person, capable of “rising” above modernity and looking “from above,” must especially feel this connection, feel that he belongs to the galaxy of faithful sons of his fatherland. At the same time, a specific time period and a specific country do not matter - after all, the concepts of “people” and “genius” are eternal. Speaking about the theme of the Motherland in Russian literature, one cannot help but recall Sergei Yesenin and his role in the poetry of the early 20th century. The era called classical has ended, but eternal themes were developed in the works of new writers, who eventually also became classics. Yesenin's earliest poems (1913-1914) are landscape sketches of amazing beauty, in which the Motherland is, first of all, the corner of the world where the poet was born and raised. Yesenin makes nature animated in order to reflect as clearly as possible the beauty of the surrounding world, its living essence. Everything around lives its own life: “the cabbage beds are watered with red water by the sunrise,” “the birch trees stand like big candles.” Even “the nettle was dressed in bright mother-of-pearl” in the poem “With Good morning" The identification of the Motherland with the native village is also typical for more late lyric poetry Yesenina. The village is conceptualized as a kind of microcosm. In the poem “Go You, Rus', My Dear” and “The Hewn Horns Sang,” the theme of the holiness of the Russian land begins to sound latently: And on the limestone bell, a hand is involuntarily baptized. (“The hewn horns began to sing”) Like a visiting pilgrim, I look at your fields. (“Go you, Rus', my dear”) Christian motives are not accidental - we're talking about about the highest value.
However, the poet paints a landscape full of piercing, ringing melancholy, the image of “funeral crosses”, the theme of “cold grief” arises. But at the same time, Yesenin speaks of an all-consuming love for the Motherland, love “to the point of joy and pain.” Such love, which every truly Russian probably experiences, cannot exist without “lake melancholy,” without a drop of bitterness. “I will not give up these chains,” Yesenin says about that unaccountable melancholy that mixes with love and makes this feeling truly deep.
and eternal. “Chains” are familiar to the lyrical hero, and there is sweetness in their heaviness. This theme, which runs through Yesenin’s work, finds its logical continuation in the “Rus” cycle. Here the image of the people appears, which, together with nature, is inseparable for the poet from the concept of “Rus”. Yesenin introduces pictures of folk life (“And how the guys bark with a talyanka, the girls come out to dance around the fires”), as well as folklore images: here are “forest evil spirits” and sorcerers.
In the third part of the cycle, social motives are heard, but they are developed in the light of the author’s previous perception of the topic. Yesenin describes a “time of adversity”: a militia is gathering, the peaceful course of life is disrupted. The landscape takes on a cosmic scope. The event described is recruitment in the village - goes beyond the boundaries of everyday life, turning into a universal catastrophe: Thunder struck, the cup of heaven was split, the lamps of heaven swayed.
The heroes of the cycle, “Peaceful Ploughmen,” are also symbolic. The basis of the life of the Russian people, in Yesenin’s understanding, is peaceful peasant labor, “a rake, a plow and a scythe.” It is not for nothing that this is a “meek homeland,” so after the battle the soldiers dream of “a cheerful mowing above the rays.” Yesenin seeks to explore folk character, to understand the mystery of the Russian soul, to comprehend the logic of the development of this mysterious country. It was the feeling of a deep spiritual connection with the people that prompted Yesenin to turn to the historical past of Russia. Some of his first major works were the poems “Marfa Posadnitsa” and “Song of Evpatiy Kolovrat”, and later “Pugachev”. The characters in these poems are heroes whose names are preserved in the people's memory, epic, almost epic heroes. The main antithesis of all Yesenin’s works on historical subjects is “will - captivity.”
Freedom for the Russian people has always been the highest value, for which it is not scary to enter into battle with the Antichrist himself. Novgorod liberty is the ideal of the poet, which will subsequently lead him to the adoption of a revolutionary idea. Thinking about the past of the Motherland, Yesenin could not help but try to look into its future. His dreams, premonitions, desires were reflected in his poems in 1917. Yesenin says he accepted October Revolution“in my own way, with a peasant twist.” He perceived the “Bright Future” as the arrival of a “peasant paradise,” that is, a society based on the peaceful labor of peasants, universal equality and justice. Yesenin called this utopian “welfare state” Inonia. He sees the revolution as a reorganization of the Universe, a protest against everything old and outdated:
Long live the revolution.
On earth and in heaven
If it's the sun
In conspiracy with them,
We are his whole army
Let's raise our pants. (“Heavenly Drummer”)
Lyrical hero poems of the revolutionary cycle stands at the head of the fighters paving the way to a bright paradise. Having abandoned the old God, he takes his place, creating his own universe: I will leave traces on the earth of the new ascension. Today I am ready to turn the whole world with an elastic hand. (“Irony”) The heroes of “The Heavenly Drummer,” the creators of a new paradise, are not afraid to encroach on the sacred. The heavens are becoming within reach, and it is the “swarthy army, the friendly army”, led by the heavenly drummer, who marches across them so fearlessly and swiftly. Blasphemous images appear: “iconic saliva”, “barking bells”. Yesenin understands that in order to create a “peasant paradise” it is necessary to sacrifice his former homeland - a way of life dear to his heart; “in the robes of the image” and “merry dancing in the meadows” should become a thing of the past.
But he agrees to this sacrifice in order to finally find the “meadow Jordan,” where they believe in a new god, “without a cross and flies,” and where the Apostle Andrew and the Mother of God descend to earth. But soon the fervor of a reckless, almost fanatical passion for revolutionary ideas passes. “What is happening is not the kind of socialism that I thought about,” says Yesenin. He expresses his new understanding in the poem “Letter to a Woman,” where he compares Russia to a ship in a rocking motion. This poem is consonant with the earlier poem “Sorokoust”, where the lyrical hero comes to complete disappointment and despair: The fatal horn is blowing, blowing. How can we be, how can we be now? Already without youthful romance, from the position of a mature person, Yesenin looks at what is happening and draws real paintings folk life.
In the poem “Anna Snegina” he shows how the “struggle for Inonia” ended for the Russian village. People like the brothers Ogloblin, Pron and Labutya came to power: “They should be sent to prison after prison.” The campaign of the heavenly drummer led to a dead end: Now there are thousands of them, Creating vile things in freedom. Race is gone, Rus' is gone, the wet-nurse is dead, but this is his homeland, and the lyrical hero is not able to renounce it, no matter what happens. The last period of Yesenin’s work (20s) can be called “return to the homeland,” in consonance with the poem of 1924. The lyrical hero of these years acquires the facial features of a tragic one. Coming back after for long years rushing and searching for himself in his parents' house, he is bitterly convinced that “you cannot step into the same river twice.” Everything has changed: youth has gone, and with it dreams of heroism and glory; The old, familiar way of life has been destroyed. The former Motherland is gone forever. Life is a stormy sea, but now another generation is on the crest of the wave (“Here is the life of sisters, sisters, not mine”). The lyrical hero turns out to be a stranger in his native land, like “a gloomy pilgrim from God knows from what distant side.” The only thing he has left is “Dear Lyre” and the old, timeless love for the Motherland. Even if this “orphaned land” is no longer what it used to be (“Bell tower without a cross”, “Capital” instead of the Bible), and in Soviet Rus' there is little left of that departed “meek motherland”. The lyrical hero is still inextricably linked with the Motherland, and neither time, nor trials, nor “the thick of storms and blizzards” could break the “chains” that Yesenin wrote about at the very beginning of his journey. The poet turned out to be able to capture the contradictory soul of the Russian person with its thirst for rebellion and an ingenuous dream of peace. This attitude towards paradox leads to the choice of contrasting epithets that define the word “Motherland”: it is “meek” and “violent” at the same time. Yesenin writes with pain about the bloody path of Russia, about the dead end into which the revolution led the country. He is not looking for the direct culprits of the Russian tragedy: It’s a pity that someone was able to scatter us And no one’s guilt is incomprehensible The poet only prays to a certain higher power, hopes for a miracle: Protect me, gentle moisture, My blue May, blue June.
Temporary guidelines and ideas appear and go, but the eternal always remains eternal. Yesenin said about this in one of his later poems “Soviet Rus'”: But then, When throughout the entire planet. The enmity of the tribes will pass, lies and sadness will disappear, I will sing with all my being in the poet The sixth part of the earth With a short name “Rus”.
3. The image of Russia in the works of S. A. Yesenin
Yesenin's poetry is a wonderful, beautiful, unique world! A world that is close and understandable to everyone. Yesenin - true poet Russia; a poet who rose to the heights of his skill from the depths of folk life. His homeland - the Ryazan land - nurtured and nourished him, taught him to love and understand what surrounds us all. Here, on Ryazan soil, Sergei Yesenin first saw all the beauty of Russian nature, which he sang in his poems. From the first days of his life, the poet was surrounded by the world of folk songs and legends: I was born with songs in a grass blanket. The spring dawns twisted me into a rainbow. In the spiritual appearance in Yesenin’s poetry, the features of the people were clearly revealed - its “restless, daring strength”, scope, cordiality, spiritual restlessness, deep humanity.
Yesenin’s whole life is closely connected with the people. Maybe that's why the main characters of all his poems are simple people, in every line one can feel the close connection of the poet and man - Yesenin with the Russian peasants, which has not weakened over the years. Sergei Yesenin was born into a peasant family. “As a child, I grew up breathing the atmosphere of folk life,” the poet recalled. Already by his contemporaries Yesenin was perceived as a poet of “great song power.”
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
“My lyrics are alive with one great love,” said Yesenin, “love for the homeland. The feeling of the Motherland is fundamental in my work.” In Yesenin’s poems, not only “Rus' shines,” not only does the poet’s quiet declaration of love for her sound, but faith in man, in his great deeds, in a great future is expressed native people. The poet warms every line of the poem with a feeling of boundless love for the Motherland:
I became indifferent to the shacks.
And the hearth fire is not dear to me,
Even the apple trees are in the spring blizzard
I like something different now
And in the consumptive light of the moon
Through stone and steel
I see the power of my native side.
With amazing skill, Yesenin reveals to us pictures of his native nature. What a rich palette of colors, what precise, sometimes unexpected comparisons, what a sense of unity between the poet and nature! In his poetry, according to A. Tolstoy, one can hear “the melodious gift of the Slavic soul, dreamy, carefree, mysteriously excited by the voices of nature.” Everything about Yesenin is multicolored and multicolored. The poet eagerly peers at the pictures of the world renewed in spring and feels like a part of it, tremblingly awaits the sunrise and stares for a long time at the brilliant colors of the morning and evening dawn, at the sky covered with thunderclouds, at old forests, at fields flaunting flowers and greenery. With deep sympathy Yesenin writes about animals - “our smaller brothers.” In M. Gorky’s memoirs about one of his meetings with Yesenin and his poem “Song of the Dog” the following words were heard: “and when he said the last lines:
"The dog's eyes rolled
Tears also sparkled like golden stars in the snow in his eyes.”
After these poems, I couldn’t help but think that S. Yesenin is not so much a person as an organ created by nature exclusively for poetry, to express the inexhaustible “sadness of the fields, love for all living things in the world and mercy, which - more than anything else - is deserved by man.” Yesenin’s nature is not a frozen landscape background: it lives, acts, and reacts passionately to the destinies of people and the events of history. She is the poet's favorite hero. She always attracts Yesenin to her. The poet is not captivated by the beauty of eastern nature, the gentle wind; and in the Caucasus, thoughts about the homeland do not leave: No matter how beautiful Shiraz is, It is no better than the expanses of Ryazan. Yesenin, without turning aside, walks the same road together with his Motherland, with his people. The poet anticipates great changes in the life of Russia:
Come down and appear to us, red horse!
Harness yourself to the earth's shafts
We give you a rainbow - an arc.
The Arctic Circle is on the harness.
Oh, take out our globe
On a different track.
In his autobiography, Yesenin writes: “During the years of the revolution he was entirely on the side of October, but he accepted everything in his own way, with a peasant bias.” He accepted the revolution with indescribable delight: Long live the revolution on earth and in heaven! New features appear in Yesenin’s poetry, born of revolutionary reality.
Yesenin's poems reflect all the contradictions of the early period of the formation of the Soviets in the country. The violent revolutionary pathos in the early 20s, when a new economic policy, was replaced by pessimistic sentiments, which were reflected in the cycle “Moscow Tavern”. The poet cannot determine his place in life, feels confusion and bewilderment, suffers from the consciousness of spiritual duality: Russia! Dear land to the heart!
The soul shrinks from pain.
The field has not heard for many years
Cocks crowing, dogs barking.
How many years has our quiet life
Lost peaceful verbs.
Like smallpox, hoof pits
Pastures and valleys are dug up.
What pain is felt in the poet’s tragic song about the internecine discord that is tearing “the native country apart,” anxiety for the future of Russia. The question painfully arises before him: “Where is the fate of events taking us?” It was not easy to answer this question; it was then that a breakdown occurred in the poet’s spiritual perception of the revolution, his utopian plans collapsed. Yesenin thinks and suffers about the doomed village:
Only I, as a psalm-reader, can sing hallelujah over my native land.
The passage of time is tireless, and Yesenin feels it; lines full of mental confusion and anxiety appear more and more often:
I am the last poet of the village,
The plank bridge is modest in its songs.
At the farewell mass I stand
Birch trees burning with leaves.
Yesenin's inconsistency is most dramatically reflected in his thoughts about the future of the village. The poet's commitment to the peasantry is becoming more and more evident. In Yesenin’s poems one can hear a longing for nature, which civilization will lose. Unforgettable Yesenin’s “red-maned foal”: Dear, dear, funny fool.
Well, where is he, where is he going?
Doesn't he really know that live horses
Did the steel cavalry win?
In Yesenin, the opposition between city and countryside takes on a particularly acute character. After a trip abroad, Yesenin acts as a critic of bourgeois reality. The poet sees the harmful impact of the capitalist system on the souls and hearts of people, and acutely feels the spiritual squalor of bourgeois civilization. But the trip abroad had an impact on Yesenin’s work. He again remembers the “melancholy of endless plains”, familiar to him from his youth, but now, however, he is no longer pleased with the “cart song of wheels”:
I became indifferent to the shacks,
And the hearth fire is not dear to me,
Even the apple trees are in the spring blizzard
Because of the poverty of the fields, I stopped loving them.
Pictures of the past evoke a passionate thirst for the renewal of one’s native village: Field Russia!
Enough of dragging the plow across the fields!
It hurts to see your poverty
And birches and poplars.
I don't know what will happen to me.
Maybe in new life I'm no good
But I still want steel
See poor, beggarly Rus'.
Isn’t it this truth of feelings that burns the heart and soul that is especially dear to us in Yesenin’s poems? Isn’t this the true greatness of the poet? S. Yesenin deeply knew the peasant life of Russia, and this contributed to the fact that he was able to become a truly people's poet.
No matter what Yesenin writes about: about the revolution, about the peasant way of life, he still returns to the topic of the Motherland. The Motherland is something bright for him and writing about it is the meaning of his whole life: “I love the Motherland, I love the Motherland very much. The homeland both worries and calms the poet.” In his lyrical works there is boundless devotion to the Motherland and admiration for it:
But even then.
When in the whole planet
The tribal feud will pass.
Lies and sadness will disappear,
I will chant
With the whole being in the poet
Sixth of the land
With a short name “Rus”.
From Yesenin’s poems emerges the image of a poet-thinker, vitally connected with his country. He was a worthy singer and a citizen of his homeland. In a good way, he envied those “who spent their lives in battle, who defended a great idea,” and with sincere pain he wrote “about the days wasted in vain”: “After all, I could not give what I gave. What was given to me for the sake of a joke.” Yesenin was a bright individual personality. According to R. Rozhdestvensky, he possessed “that rare human quality that is usually called vague and indefinite word“charm” “Any interlocutor found in Yesenin something of his own, familiar and beloved, and this is the secret of such a powerful influence of his poems.”
How many people warmed their souls around the miraculous fire of Yesenin’s poetry, how many enjoyed the sounds of his lyre. And how often they were inattentive to Yesenin the Man. Maybe this was what ruined him. “We have lost a great Russian poet,” wrote M. Gorky, shocked by the tragic news. Conclusion Oh, you, Rus' is my meek homeland, I cherish my love only for you.
The village of Konstantinovo, where the famous Russian poet S. Yesenin spent his childhood, is located along the right hilly bank of the Oka. From here, an immense expanse of flooded meadows, buried in flowers, the smooth surface of meadow lakes, and copses running into the distance opens up. Yesenin grew up among the expanse of nature, which taught him “to love in this world everything that puts the soul into flesh,” therefore the theme of his first lyrical poems is the theme of his native nature.
All the beauties of his native land: the fire of dawn, and the splash of waves, and the silvery moon, and the immense blue of heaven, and the blue surface of lakes - everything was reflected in his poems, full of love for the Russian land: O Rus' - a raspberry field And the blue that fell into the river I love your lake melancholy to the point of joy and pain. We are infinitely close to both the road and the “green-haired, white-skirted” Yesenin birch tree - the poet’s favorite image, and his old maple tree, symbolizing “blue Rus'”: I am weaving a wreath for you alone. I sprinkle flowers on the gray stitch. O Rus', a peaceful corner. I love you, I believe in you. In depicting nature, Yesenin uses the rich experience of folk poetry, epithets, comparisons, metaphors, and personification. His bird cherry “sleeps in a white cape,” the willows cry, the poplars whisper, “the sleepy earth smiled at the sun.” Yesenin's nature is multicolored and colorful.
The poet's favorite colors are blue and light blue. They seem to enhance the feeling of the vastness of the expanses of Russia, expressing a feeling of tenderness and love. His nature is always alive, it reacts ardently to the fate of people and the events of history. The mood of nature is always in tune with the mood of man:
The golden grove dissuaded
Birch's cheerful tongue,
And the cranes, sadly flying,
They don’t regret anyone anymore.
Yesenin rose to the heights of poetry from the depths of people's life. “My father is a peasant, well, and I am peasant son“wrote the poet. Sergei Yesenin was flesh and blood of rural Russia, that “blue Rus'” that he sang in his poems:
Goy, Rus', my dear.
Huts - in the robes of the image
No end in sight
Only blue sucks his eyes.
And in short joyful moments, and in long years grief and sadness of the poet with the people.
The poem “Rus” is a significant milestone in Yesenin’s entire pre-October work. In it, the poet talks about the difficult trials that Russia was going through. The people do not need war, because even without it there is a lot of grief the main idea Yesenin's “Rus”. The war was a severe disaster for the peasantry. The poet’s story about the Motherland during the years of military adversity is stern, sad, and truthful:
The village drowned in potholes,
The huts of the forest were obscured.
Only visible on the bumps and depressions,
How blue the skies are all around.
The villages were empty, the huts were orphaned.
Occasionally soldiers' news came to the village: .
They believed in these scribbles
Bred with hard work,
And they cried with happiness and joy,
Like the first rain in a drought.
It is difficult to find another poem where the poet’s feeling of love for the Motherland would be revealed with such force:
Oh, my gentle Rus', my homeland,
I cherish my love only for you.
Your joy is short-lived.
With a loud song in the spring in the meadow.
The main thing in Yesenin’s poetry is service to the Motherland. His words have long become popular: If the holy army shouts: “Throw away Rus', live in paradise!”
And I only dream about that.
In Yesenin’s works one can feel the unity of man with nature, with everything living on earth.
In one of his meetings with Yesenin, A. M. Gorky said: “that he is the first in Russian literature to write about animals so skillfully and with such sincere love.” “Yes, I really love all kinds of animals,” answered Yesenin. Yesenin's time is a time of dramatic revolutions in the history of Russia. From field Rus', patriarchal to Russia, transformed by the revolution, Soviet Russia - such is the historical path traversed by the poet, together with his Motherland, with his people. Everything that happened in Russia during the days of October was unusual and unique. Yesenin greeted the revolution with joy and warm sympathy; he took its side without hesitation. The revolution gave Yesenin the opportunity to feel his connection with the people, with the Motherland in a new way; it gave him a new social theme.
The main thing in Yesenin’s new works is the awareness of one’s strength, the freedom that October brought to both the poet and peasant Rus'. He exclaims: Long live the revolution on earth and in heaven! Revolutionary reality gave birth to new features of the artistic style. In those days, clear, intense rhythms burst into his poems from his turbulent life:
The sky is like a bell.
Month - language
My mother is my homeland.
I am a Bolshevik.
The life of revolutionary Rus' became more and more intense: the fire of the civil war did not go out, the interventionists tormented the country, devastation and hunger did their dirty work. It was during this period of class battles that Yesenin’s “peasant deviation” manifested itself most noticeably. Deep pain sounds in verses “ the last poet villages” about irrevocable, historically doomed to destruction, old village. A trip abroad helped Yesenin understand the need for industrialization, to understand that Russia needs to catch up with Europe. Upon returning to his homeland, he writes: I don’t know what will happen to me. Maybe I’m not fit for a new one, But still I want a steel one. See poor, beggarly Rus'. As if the result of the change in his views was the poem “Soviet Rus'”, imbued with love and pride for the Soviet homeland, Soviet people: But even then, When the enmity of tribes passes throughout the entire planet, Lies and sadness disappear, I will sing with all my being in the poet The sixth part of the earth With the short name “Rus”. The multifaceted image of the Motherland in the works of S. Yesenin is historically specific and filled with great social content.
Here is a critical look at Russia’s past, faith in its present and future. Yesenin's poetry is near and dear to all the peoples of our planet. She is immortal. The strength and brightness of his verse speaks for itself. His poems cannot grow old. In their veins flows the ever-young blood of ever-living poetry.
Conclusion
Sergei Yesenin rose to the heights of poetry from the depths of people's life. He perceived his village of Konstantinovo as an image of his homeland. Recognizing his bright, original talent, Sergei Yesenin wrote:
My village will only be famous for this,
That a woman once gave birth here
Russian, scandalous piita.
Bibliography
Abramov A.S. Yesenin S.E. Life and art. M.: Education, 1976 Yesenin S.A. Favorites. M.: Young Guard, 1988
Mikhailov A.A. Study of the creativity of S. E. Yesenin. M.: Education, 1990
Pavlov P.V. Writer Yesenin M Young Guard, 1988
Prosvirina I.Yu. Yesenin S.E. ZhZL. M.: Young Guard, 1988
Yesenin S.A. I am a Moscow mischievous reveler. M., 2008.
Russian literature of the 20th century, 11th grade, ed. V.V. Agenosova, M., 2002.
Summary
But most of all
Love for the native land
I was tormented
Tormented and burned.
S. Yesenin
The theme of the Motherland in Russian literature is one of the most favorite themes of Russian writers and poets. There is not a single creator I know who would not touch on this topic in his works. Some of them only briefly touched on it, others dedicated all their creations to the Motherland, putting love and feelings into them, proving that the Motherland is an important, and sometimes the most important part of their lives and creativity.
Already in the early period of S. Yesenin’s work, the most obvious strong point his poetic talent is the ability to draw pictures of Russian nature. In Yesenin’s poetry, he is struck by the aching feeling of his native land. The poet wrote that throughout his entire life he carried one great love. This is love for the Motherland. And indeed, every poem, every line in Yesenin’s lyrics is filled with warm filial love for the Fatherland.
This was the main reason for choice topics of work. The presented study examines the attitude of S.A. Yesenin to his homeland. Material This work was based on the memoirs of his contemporaries about him (L. Belskaya, A. Marchenko, A. Mariengof, V. Druzin, V. Polonsky, I. Belyaev), literary works about the poet’s work, as well as his poems. Purpose This work is to highlight the work and life of S. Yesenin in the context of his attitude towards his homeland, as well as to trace how the theme of the Motherland is revealed in the poet’s work.
Sharing with Russia the tragic turns of its fate, he often turns to her:
“Ah, homeland!
How funny I have become.
A dry blush flies onto the sunken cheeks.
The language of my fellow citizens has become like a foreign language to me,
I’m like a foreigner in my own country.”
This is how he perceives revolutionary events, this is how he sees himself in the new Russia. During the years of the revolution, he was entirely on the side of October, but he accepted everything in his own way, “with a peasant bias.” Through the mouths of the peasants, Yesenin expresses his attitude towards the actions of the new masters of Russia: Yesterday the icons were thrown from the shelf, The commissar removed the cross from the church. But, regretting “the passing Rus',” Yesenin does not want to lag behind the “coming Rus'”:
But I'm still happy.
In a host of storms
I had a unique experience.
The whirlwind has dressed up my destiny
In golden bloom.
With all his love for patriarchal Russia, Yesenin is offended by its backwardness and wretchedness, he exclaims in his heart:
Field Russia!
Enough of dragging the plow across the fields.
It hurts to see your poverty
And birches and poplars.
But no matter what adversity tormented Russia, its beauty still remained unchanged, thanks to its marvelous nature. The charming simplicity of Yesenin’s paintings cannot but captivate readers. Already in one “Blue Fog. Snowy expanse, subtle lemon moonlight,” you can fall in love with the poet’s Russia. Every leaf, every blade of grass lives and breathes in Yesenin’s poems, and behind them is the breath of his native land. Yesenin humanizes nature, even his maple tree looks like a person:
And like a drunken watchman,
out on the road
He drowned in a snowdrift and froze his leg.
His poems are like smooth, calm folk songs. And the splash of the waves, and the silvery moon, and the rustle of the reeds, and the immense blue of the sky, and the blue surface of the lakes - all the beauty of the native land has been embodied over the years in poems full of love for the Russian land and its people:
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
He accepted the revolution with indescribable delight. The violent revolutionary pathos in the early 20s gave way to pessimistic sentiments, which were reflected in the cycle “Moscow Tavern”. The poet cannot determine his place in life, he feels confused and bewildered, because poverty still reigned in the country.
No matter what Yesenin writes about: about the revolution, about the peasant way of life, he still returns to the topic of the Motherland. The Motherland is something bright for him and writing about it is the meaning of his whole life: “I love the Motherland, I love the Motherland very much. The homeland both worries and calms the poet.”
According to R. Rozhdestvensky, he possessed “that rare human quality that is usually called the vague and indefinite word “charm.” “Any interlocutor found in Yesenin something of his own, familiar and beloved, and this is the secret of such a powerful influence of his poems.”
I will say: “There is no need for heaven. Give me my homeland.” Love for the Motherland cannot exist without love for the mother. Big influence The poet was influenced by his mother, endowed with intelligence, amazing beauty, and a wonderful gift of song. Tatyana Fedorovna possessed rare skill in performing Russian folk songs. Sergei Yesenin and his sisters, whose constant companions were their mother’s songs, imperceptibly themselves became familiar with the “song word”. Yesenin retained and carried his love for his mother throughout his life. In difficult moments, he turned to his mother as his most faithful friend:
I'm still as gentle
And I only dream about that.
So that rather from rebellious melancholy
Return to our low house.
Yesenin considered the peasantry and the village as the main carriers of Russian culture, therefore the main theme of the poet’s poems is the world of the Russian peasantry, perceived as the poet’s philosophy of life, which determined many of the features of his poems about the Motherland. The feeling of boundless love for Russia is heard in almost every poem of the poet.
Yesenin is a singer of his native land, because it is an integral part human soul. Yesenin truly managed to feel this and reflect it in his poems. Our generation will always be grateful to him for this.
At the center of Yesenin’s work is a complex, multifaceted image of the Author, a Russian man, a bright representative of his people, a “real, not free son” of his homeland. This is a poet who was born in the village, connected with the peasant’s general perception of the world and who longed to bring to life the wonderful principles of an ideal world in which man is an integral part of a single living Nature. A.N. Zakharov
Sergey Alexandrovich Yesenin ()
Sergei Aleksandrovich Yesenin was born on September 21, 1895 in the village of Konstantinovo, Ryazan province. Now this village is called Yesenino. Yesenin's parents were peasants. The situation in their family was quite difficult. The mother did not get along with her mother-in-law, her parents - the Titovs - were alienated from the Yesenins. The father left the family, the mother was forced to leave the Yesenins. She gave her son to be raised by her father and went to the city to earn money.
Alexander Nikitich Yesenin () and Tatyana Fedorovna Yesenina (Titova) (). Sergei Yesenin's father Alexander Nikitich sang in church as a boy. He worked as a senior clerk in a butcher shop on Shchipok Street, and where Sergei Yesenin went to work as a clerk in 1912, when he moved from his village of Konstantinovo to Moscow. And he lived with his father not far from Shchipok Street in Bolshoi Strochenovsky Lane, in Krylov’s house, 24, in a hostel for “single clerks”...
Fyodor Andreevich () and Natalya Evtikhievna () Titov are Yesenin’s maternal grandfather and grandmother (parents of Tatyana Fedorovna). Titov Ivan Fedorovich, Yesenin’s maternal uncle. Yesenin Ilya Ivanovich () cousin of the poet. Here is what Yesenin writes about his childhood: “From the age of two, I was given up to be raised by a rather wealthy maternal grandfather, who had three adult unmarried sons, with whom I spent almost my entire childhood. My uncles were mischievous and desperate guys. Three and a half years old They put me on a horse without a saddle and immediately let me gallop. Then Uncle Sasha took me into the boat, drove me away from the shore, took off my underwear and threw me into the water like a puppy.”
Yesenin’s grandfather was a man of strict religious rules and was an Old Believer. He knew well Holy Bible, remembered many pages of the Bible by heart. He also loved his grandson very much. Peasant hut. The strong smell of tar, the old Goddess, the gentle light of the lamps... These are the future poet’s impressions of his childhood. In addition to his grandfather, Sergei was also raised by his grandmother. “I started composing poems early, my grandmother gave me the impetus.” She told stories, and if he didn’t like the ending, he would change it in his own way.
Thus, his spiritual life was influenced by sacred history and folk poetry. The poet's religiosity turned out to be fragile. “I had little faith in God, I didn’t like going to church,” he recalled about his childhood. But throughout his life he retained his love for folk legends, fairy tales, and songs. Here lay the origins of his creativity. Yesenin recalls: “Among the boys he was always a horse breeder and a big fighter. Only my grandmother scolded me for this.” Thin and short, Always a hero among boys. Often, often with a broken nose I came to my home.
When it was time to study, the boy was sent to a four-year school. Teaching came easily to him. Already at school he began to show poetic inclinations. “I started composing early, forest at nine,” the poet recalled, “but I wrote spiritual poems for a long time.” Poems by Yesenin they are convinced that already at this early time he finds his own path in poetry. Motifs of Russian nature, love for his native land, the soulfulness of the lyrics, the melodiousness of the verse - all this is inherent in his early works. In 1912 he graduated from the Spas-Klepikovskaya school, and he was faced with the question of what to do next. His relatives send him to the Moscow Teachers' Institute, but Yesenin himself does not strive for this. He was sent to Moscow to his father, who by this time had become a merchant's clerk. The father placed his son in the merchant's office. Thus, in the spring of 1912, Yesenin’s Moscow life began. After Yesenin’s stay in the Surikov Circle, he strives to continue his education. In 1913 he entered the Moscow City People's University named after L.A. Shanyavsky. He studied at the university for a year and a half. This was not an easy task for him. And the difficult financial situation forced Sergei to go back to the village.
Having composed poetry since childhood, Yesenin found like-minded people in the Surikov Literary and Musical Circle, of which he became a member. He began publishing in 1914 in Moscow children's magazines (his debut poem was “Birch”). In the spring of 1915, Yesenin came to Petrograd, where he met A. A. Blok, S. M. Gorodetsky, A. M. Remizov and others, and became close to N. A. Klyuev, who had a significant influence on him. Their joint performances with poems and ditties, stylized in a “peasant”, “folk” manner (Yesenin appeared to the public as a golden-haired young man in an embroidered shirt and morocco boots), were a great success.
Yesenin’s first collection of poems, “Radunitsa” (1916), was enthusiastically welcomed by critics, who discovered a fresh spirit in it, noting the author’s youthful spontaneity and natural taste. In the poems of “Radunitsa” and subsequent collections (“Dove”, “Transfiguration”, “Rural Book of Hours”, all 1918, etc.) a special Yesenin “anthropomorphism” develops: animals, plants, natural phenomena, etc. are humanized by the poet, forming together with people connected by roots and all their being with nature, a harmonious, holistic, beautiful world. At the intersection of Christian imagery, pagan symbolism and folklore stylistics, paintings of Yesenin’s Rus', colored by a subtle perception of nature, are born, where everything: a burning stove and a dog’s nook, an uncut hayfield and swamps, the hubbub of mowers and the snoring of a herd becomes the object of the poet’s reverent, almost religious feeling (“I I pray for the red dawns, I take communion by the stream”).
In 1915, when Yesenin's poetic fame began, he was drafted into the army. He wrote about this in one of his letters: “From military service I was released before the fall.” But in 1916 he was still called up for military service. Thanks to the intervention of writers, he was sent to the so-called “trophy commission”, where artists, writers, and musicians were selected. Soon he was transferred to Tsarskoye Selo, where he worked in the office of the palace hospital. S. A. Yesenin. Photo of Neva. From an engraving by A. Ostroumova-Lebedeva
Yesenin invested a lot of hopes and beliefs into the revolution that took place in October 1917. At the beginning of 1918 he moved to Moscow. Having met the revolution with enthusiasm, he wrote several short poems (“The Jordan Dove,” “Inonia,” “Heavenly Drummer,” all 1918, etc.), imbued with a joyful anticipation of the “transformation” of life. In later years, he wrote “Song of the Great March”, 1924, “Captain of the Earth”, 1925, etc.). Reflecting on “where the fate of events is taking us,” the poet turns to history (dramatic poem “Pugachev”, 1921).
During his military service he also continued to engage in poetic creativity. Step by step, Sergei moved away from those with whom he had recently been closely associated. After the death of A. Blok (1921), an evening “Sincerely about Blok” was organized, at which they outraged the memory of the poet. On this occasion, Yesenin said: “My comrades were dear to me before. But when they dared to announce a scandalous evening in his memory after Blok’s death, I broke up with him. “Yes, I did not participate in this evening, and I told them, my former friends, “I’m ashamed!” In the first half of the 20s, Yesenin did not immediately come to the understanding that the village must change. He was gradually convinced of this by reality itself, life in a modern village, in which the remnants of the past were still strong. He saw this well, visiting his native places, spoke with pain about dark sides peasant life.
In the early 1920s. In Yesenin’s poems, motifs of “a life torn apart by a storm” appear (in 1920, a marriage that lasted about three years with Z. N. Reich broke up), drunken prowess, giving way to hysterical melancholy. The poet appears as a hooligan, a brawler, a drunkard with a bloody soul, hobbling “from den to den,” where he is surrounded by “alien and laughing rabble” (collections “Confession of a Hooligan,” 1921; “Moscow Tavern,” 1924).
During this period, his best lines were created: the poems “The golden grove dissuaded...”, “Now we are leaving little by little...”, the cycle “Persian Motifs”, the poem “Anna Snegina”, etc. The main place in his poems still belongs to the theme of the homeland, which now takes on dramatic shades. The motif of the competition between old and new, outlined in the poem “Sorokoust” (1920), is developed in poetry recent years. Yesenin increasingly feels like a singer of a “golden log hut”, whose poetry “is no longer needed here” (collections “Soviet Rus'”, “Soviet Country”, both 1925). The emotional dominant of the lyrics of this period are autumn landscapes, motives of summing up, and farewells.
You are my fallen maple, you are an icy maple, Why are you standing bent over under the white snowstorm? Or what did you see? Or what did you hear? It’s as if you went out for a walk outside the village. And, like a drunken watchman, going out onto the road, He drowned in a snowdrift and froze his leg. Oh, and now I myself have somehow become unstable, I won’t make it home from a friendly drinking party. There I met a willow, there I noticed a pine tree, I sang songs to them under a snowstorm about summer. I seemed to myself to be the same maple tree, only not fallen, but completely green. And, having lost his modesty, having become stupefied, like a stranger’s wife, he hugged the birch tree. January 28, 1925
Anna Romanovna Izryadnova () - Yesenin entered into a civil marriage with her in the fall of 1913, who worked with Yesenin as a proofreader in a printing house. On December 21, 1914, their son Yuri was born, but Yesenin soon left the family. Anna Romanovna Izryadnova Zinaida Nikolaevna Reich () with children - Tanya and Kostya. Zinaida Nikolaevna Reich On July 30, 1917, Yesenin married the beautiful actress Zinaida Reich in the Church of Kirik and Ulita, Vologda district. On May 29, 1918, their daughter Tatyana was born. Yesenin loved his daughter, blond and blue-eyed, very much. On February 3, 1920, after Yesenin separated from Zinaida Reich, their son Konstantin was born. On October 2, 1921, the people's court of Orel ruled to dissolve Yesenin's marriage to Reich.
In 1920, Yesenin met and became friends with the poetess and translator Nadezhda Davydovna Volpin. Nadezhda wrote poetry from her youth and took part in the work of the Green Workshop poetry studio under the leadership of Andrei Bely. In the fall of 1920 she joined the Imagists. Then the friendship with Sergei Yesenin began. She published her poems in collections, read them from the stage in the “Poets Cafe” and “Pegasus Stable” - this is the name of the “coffee” period of poetry. On May 12, 1924, after a break with Yesenin, the illegitimate son of Sergei Yesenin and Nadezhda Davydovna Volpin was born in Leningrad - a prominent mathematician, a famous human rights activist, he periodically publishes poetry (only under the name Volpin). Nadezhda Davydovna Volpin Galina Benislavskaya. Their relationship, with varying success, lasted until the spring of 1925. Returning from Konstantinov, Yesenin finally broke up with her. It was a tragedy for her. Galina Benislavskaya shot herself at Yesenin’s grave. She left two notes on his grave. One is a simple postcard: “December 3, 1926. She committed suicide here, although I know that after this even more dogs will be blamed on Yesenin... But he and I don’t care. Everything that is most dear to me is in this grave.. "She is buried at the Vagankovskoye cemetery next to the poet's grave
Isadora Duncan (). Isadora fell in love with Yesenin at first sight, and Yesenin was immediately carried away by her. On May 2, 1922, Sergei Yesenin and Isadora Duncan decided to consolidate their marriage according to Soviet laws, since they were about to travel to America. They signed at the registry office of the Khamovnichesky Council. When they were asked what surname they would choose, both wanted to have a double surname - “Duncan-Yesenin”. This is what was written down on the marriage certificate and in their passports. This page of Sergei Yesenin’s life is the most chaotic, with endless quarrels and scandals. They diverged and came back together many times. Hundreds of volumes have been written about Yesenin’s romance with Duncan. Numerous attempts have been made to unravel the mystery of the relationship between these two such dissimilar people. Isadora Duncan
In the winter months of 1924/25, when Yesenin lived in Batum, he met a young woman there, then a teacher of the Russian language - Shagane (Shagandukht) Nersesovna Talyan (married Terteryan) (), they met several times, Yesenin gave her his collection with a dedicatory inscription. But with his departure from Batum, the acquaintance ended, and in the following months he made no effort to renew it, although the name Shagane appeared again in poems written in March, and then in August 1925. March 5, 1925 - meeting Lev’s granddaughter Tolstoy Sofia Andreevna Tolstoy (). She was 5 years younger than Yesenin, blood flowed in her veins greatest writer peace. On October 18, 1925, the marriage with S.A. Tolstoy was registered. Sofya Tolstaya is another of Yesenin’s unfulfilled hopes of starting a family. Coming from an aristocratic family, according to the recollections of Yesenin’s friends, she was very arrogant and proud, she demanded adherence to etiquette and unquestioning obedience. These qualities of hers were in no way combined with Sergei’s simplicity, generosity, cheerfulness, and mischievous character. They soon separated. Sofia Andreevna Tolstoy
In August 1923, Yesenin met with the actress of the Moscow Chamber Theater Augusta Leonidovna Miklashevskaya. Augusta soon became Duncan's happy rival. But despite her passionate passion for the young poet, she was able to subordinate her heart to her mind. Yesenin dedicated 7 poems from the famous cycle “The Love of a Hooligan” to Augusta Miklashevskaya. Augusta Leonidovna Miklashevskaya
On December 24, 1925, Sergei Yesenin arrived in Leningrad for permanent residence. He lived only 4 days - from December 24 to 28. On December 28, at 10:30 a.m., his body was discovered in room five of the Angleterre Hotel. The next day, central and provincial newspapers published and announced the death of the poet. Everyone agreed on one thing: suicide. But we probably won’t know if this is actually true.
Goodbye, my friend, goodbye..." Autograph
Educational project: Life and work of S.A. Yesenina.
Creative name of the project: “My poems, calmly tell me
about my life"
S. Yesenin
Subject area: Russian literature.
Topic in curriculum: Life and work of Sergei Aleksandrovich Yesenin.
Student age: 6th grade.
Duration of the project: 3 weeks.
Brief summary of the project:
short biography Sergei Alexandrovich Yesenin. Sergei Aleksandrovich Yesenin (October 3, 1895, village of Konstantinovo, Ryazan province December 28, 1925, Leningrad) Russian poet, representative of new peasant poetry and (in a later period of creativity) imagism. His poetry: from the first collections of poetry (“Radunitsa”, 1916; “Rural Book of Hours”, 1918) he appeared as a subtle lyricist, a master of deeply psychologized landscape, a singer of peasant Rus', an expert on native language and the people's soul. In 1919-1923 he was a member of the group of Imagists. A tragic attitude and mental confusion are expressed in the cycles “Mare’s Ships” (1920), “Moscow Tavern” (1924), and the poem “The Black Man” (1925). In the poem “The Ballad of the Twenty-Six” (1924), dedicated to the Baku commissars, the collection “Soviet Rus'” (1925), and the poem “Anna Snegina” (1925), Yesenin sought to comprehend the “commune uplifted Rus',” although he continued to feel like a poet of “Leaving Rus'” ", "golden log hut". Dramatic poem “Pugachev” (1921).
Birth name: Sergei Alexandrovich Yesenin
Date of birth: October 3, 1895(1895-10-03)
Place of birth: village of Konstantinovo, Kuzminskaya volost, Ryazan district, Ryazan province, Russian empire
Date of death: December 28, 1925 (12/1925/28) (30 years old)
Place of death: Leningrad, USSR
Occupation: poet
Years of creativity: 19101925
Movement: New Peasant Poets (19141918), Imagism (19181923)
Didactic goals of the educational project:
1. Development of communication skills of students.
2. Development of students' creative skills.
3. Development of skills and abilities to work with information.
4. Development of students’ self-analysis skills.
5. Development of interpersonal skills and cooperation skills.
6. Skill development critical thinking.
Methodological objectives of the educational project:
1. Skill development various types speech activity: reading, writing, speaking.
2. Development of skills in using the received information in speech.
3. Development of skills in using critical thinking.
4. Students acquire knowledge of a sociocultural nature in accordance with the topic being studied.
Guiding questions:
Fundamental question: What influence did Yesenin have on the reader’s worldview?
Problematic issues:
1. Was Sergei Yesinin happy in life?
2. What works are central to his work?
Study questions:
1. When was Sergei Yesenin born?
2. In what village was he born?
3. Who were his parents?
4. What is the poet’s attitude towards the Motherland and towards his mother?
5. What fateful problems are revealed in the poet’s work?
Project structure
Project plan:
Stage I. 1.Introductory lesson. Presentation of the project (introductory presentation by the teacher). 2. Discussion of the fundamental issue and formulation of problematic issues (brainstorming). 3. Formation of groups and choice of research topic.
Stage II. (3 weeks, 2 times a week for 15-20 minutes in lessons, independent work Houses)
1. Joint planning of the project: goals, work schedule, determination of the work evaluation system. 2.Planning the activities of each project participant. 3.Analysis of available information. Collection and study of information (searching for information on the Internet and other sources). 4. Implementation of the work plan (independent work in groups). 5.Consulting and monitoring student activities. 6. Interim assessment of work by group members taking into account self-assessment. 7.Preparing a report on the work and preparing the results of the work in the form of a presentation. 8. Preliminary assessment of the work of the entire group 9. Final assessment of the work of each student in the group.
Stage III. (2 weeks, 2 times a week for 15-20 minutes in class, independent work at home)
1. Preliminary assessment of the product of activity. 2. Presentation of the project at school subject week. 3.Evaluation of the results of work on the project by the project manager and the school teacher-organizer. Presentation of awards.
Stage IV.
1.Analysis of the results of the project. 2. Reflection.
Teacher publication
Teacher presentation to identify student ideas and interests
Didactic materials
Test "The Life and Work of Sergei Yesenin"
Literature:
Poems by S.A. Yesenina
PROJECT SCENARIO:
READER____________________:
In this name the word "esen"
Autumn, ash, autumn color.
There is something in it from Russian songs -
Heavenly, quiet scales,
Blue birches and blue dawn.
There is something in him from spring sadness,
Youth and purity
They’ll just say “Sergei Yesenin”
All Russia's features are emerging
Today we have gathered to talk about the life and work of the great Russian poet Sergei Yesenin, who would have turned 120 years old this year. Yesenin is the most popular Russian poet of the 20th century. Many literary scholars have puzzled over the secret of the all-Russian love for Yesenin’s poetry.
READER _________________________________:
- On Ryazan land in the village of Konstantinovo in 1895. September 21 (old style) October 3, new style – born great poet Sergey Yesenin.
Yesenin's father - Alexander Nikitich Yesenin, mother - Tatyana Fedorovna - peasants. Sergei spent his childhood with his maternal grandparents in another part of the village.
In his poems and in his autobiography, Yesenin showed his boundless love for his maternal grandfather Fyodor Andreevich Titov. Yesenin was a tomboy as a child. In the village he was known as the first fighter. Almost every day I fought with the guys, I came home with bruises, or even with a bloody nose. Grandma scolded him. And my grandfather stood up. “Grandfather sang old songs to me, so drawn-out and mournful. On Saturdays and Sundays he told the Bible and sacred history."
Years are distant
Now you are in a fog.
And I remember my grandfather
He said sadly:
"It's an empty matter
Well, if you pull -
Write about rye
But more about mares.”
Sergei Yesenin’s grandfather was an expert in church books, and his grandmother, Natalya Evteevna, knew many songs, fairy tales, ditties, and as the poet himself claimed, it was his grandmother who pushed him to write his first poems. On holidays, grandmother and grandson went to Bogomolye. And in the evenings, children and beggars gathered in the house and everyone listened to fairy tales.
READER_________________________:
On a winter evening in the backyards
A rollicking crowd
Over the snowdrifts, over the hills
We're going home.
The sled will get tired of it,
And we sit in two rows
Listen to old wives' tales
About Ivan the Fool.
And we sit, barely breathing.
It's time for midnight.
Let's pretend we don't hear
If mom calls you to sleep.
All fairy tales. Time for bed...
But how can you sleep now?
And again we began to shout,
We're starting to pester.
Grandmother will say timidly:
“Why sit until dawn?”
Well, what do we care?
Talk and talk.
SCENE:
Grandma. Well, it’s not possible, Sergusha, covered in scratches, got into a fight with the neighbor boys again. Did Ali climb an apple tree?
Grandfather. You, this is my old one, don’t touch it, it will be stronger!
Grandma. Just on Saturday they washed it, they fried their hair, they even broke their comb on their curls, and he...
Looks like he won't make a teacher, he's all grimy.
Grandfather. It won't work! So we’ll send him to the zemstvo school, then to the church teachers’ school, and then to Moscow to further study as a teacher...
Yesenin. I won't be a teacher.
Grandfather. And who then?
Yesenin. Nobody, I’ll compose ditties!
Grandfather. Ditties... Oh, you should contradict your grandfather! Grandma, the rod! (Leave)
Music sounds: _________________________
Shown:_________________________________
READER____________________:
The village of Konstantinovo, where Yesenin was born, was quiet, clean, surrounded by greenery. The main decoration was the church standing in the center of the village. Slender perennial birch trees with many rook nests.
Swamps and swamps,
Blue board of heaven.
Coniferous gilding
The forest rings.
Tit shading
Between the forest curls,
Dark spruce trees dream
The hubbub of mowers.
Through the meadow with a creak
The convoy is stretching
Dry linden
The wheels smell.
The willows are listening
Wind whistle...
You are my forgotten land,
You are my native land.
READER___________________________:
A poet of Rus', he even took from its nature the features of his beautiful appearance: blue eyes from blue lakes and bottomless skies, soft curls from the crowns of native birches, golden hair from Russian fields. And most importantly, he took from the Motherland its deep and immense soul.
Poem "The door will open slightly"
The door will open slightly, and in the hallway
Autumn is knocking, breathing rain,
Sergei Yesenin was born here,
His soul hovers here.
READER____________________:
Yesenin is a poet of Rus', and in his poems, sincere and frank in Russian, we feel the beating of the heart. The word “Rus” is one of Yesenin’s most favorite words. For him it is filled with great content. Here is the home, and the image of the mother, and horses drinking water from the river where the reflection of the month floats, here is the whole world and Yesenin’s lyrics.
READER: ___________________________
You can enable_____________________
Goy, Rus', my dear,
Huts in the robes of the image...
No end in sight -
Only blue sucks his eyes.
Smells like apple and honey
Through the churches, your meek Savior.
And it buzzes behind the bush
There is a merry dance in the meadows.
If the holy army shouts:
“Throw away Rus', live in paradise!”
I will say: “There is no need for heaven,
Give me my homeland."
READER___________________________:
Sergei Yesenin perceived the world in close communication with nature. Nature in his poems rang with the voices of birds, the whisper of leaves, the talk of streams, the sound of rain.
The poet once saw a birch tree in winter and composed the poem “Birch”. This was the first work published in the magazine.
White birch
Below my window
Covered with snow
Exactly silver.
On fluffy branches
Snow border
The brushes have blossomed
White fringe.
And the birch tree stands
In sleepy silence,
And the snowflakes are burning
In golden fire.
And the dawn is lazy
Walking around
Sprinkles branches
New silver.
READER___________________________:
For a long time Yesenin lived in Moscow and St. Petersburg. He had already become a famous poet. There were many friends and enemies. And so he visited his native places. He did not recognize his grandfather; he had grown very old. After this, the poet came up with the poem “Return to the Homeland”
Well, what's wrong with you, old man?
Tell me,
Why do you look so sorrowful?
- Welcome, my grandson.
It's good that you didn't recognize your grandfather
Oh, grandfather, is it really you!
And the sad conversation flowed
Warm tears on dusty flowers.
READER___________________________:
How many times later did the endlessly dear memories of his childhood warm and calm the poet. Again and again filling the muse with a feeling of love for the homeland, the mother, to whom the poet will devote more than one poem.
THE SONG SOUNDS TO THE VERSE “Letter to Mother”
READER___________________________:
Poetry is poured everywhere, just know how to feel it. In Yesenin, the direct feeling of the peasant speaks; nature and village. The poet’s love and feelings are directed towards them.
SONG:__________ 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?
It’s as if you went out for a walk outside the village.
And, like a drunken watchman, going out onto the road,
He drowned in a snowdrift and froze his leg.
Oh, and I myself have become somewhat unstable these days,
I won’t make it home from a friendly drinking party.
READER:________________ There I met a willow, there I noticed a pine tree,
I sang songs to them during the snowstorm about summer.
I seemed to myself to be the same maple tree,
Only not fallen, but completely green.
And, having lost modesty, having become stupefied,
Like someone else's wife, he hugged the birch tree.
READER___________________________:
Yesenin’s very concept of “Motherland” expands from his village to the whole of Russia. Russia is his home. And in difficult times for Russia, he suffered from the thought that in his country he was like a “foreigner,” like an “alien.” But even then, he retains love for his homeland in his soul.
READER ______________________:
The feather grass is sleeping. Plain dear,
And the leaden freshness of wormwood.
No other homeland
It will not pour my warmth into my chest.
READER ______________________:
1925 Weakened by illness, the tormented poet could not withstand another attack of depression. In Leningrad, at the Angleterre Hotel on the night of December 27, the poet passed away. Did he commit suicide or was it a premeditated murder? - There is no exact answer to this question yet.
The news of the poet’s death resonated with grave pain in the hearts of millions of people. It quickly spread throughout the country. The newspapers published portraits of Yesenin in a mourning frame.
The poem sounds: _________________________
Shown:_________________________________
READER ______________________:
The torch of Yesenin’s life burned out early. He was barely 30 years old. Is it a lot or a little? In the Caucasus they say: a person must study for 30 years, travel for 30 and write for 30, telling people everything he saw, learned, understood. Yesenin was given three times less. His fate is a confirmation of another old saying: “Life is not valued for its length.” For 30 years he has given us a whole world, and this world lives, moves, shimmers with all the colors of the rainbow.
Music sounds._________________________________________________________
A portrait of Yesenin is shown.
Irina Kim
"Favorite land"
Interactive teaching methods.
Project activities to familiarize yourself with the life and work of Sergei Yesenin
Type project: cognitive - creative.
Duration project: Long term (implemented within 9 months)
Participants: Children, teacher, music director, parents
Yesenin belongs to those artists whose works are characterized by great simplicity. They are clear to anyone to the reader: both adults and children. But the impressions received from contact with the lyrics Yesenina It is at an early age that they are usually the most vivid and unforgettable. Poetry Yesenin is beneficial influences the child’s personality, develops the ability to subtly sense the form and rhythm of the native language. The poet's poems enter the soul, merge with a feeling of love for the Motherland, and expand knowledge about his people. Ryazan land, where “The men mowed and sowed their grain”, was the country of his childhood. Russian nature, peasant way of life life, folk creation, great Russian literature - all of this is the source of his poetry, this is what contributed to the development of his great talent in early childhood. It is at this age that a child’s full-fledged personality is formed. And therefore, one of the important tasks of our kindergarten No. 119 in the city of Ryazan is to introduce children to art, to fiction, in particular to poetry Yesenina, which provides enormous educational, educational and aesthetic value for children.
And already at the first stages of work in this direction, I see that children’s interest in poetry and folklore creativity is great enough. To this end, in our kindergarten A specially designated room is decorated in folk style, where the children get acquainted with ancient Russian life. Children are interested in seeing a samovar, cast iron pots and jugs, a table with an embroidered tablecloth, rocking a doll in a sway, and examining a spinning wheel.
The process of children mastering various thematic blocks of study poetic heritage Yesenina carried out in various forms of children's educational activities: conversations about poet's life« Yesenin is our fellow countryman» ; entertainment dedicated to the 120th anniversary of the poet's birth «» , where children get acquainted with Russian songs, ditties, sayings, riddles, where ancient folk games are played out, and lyrical songs based on poetry are heard here Yesenina, which glorify the beauty of Russian nature, the native land, and reflect the peasant way of life life of a Russian person; V educational excursion"Journey to the village of Konstantinovo" With the help of video recordings, children learned the ancient life of the peasant outback, saw the house where the poet lived; held a reading competition « Favorite land» and a drawing competition Yesenin's work; travel folders and an album about life and work of the poet, the guys performed in the children's library, where events were held to celebrate the 120th anniversary of the poet's birthday. During the work, a visual aid was used material: photographs of the poet’s family, reproductions of paintings by season, slides, music library songs written on poetry Sergei Yesenin.
Formation of feelings of patriotism in my project carried out through integration throughout the year different types children's activities(educational, artistic, visual, musical) and had a developmental nature of education, based on children's activity.
To begin with, on walks with my group, I conduct a conversation in Topics: "Seasons", "Nature paints with colors", I conduct speeches exercises: “We’ll put on a wreath of beautiful leaves-words, whoever gets the most magnificent wreath” "Tell beautiful words about a snowy forest".
Then, I continue to introduce the children to poetry Yesenina and try to verbally compose with them "Sinquain".
Sinkwine - poem, consisting of five lines, in which the child expresses his attitude to the subject, shows his feelings and associations.
The order of writing syncwine:
The first line is one keyword that defines the content of the syncwine.
The second line is two adjectives characterizing this concept.
The third line is three verbs showing the action of the concept.
The fourth line is a short sentence in which the author expresses his attitude.
The fifth line is one word, usually a noun, through which a person expresses his feelings and associations associated with this concept.
So after composing all five lines you will get a small blank verse.
And after reading poems"Bird cherry" And "Birch" we succeeded as children following:
SINQWINE
For the next stages of classes, I involve parents in the work and invite them to learn what they like together with their children. poem, and then select illustrations or draw a picture of nature together with the child for the poet’s chosen work. And already in the next lessons, children read what they have learned. poems showing off his drawings. From collected material I'm making an album about nature "Seasons". And in classes on the world around me, I use pictures from this album when compiling "Venn Diagrams".
The diagram is built on two or more intersecting circles. This technique helps to carry out analysis and synthesis when considering two or three objects that have different and common features. IN in this case I draw two intersecting circles on the board and place two tree: rowan and birch, drawn by parents and children. The guys compare trees, and I write in circles (or I post it in pictures) those parts of the tree that they differ: trunk, branches, leaves, flowers, fruits. Then, in the line of contact of the circles, we place everything that unites these plants: nutrition (roots, sun and water, summer and autumn colors of foliage, etc.
"Venn Diagram"
(Scheme 1)
You can give the children the third circle of the diagram, but only after they fill out two circles, that is, you need to go gradually from simple to complex.
This work can also be done on interactive whiteboard (on the screen)
Working with this method promotes active thinking activities, improves memory, improves the ability to analyze, teaches comparison and distinction.
So, gradually from contact with beautiful world nature I lead the guys to Yesenin's life, and we go on an excursion in absentia called "Journey to Konstantinovo"(here, using a multimedia system, a video is shown that I compiled directly in the poet’s homeland, in the village of Konstantinovo). The screen shows a house in which peasant life is depicted, the school where the poet studied, and a story about his childhood. Yesenina, here the nature surrounding him is depicted early childhood, gentle music sounds, which melodiously merges with the verses into a single whole. (Annex 1). I break all the video material into sections, i.e. stages poet's life. In between passages, I conduct a question-and-answer conversation on the material I watched. At the end of the virtual excursion, the children and I look at the monuments to the poet, talk about their location and purpose. (Appendix No. 2).
All work was carried out in close cooperation with parents. During the joint activities parents got acquainted with the work that was carried out throughout the year, attended various events, helped create a subject-development environment, bringing antique household items. Travel folders were prepared for parents, Parent meeting on the topic "Patriotism in Yesenin's work» . And then, together with our parents, we collect photos and postcards about Yesenin's life, from which we compose an album called « Life path Sergei Yesenin» . All this contributes to the formation creative qualities of the child, the development of aesthetic taste, arouses interest in fiction and imaginative thinking, and most importantly, forms patriotic feelings, a feeling of love for small homeland And the work of our fellow countryman Sergei Yesenin.
In the process of systematic work, preschoolers learned to understand poetry Yesenina, their literary horizons expanded, and interest in the history of their native land showed.
When the guys have already accumulated a certain amount of knowledge in this direction, I form a cluster with them "Childhood Yesenina» .
In the center of the magnetic board under keyword « ESENIN» I am posting a portrait of a young poet. Then I draw arrows in different directions from the reference word. Lying on the table nearby, prepared in advance for the children’s answers, cards: mom, dad, brother, sister, grandmother, grandfather, uncle, aunt, friends, school. I ask question: "Who surrounded Yesenina in childhood?» The guys choose the right words and attach them to the arrows. At the next stage of the game, children take out one picture from the album, which corresponds to a particular word on the card, and hang them on the board one by one, talking about their character or object. So, by the end of the cluster design, the guys compose a whole story about the poet’s childhood, about his home, school.
(Scheme 2)
"Cluster" allows children to relax, think freely, provides an opportunity to evaluate their knowledge and ideas about the object being studied, helps organize and develop dialogical communication, which leads to mutual understanding and interaction.
Use in your practice interactive methods teaching helps me organize the learning process in such a way that almost all children are involved in the process knowledge, they have the ability to understand and reflect on what they know and think. Joint children's activities in the process of cognition, mastering the material means that everyone makes their own special individual contribution, there is an exchange of knowledge, ideas, ways activities. Moreover, this happens in an atmosphere of goodwill and mutual support, which allows not only to gain new knowledge, but also develops the cognitive activity.
All work on introducing children to Yesenin’s works contributed to the formation of patriotic feelings, the children learned love your native land, subtly feel nature, notice its beauty, take care of the environment.
The poet himself believed that everything good and best in a person comes from childhood and remains in his heart for the rest of his life. life. And the main treasure of a child’s and adult’s soul is the ability create, rejoice and be surprised by the world. And only through spiritual development and development creative abilities, children will glorify our beloved Fatherland as well, how the poems of the great Russian poet, a wonderful native of the Ryazan region, have been glorifying their native land for 120 years Sergei Yesenin.
« Birch edge - Yesenin's edge»
“Collect beautiful words from the leaves of the passing autumn”.
“We’ll put on a wreath of beautiful leaves-words, whoever gets the most magnificent wreath”
Reading competition works of Sergei Yesenin
The guys are putting together a cluster about S.’s childhood. Yesenina
LITERATURE PROJECT TOPIC “Native nature in poetry S. Yesenin and A. Blok"
Completed:
6th grade student
MBOU Pavlovskaya Secondary School
Tarasenkov Sergey
- Goal: To understand the attitude of poets to native nature using the example of the poetry of A. Blok and S. Yesenin. Tasks:
- Study the biography of poets
- Choose poems about natural phenomena
- Learn to read poetry expressively
- Answer the question: How did poets relate to the nature of Russia?
Project result:
- expressive poetry reading
- Computer presentation
Block Alexander Alexandrovich
Biography of Alexander Blok
Blok's parents separated immediately after the birth of the future poet, and he was raised in the family of his mother, who belonged to the circle of St. Petersburg professorial families. After graduating from the St. Petersburg gymnasium from 1898 to 1901, he studied at the Faculty of Law of St. Petersburg University.
As a poet, Blok was formed under the influence of Russian traditions. classical literature. He started writing poetry early. At the beginning of his poetic path, the mystical romanticism of V.A. Zhukovsky turned out to be closest to him. The Singer of Nature, as Zhukovsky was called, taught the poet purity and sublimity of feelings, comprehension of the beauty of the surrounding world, contact with the mystery of God, and faith in the possibility of penetrating beyond the limits of the living.
INTERESTING FACT:
Blok wrote his first poems at the age of five.
An asteroid is also named after the poet
Dawn Alexander Blok I stood up and raised my hands three times. They rushed towards me through the air Solemn sounds of dawn, Dressing the heights in crimson. The woman seemed to be getting up I prayed as I went to church, And with a pink hand she threw Grain for obedient pigeons. They were white somewhere above, Whitening, stretched out into a thread And soon cloudy roofs They began to gild the wings. Over the gilding of their borrowed money, Standing high on the window I suddenly saw a huge ball, Floating in red silence. http://ruspoeti.ru/aut/blok/t/14.html
Biography
Sergei Aleksandrovich Yesenin was born on October 3, 1895 in the village of Konstantinovo, Ryazan province, into a peasant family, father - Alexander Nikitich Yesenin (1873-1931), mother - Tatyana Fedorovna Titova (1875-1955). In 1904, Yesenin went to the Konstantinovsky Zemstvo School, then began studying at a closed church-teachers school.
After graduating from school, in the fall of 1912, Yesenin arrived in Moscow, worked in a bookstore, and then in the printing house of I. D. Sytin.
In 1913, he entered the historical and philosophical department of the Moscow City People's University named after A. L. Shanyavsky as a volunteer student. He worked in a printing house and had contacts with poets of the Surikov literary and musical circle.
Father and mother of S. Yesenin
Yesenin and Isadora Duncan, 1922
S. A. Yesenin and
S. A. Tolstaya
The bird cherry tree is pouring snow...
Bird cherry trees are pouring snow, Greenery is in bloom and dew. In the field, leaning towards shoots, rooks walk in a stripe.
Silk herbs are gone, It smells like resinous pine. Oh, you meadows and oak groves, - I am intoxicated by spring.
Secret news shines into my soul like a rainbow. I think about the bride, I only sing about her.
Rash you, bird cherry, with snow, Sing, you birds, in the forest. I'll spread the color across the field with an unsteady run like foam.
While working on the project I found out:
- A. Blok and S. Yesenin wrote a lot of poems about the nature of Russia.
- In their poems, the authors speak with love and tenderness about the nature of their country.
- Reading the poems of these poets, I understand that nature has a soul, it is alive.