State budget educational institution
primary vocational education
Rostov region
vocational school No. 38
Plan
carrying out open lesson
Topic: S.A. Yesenin. Section: Literature of the 20s.
Lesson topic: The artistic originality of S. A. Yesenin’s work.
Developed by first category teacher I.P. Pereverzeva.
methodological commission deputy directors
general education disciplines on methodological work PU No. 38
Protocol No. ___ dated “___”___________20__. _______________/IN. I. Simbirskaya
Chairman of the MK _____________/L. V. Raitarovskaya
Developed by: 1st category teacher of Russian language and literature ____________/Pereverzeva Irina Petrovna
Plan
conducting an open lesson
in the academic discipline "Literature"
Topic No. 2: S.A. Yesenin Section No. 3: Literature of the 20s.
Lesson Topic No. 1: The artistic originality of S. A. Yesenin’s creativity.
Lesson objectives:
Didactic goal: formation of interest in the artistic world of S. A. Yesenin; caring attitude towards the poetic word.
Educational aspect:
create conditions for studying the artistic features of S. A. Yesenin’s lyrics
definition of the semantic meaning of the concept of “artistic originality”
developing the skill of analyzing a lyrical work, expressing one’s opinion in detailed, reasoned oral statements
mastery of important general educational skills and educational skills (formulate activity goals, find and process the necessary information)
using the experience of communicating with works fiction in everyday life and educational activities, speech self-improvement
Developmental aspect:
create conditions for the formation of an aesthetic idea of the Russian word
to cultivate students’ speech culture; the ability to express one’s thoughts competently, clearly and accurately
develop communication skills through a variety of types speech activity(monologue, dialogic speech)
promote the formation of independent cognitive activity, group self-organization skills
create conditions for improving the skills of analyzing a literary text, for the development of thinking
consistent development of skills to read, comment, analyze and interpret literary text
mastering possible algorithms for comprehending the meanings embedded in a literary text, presenting one’s assessments and judgments about what has been read
Educational aspect:
create conditions for the formation of interest in reading as a means of understanding human feelings and thoughts
cultivate a culture of feelings: love for beauty, for the Motherland
promote the development of a culture of communication, a culture of relationships when working in groups
create conditions for involving students in active activities
continue to develop students’ positive attitude towards learning activities
Methodological goal: formation of students' ability to self-realization.
Lesson type: learning new material
Lesson type: problem-research
verbal – conversation, exchange of information, answering questions
visual – photographs by S. A. Yesenin
ICT – multimedia presentation
practical – working with the text of a work of art
problem-search - research
communicative – dialogue, monologue, work in creative groups, work in pairs
role-playing – analysis of a specific situation
incentives - verbal encouragement
Planned educational results:
improving the spiritual and moral qualities of the individual, fostering a respectful attitude towards Russian literature
the ability to structure material, select arguments to confirm one’s own position, formulate conclusions on the topic of the lesson
the ability to analyze a lyrical work using figurative means of the Russian language and quotes from the text, create oral monologue statements, be able to conduct a dialogue
identifying the figurative and expressive means of language in a work, understanding their role in revealing the ideological and artistic content of the work
formulating one’s own attitude towards S. A. Yesenin’s poetry, its assessment
Integration of literature with:
History: “Russia at the beginning of the 20th century”
In Russian: “Vocabulary. Stylistics"
Logistics:
PC with licensed software
multimedia projector
presentation on the topic: “The artistic originality of S. Yesenin’s work”
audio recording of the reading of the poem “I don’t regret, I don’t call, I don’t cry...”
fragment of an audio recording of a romance based on S. Yesenin’s poems “I don’t regret, I don’t call, I don’t cry...”
technological lesson map
During the classes:
Organizational stage 1 min
Motivation for learning activities
students. Setting the goal and topic of the lesson 4 min
Updating knowledge 5 min
Primary assimilation of new knowledge 5 min
Setting lesson goals and objectives
Initial comprehension check 23 min
Primary consolidation 4 min
Homework information 2 min
Reflection 1 min
LESSON STEPS
PRESENTATION
ACTIVITY
TEACHER
ACTIVITY
STUDENTS
Organizational stage
Slide 1 (lesson presentation)
Greets students, checks those present in the lesson, their readiness for the lesson.
Hello guys! Information about absentees has been provided. Everyone is ready to go, let's start the lesson.
Greet the teacher. Report indicating those absent from class.
Motivation for students' educational activities
Slide 2
(text of the poem against the background of music)
Slide 3 (portrait of Yesenin, questions about the perception of his poetry)
Slide 4
(topic and purpose of the lesson)
Creates an emotional mood for the perception of the material.
This name contains the word “esen”
Autumn, ash, autumn color.
There is something in it from Russian songs -
Heavenly, quiet scales,
Birch canopy and blue-dawn,
There is something about spring in him too.
Sadness, youth, purity.
- What do you think, the features of which Russian poet do we see in this excerpt from the poem? Nicholas Brown?
Of course, Sergei Yesenin... This name, like his work, is familiar to many.
- How do you feel about his poetry?
- Which of his works do you like best and why?
The poet himself said about himself: “I never lie with my heart.” And indeed, all his works are very sincere, in them the Russian soul itself rings, rejoices, yearns, rushes, and goes through torment.
Voices the topic and purpose of the lesson.
Today we have a meeting with Sergei Yesenin.
To reveal the features of the poet’s creative method, the originality of the techniques in his poetry, the richness of the lyrical content of the poems - this is the goal of our lesson on the topic “The artistic originality of S. Yesenin’s creativity.”
The results of your work will be reflected in technological maps, and the work in the lesson will be assessed according to them.
Write the topic on your lesson map.
Listen to the teacher.
Included in educational activities.
They express their opinion.
- Russian poet – Sergei Yesenin.
They express their opinion.
Suggested answer:
- I like Yesenin’s love lyrics, which are full of drama. And at the same time it is gentle, bright and melodious.
- I was impressed by the cycle “Persian Motifs”, the poems of which are painted in an oriental flavor. The poet created an imaginary country, a land of dreams, so each poem is perceived as something extraordinary.
- And I like Yesenin’s works about the Motherland, which are based on folk poetic images. It is noteworthy that in this concept the poet includes village life, descriptions of nature, and poems about animals. These are poems by a man who loves all living things.
Listen to the teacher, write down the topic of the lesson in the technology map.
Updating knowledge
Slide 5
(d/z)
Slide 6
(questions)
Slide 7 (about the life of the poet)
Slide 8
(questions)
Slide 9
(main themes and motives)
Slide 10
(questions)
Slide 11 (lesson topic)
Organizes homework checks.
What was your homework?
Which pages of the poet’s life made the greatest impression on you?
- Meekness and rebellion, vulnerability and audacity - this duality of nature was expressed in Yesenin’s lyrics.
- What main themes and motives of Yesenin’s lyrics will you highlight? Write them down in the map, task No. 1, work for 2 minutes.
Name the main themes and motives of Yesenin’s poetry.
- Right. His work combines many motifs, images, themes, and ideas.
- What can you say about the role of S. Yesenin in the development of Russian poetry?
Summarizes the completion of homework.
- Indeed, the poet’s fate is complex and interesting; a lot of travel, changing places and lifestyles, combined with a creative approach to understanding reality, determined the richness and variety of themes and motifs in Yesenin’s lyrics. His creative path spans a decade and a half. However, it is unusually full of artistic searches and experiments.
Answer questions.
Suggested answers:
- Acquaintance with the life and work of the poet, the main themes and motives of his lyrics, the poem “I don’t regret, I don’t call, I don’t cry...”.
- Yesenin went through a “difficult path.” Having entered literature in 1914 (and from the lessons of history we know that this was a difficult and contradictory period), he, together with his country, experienced wars and revolutions, which left their mark on his work (at first he enthusiastically accepted the revolution, but it turned out that Patriarchal Russia is closer to him, and he was disappointed in the results of the revolution).
- He comes from a peasant family, a man who lived most of his life in the city, in a world that was emotionally and spiritually alien to him.
- Behind each of his poetic insights there was serious literary work.
He knew Russian classics well, studied folk art, collected and recorded four thousand ditties, and comprehended the foundations of folk poetic culture, considering it the pinnacle of creativity.
- But in general, Yesenin’s work, like his private life, full of contradictions and painful searches. His personality was woven from contradictions: he always strived for spiritual peace, harmony with himself and people, and at the same time was prone to rebellion, passion that knew no boundaries.
- The theme of the Motherland and nature, love, transience of human existence.
Oriental and cosmic motifs, the motif of wandering.
- Yesenin’s work is one of the brightest pages in the history of Russian poetry, filled with love for people and beauty native land, imbued with kindness, a feeling of constant concern for the fate of the people and all life on earth.
- The poet managed to capture his tragic time, most acutely reflecting the discord, hopes, despair, contradictions and delusions of the era. This is precisely the historical merit of Yesenin.
- Yesenin in many ways anticipated the artistic discoveries of world literature of the 20th century: the synthesis of various genres in lyric poetry, poetry and drama, the attraction to allegory and parable.
- The poet came with his own understanding of the poetic word, strived for the ambiguity of the poetic image, while gravitating towards harmony and simplicity.
- In his work, he most fully reflected the various faces of his beloved Rus' - homeless Rus', Soviet Rus', departing Rus', and the most different sides national character and the Russian soul. This determines the role of Yesenin, a poet of not only national but also world significance.
Primary assimilation of new knowledge Setting the goals and objectives of the lesson
Slide 12
(question/definition)
Slide 13
(question/diagram)
Slide 14
(problematic question)
Slide 15
(lesson objectives)
Slide 16
(tasks)
Organizes a conversation to clarify and specify primary knowledge.
Formulates questions.
This is what we will talk about today. So, artistic features. How do you understand this phrase?
Right.
What and how does it manifest itself?
Right.
Voices the problematic question and the goals of the lesson.
So what is the artistic originality of Yesenin’s poetry? - this is the main question of our lesson.
How can we find the answer to this?
You correctly formulated the goals of our lesson.
We'll have a little research work– let’s analyze Yesenin’s poem “I don’t regret, I don’t call, I don’t cry...”, let’s think about the meaning of the text, and reveal the features of the poet’s work; we will continue to develop skills in analyzing literary texts; develop communication and research abilities; cultivate a reading culture.
To achieve these goals, it is necessary to solve the following tasks:
Analyze the poem according to plan.
Present the results of the analysis in the form of an oral report quoting poetic lines.
Answer questions.
Suggested answers:
ARTISTIC ORIGINALITY - the unique features and properties of something literary work, giving it individuality and difference from other works.
- Artistic originality often manifests itself in the individual author’s interpretation of general themes, motives, problems, etc.
- To the greatest extent, the artistic originality of a work is revealed in a figurative form, in a system of individual means and techniques. - Artistic originality is manifested in the ways of creating an image, ways of expressing the author’s position, in unique compositional features, in the nature of the depicted world, in the organization artistic speech.
Listen to the teacher.
They answer the question.
Suggested answers:
Refer to the poet's poems. Analyze his lyrical works, highlight artistic techniques, characteristic of his work.
Initial check of understanding
Slide 17
(group goal/scheme)
Slide 18
(text of the poem/audio recording)
Slide 19 (research results in the table)
Slide 20 (advanced task)
Formulates tasks for work in creative groups and pairs.
- Let's continue working in creative groups and pairs.
- Purpose of work: highlight/mark character traits Yesenin's poetry.
- Analysis of lyrical text requires possession of certain skills. As a rule, this requires understanding the analysis scheme.
Your creation of a research text about the poem will be based on the disclosure of 4 directions.
Gives a task to each group and pair.
- The results of your work will be reflected in the technological maps in the table, which you will fill out step by step, task No. 2.
Analytical work with a poetic text, the poem “I don’t regret, I don’t call, I don’t cry...”:
Expressive reading of a poem.
Analysis of a poetic text according to the proposed plan.
Analytical conversation.
- We work in groups for 5 minutes.
Monitors the execution of work.
Time. Before you present the results of your research and write down the main points in the corresponding working fields of the card, let’s listen to an expressive reading of the poem “I don’t regret, I don’t call, I don’t cry...” performed by the artist.
1st pair
- How did you understand the meaning of this wonderful poem?
2nd pair
- What pictures did the poet depict and what is the peculiarity of the construction of the poem?
3rd pair
What images did you see in this poem?
1st group
- By what means are the internal unity and integrity of the poem achieved?
- What figurative, expressive and lexical-morphological means does the poet use, their meaning?
2nd group
What is the role of intonational-syntactic figures in a poem?
- Formulate and write down the conclusion on the map, task No. 3: what place does this poem occupy in Yesenin’s work?
- What thoughts did the lyrical revelations of the poet Yesenin lead you to?
- The research results are presented in the table.
Leads students to a conclusion.
- Let’s sum up the results of the study of the poetic text: what artistic techniques made the greatest impression on you and were remembered by you?
Formulate and write them down in a map, task No. 4, we work for 2 minutes.
Leading task.
- A student who has prepared an individual message will help supplement our conclusions: “The artistic originality of S. Yesenin’s poetry.” What other features are inherent in Yesenin’s lyrics?
- We listen carefully and complement your notes in task No. 4.
They work in groups, in pairs.
They work with the text, express their assumptions, give examples, explain their choices, analyze artistic means, express their opinions, formulate observational conclusions.
Analyze the poem and formulate observational conclusions.
Presentation of work results.
Analytical work with the text of the poem.
Listen to the speeches and write down the main points.
Answer questions.
Suggested answers:
- This poem has a philosophical content - a reflection on life and a premonition of death. The leading theme is the purpose of a person, his mature view of the life he has lived, his comprehension of it. The poet also develops traditional motifs for his work: farewell to youth, the fleeting passage of time, the motif of the autumn of life, fading and anticipation of the end, the motif of the journey, wandering. The lyrical hero is trying to solve for himself the problem of acceptance or rejection of the passing of youth, vitality. And the author brings out his solution, which represents the main idea of the poem - the need for humility in the face of inevitability: “We are all, we are all perishable in this world...” But this humility is not depressing. This is acceptance of the world in all its diversity. And this perception is very typical of Yesenin’s lyrics. As well as the confessional character characteristic of philosophical lyrics. The general mood of the work is peace, monotony, unhurriedness; The narrative is calm and measured, promoting the reader’s thoughts.
- The content of the poem is specific and at the same time conditionally. We see poetic details of the real earthly world (the smoke of white apple trees, the country of birch chintz, the echoing early morning of spring). And at the same time, it contains the symbolic image of a pink horse (symbolizes spring, joy, young life, unfulfilled dreams).
The poem tells us that youth has passed, that everyone at some point approaches the threshold where they need to part with their old life and have a new attitude towards themselves and the world. This is a farewell to something rich in feelings and events. stormy youth, which the poet compares to the blossoming of apple trees. This is a celebration of everything beautiful that happened in life: the tremulous beating of the heart, spiritual freshness, wildness of the eyes and flood of feelings, free communication with nature - the country of birch chintz, a feeling of freedom (vagrant spirit).
The composition is based on the principle of antithesis past, present and future. This antithesis is present in every stanza. The work is built on the gradual disclosure of themes and ideas, with a culminating sound in the lines - “My life? or did I dream about you?” - and the denouement in the last stanza. Two natural images - white apple trees, smoke - and - maple leaves copper - form a ring in the poem. The ring composition is also emphasized in the development of motives - humility (I don’t regret, I don’t call, I don’t cry - may you be blessed forever), the inevitability of the end (everything will pass - we are all perishable in this world). Thus, we can say that such a composition is justified by its philosophical orientation.
- The poem is unusually expressive, filled with various images. First of all, the image of the Motherland is inseparable from the poet’s worldview, and therefore we encounter traditional images of birches and maples. The image of a pink horse is significant and carries a symbolic meaning. These are the dreams of the lyrical hero about a beautiful, unrealistic ideal. The image of nature and man - withering away in gold, I will no longer be young. Man, as perceived by the poet, is part of the natural world, therefore human life is subject to the same wise laws nature.
The lyrical hero of the poem is the Poet himself (it is no coincidence that Yesenin pointed out that his poetry is autobiographical). He reflects on life and death and in the end makes peace with time. From hopelessness he moves to peace and tranquility, to reconciliation with nature and life.
We can say that the poem is a weaving of various images: allegorical (vagrant spirit), symbolic (pink horse), more specific (birch trees, apple trees, heart). This helps convey an emotional combination of reverent perception of the world around us, philosophical wanderings, and appeal to everyone’s personal feelings.
- The poet uses various means of artistic expression.
The poem is characterized by metaphor: (fading gold, country of birch chintz, flame of lips, riot of eyes, flood of feelings, leaves of copper), which reflects the holistic perception of the world by the lyrical hero. Comparisons also help us get closer to poetic perception (a heart touched by a chill, like smoke from white apple trees, as if I had galloped on a pink horse in the echoing early morning). Bright epithets are organically included in metaphors and comparisons (from white apple trees, a cheerful echoing early morning, a wandering spirit, lost freshness, on a pink horse). The wealth of emotions is reflected in the use of words of different stylistic colors: we find colloquial words - hang around, early, riot - and high, bookish vocabulary - withering, decay, blessed, as well as the Church Slavonic form of the infinitive - flourish. Sound writing techniques are also used in the poem: the lines are perishable, copper quietly flows from the maple leaves - assonance (sounds - e, i) and alliteration (sounds - l, m, n) - to convey monotony, softness, fluidity. The poem presents a wide range of colors: the white smoke of apple trees, the gold of withering, the copper of leaves. Suggests the color and flame of lips and birch chintz. These colors are very traditional for Yesenin’s work. The color scheme helps convey moods and imparts picturesque spirituality.
- To convey emotionality in the poem, the author uses rhetorical exclamations, questions, and frequent appeals (now you won’t beat so much, heart; wandering spirit, my life).
In the line - I don’t regret, I don’t call, I don’t cry - the author uses gradation - a three-fold repetition of the negation, which increases the emotion of the speech. To convey the meaning, an antithesis is used (spring apple trees and autumn gold withering). Uses the technique of parallelism - a riot of eyes and a flood of feelings - which creates images of nature for a better perception of the hero’s state. The melodiousness and lyricism of the poem is emphasized by refrains - repetitions (you are less and less often; all of us, all of us). The poem is very musical, which is generally characteristic of Yesenin’s lyrics. This musicality and melodiousness is achieved by the unhurried, measured sound of the trochaic pentameter and fairly precise rhymes.
- In the system of the poet’s philosophical works, it plays a significant role, as it clearly reflects the poet’s worldview. It is of particular importance for all creativity, because in general in Yesenin’s lyrics much more attention is paid to the theme of the homeland and the theme of love. Therefore, every philosophical poem by Yesenin deserves special attention.
Record your observations in the technological map.
Listen to the speech, write down the theses of the speech on the issue: features of Yesenin’s poetry.
Primary consolidation
Slide 21 (problematic issue/artistic features)
(audio recording of the romance)
Slide 22 (lesson topic/objectives)
Return to the topic and objectives of the lesson.
- So, let’s return to the main question of our lesson: what is the artistic originality of Yesenin’s poetry?
- What features do you remember? Name them.
- Speaking about the musicality of the poet’s works, one cannot help but notice that many of Yesenin’s poems have become favorite romances.
Let's listen to an excerpt of a romance with verses S. Yesenin “I don’t regret, I don’t call, I don’t cry...” performed by Vika Tsyganova.
Focuses attention on the final results of educational activities.
- Well done. Let's summarize our work. Have the goals and objectives we set been achieved? Has the topic been resolved?
Answer questions, formulate and write down conclusions.
Suggested answers:
- deep lyricism
- extraordinary imagery
- visual impressions
- color painting
- the principle of landscape painting
- folk song basis
- metaphorical
- the principle of psychological parallelism
- aphoristic language
- associativity
- syntactic harmony and simplicity
- autobiographical
- dialectical
- musicality (songability)
Formulate the final result of their work in class.
Done. Revealed.
Homework information
Slide 23
(d/z)
Informs about homework.
- Write down your homework:
Expressive reading by heart of S. Yesenin’s poems about the Motherland, with elements of analysis.
- We are finishing our lesson. Hand over technological maps lesson.
I thank you for your work and want to acknowledge your activity with ratings.
Evaluates work in class.
Listen to the teacher.
Write down homework.
Reflection
Slide 24
(reflection questions)
Slide 25
(Thank you)
Carries out reflection.
- What new things did you discover during the lesson?
- What was interesting?
They name the main positions of the new material and how they learned them.
Introduction…………………………………………………………………………………..2 - 3
Part 1. The originality of S. Yesenin’s poetics.................................................. .. 4-19
1.1 The beauty and richness of Yesenin’s lyrics.................................................. ...4- 13
1.1.1. Peculiarities artistic style............................................4 – 7
1.1.2. Features of metaphor in Yesenin’s poetry....................................7 - 8
1.1.3 Poetic vocabulary.................................................... .......................8-10
1.1.4. Poetic technique of S. Yesenin.................................................... ....10-11
1.1.5. The Moon in Yesenin's poetry.................................................... ...............11-13
2.1 Leading themes of poetry.................................................... .....................15-19
2.1.1. Village theme................................................... ...............................15-17
2.1.2 The theme of the homeland in Yesenin’s lyrics.................................................. ..........17-19
2.1.3. Theme of love................................................... .....................................19
Part 2. Predecessors and successors....................................................20 -33
2.1. Folklore as the basis of the artistic picture of the world in the poetry of S. Yesenin
2.2. Yesenin and ancient Russian literature
2.3. Parallels with Gogol
2.4 Yesenin’s traditions in the poetry of the twentieth century
2.4.1 Yesenin’s traditions in the poetry of N. Rubtsov
2.4.2. Experience of analyzing N. Rubtsov’s poem from the point of view of Yesenin traditions
Conclusion
Introduction
In 1914, Yesenin’s poem “Birch” was published for the first time in the magazine “Mirok” under the signature “Ariston”. Following “Birch,” “surprisingly heartfelt” and “sweeping” poems by Sergei Yesenin appeared in print. Could anyone then, in 1914, have imagined that in the person of an unknown author hiding under the pseudonym Ariston, a man who was destined to become a worthy successor to Pushkin’s glory came to Russian poetry of the twentieth century.
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. 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: Poetry of S. Yesenin. Tradition and innovation.
Purpose of the work: To reveal the originality of S. Yesenin’s poetics.
· Identify the features of artistic style and poetic technique.
· Consider the main themes of the poet’s work.
· Determine the role of the traditions of Old Russian literature and folklore in the work of S. Yesenin.
· Study Gogolian traditions in the works of S. Yesenin.
· Summarize which Yesenin traditions are inherited in the poetry of the 2nd half of the 20th century (using the example of the works of N. Rubtsov and N. Tryapkin).
To solve the problems, the following methods were used:
· analytical;
· comparative;
· comparative
Hypothesis: if S. Yesenin drew the origins of his creativity from ancient Russian literature, folklore and literature of the 19th century, then his discoveries served as the basis for the poetry of poets of the 20th century.
Working on the study “The Poetry of S. Yesenin. Traditions and Innovation,” we turned to the literary materials of V. F. Khodasevich, P. F. Yushin, V. I. Erlikh, V. I. Gusev. The book “Necropolis” by V.F. Khodasevich became fundamental in our work. This book contains memories of some writers of the recent past, including S. Yesenin. The book was compiled during the years of emigration of V.F. Khodasevich. The publication is also dedicated to the works of Bely, Bryusov, Gumilyov and Blok, Gershenzon and Sologub. The book was compiled in Brussels back in 1939, but in its complete form this book was first published in the 90s. F. Khodasevich in this book seems to lift the secret curtain of Yesenin’s work, exploring his work with the help of personal biographies and correspondence with contemporaries. Hence the simplicity and clarity of this publication.
Part 1. The originality of S. Yesenin’s poetics.
1.1 The beauty and richness of Yesenin’s lyrics.
1.1.1. Features of the artistic style.
Epithets, comparisons, repetitions, and metaphors occupy a large place in Yesenin’s work. They are used as a means of painting, convey the variety of shades of nature, the richness of its colors, the external portrait features of the heroes (“fragrant bird cherry”, “the red moon was harnessed to our sleigh like a foal”, “in the darkness wet month, like a yellow raven... hovering above the ground"). Repetitions play an important role in Yesenin’s poetry, as in folk songs. They are used to convey 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 the stylistic features of folk lyrics, Yesenin seems to pass them through literary traditions and through his poetic worldview.
In his book “Necropolis” F. Khodasevich argued that the beauty of his native Ryazan expanses and the Russian word, his mother’s songs and grandmother’s tales, his grandfather’s Bible and the spiritual poems of wanderers, the village street and the zemstvo school, the lyrics of Koltsov and Lermontov, ditties and books - all these , sometimes extremely contradictory, influences contributed to the early poetic awakening of Yesenin, whom Mother Nature so generously endowed with the precious gift of the song word.
Most often he wrote about rural nature, which always looked simple and uncomplicated to him. This happened because Yesenin found epithets, comparisons, metaphors in popular speech:
Behind the smooth surface the trembling sky
Leads the cloud out of the stall by the bridle.
Sparrows are playful,
Like lonely children.
Just like the people, Yesenin is characterized by animating nature, attributing human feelings to it, 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?
Like a village
you went out for a walk.
Yesenin’s moods and feelings, like those of the people, are in tune with nature, the poet seeks 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."
E. S. Rogover expressed the opinion that Yesenin’s poetry of mature years is also addressed to beauty. 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 principles of existence in such a way that they interpenetrate each other. Therefore, Yesenin again humanizes nature, and the individual likens the images of his native landscape, appreciating the natural principle in man and highly appreciating his nature-conforming actions. He values these same qualities in himself:
I'm still the same in my heart
Like cornflowers in the rye, the eyes bloom in the face.
…………………………………………………………………..
... My head is like August,
Wine flows from the stormy hair.
……………………………………………………………………
... In the heart there are lilies of the valley of flared forces.
…………………………………………………………………….
... That old maple tree’s head looks like me.
We are often amazed by Yesenin’s ability to experience the fascination of beauty, to express himself, in the words of Leskov’s Flyagin, as a “lover of beauty.” He has a poem that can be figuratively called Leskov’s. This poem is “I don’t regret, I don’t call, I don’t cry...”.
The poem is constructed as a monologue of a person summing up his difficult, but bright, eventful life. The lyrical hero, like Leskov’s wanderer, walked the endless roads of the Fatherland, drawn by the “vagrant spirit”, experiencing a special charm with silence and sadly experiencing his fading. The lyrical hero speaks with delight about “the country of birch chintz”; feels how “copper is quietly pouring from the maple leaves”; it seems to him that he is again
... in the resounding early spring
He rode on a pink horse.
One involuntarily recalls Leskov’s Achilles Desnitsyn, who also first appeared on the pages of the novel chronicle “Soborians” on a red horse, bathed in the rainbow rays of the rising sun. The former play of remarkable forces, infectious enthusiasm and boundless breadth of soul are felt in the unexpected exclamation that escaped from the chest of Yesenin’s lyrical hero:
The wandering spirit! You are less and less often
You stir up the flame of your lips.
Oh my lost freshness,
A riot of eyes and a flood of feelings.
But the monologue-memory of this wanderer is spoken and aesthetically designed as an elegy. And that is why in the first and last stanzas a related sad motif of the withering of nature and man sounds:
Withered in gold,
I won't be young anymore.
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.
Sergei Yesenin is perceived by both readers and critics primarily as a singer of Russian nature. This is one of the leading themes of his work. Yesenin’s poems reflect the ideal rural Russia, where, under the poet’s loving gaze, everything comes to life and is transformed, painted in crimson, blue, pink and golden tones, and finds peace and harmony. No wonder A.I. Solzhenitsyn was immensely surprised when he visited Yesenin’s homeland and saw a cramped hut, a dark strip of forest, and empty, cold fields. The landscape looked so different from a poetic painting:
The scarlet light of dawn was woven on the lake.
On the forest, wood grouse are crying with ringing sounds.
“Weaved on the lake...”, 1910
“What an ingot of talent the Creator threw here, into this hut, into this heart of a pugnacious village guy, so that he, shocked, would find so much material for beauty... which has been trampled on for a thousand years and not noticed,” wrote A.I. Solzhenitsyn.
The distinctive features of Yesenin's poetry are autobiographical, confidential, confessional intonations that evoke the reader's empathy. You already know that the poet’s life and work were inextricably linked. His early lyrics are colored with a sad, thoughtful mood, dreaminess characteristic of youth, and full of admiration for nature.
Nature is often perceived by the lyrical hero as a temple. The motifs of prayer and church chants are clearly heard in his youthful poems, the hero himself appears as a “humble monk,” and the poetic images acquire a religious overtones:
Along the boundary, on the line,
Mignonette and riza kashki.
And they call to the rosary
Willows are meek nuns.
“Beloved Land...”, 1914
To create a peasant picture of the world, where religion played a significant role, the poet uses Church Slavonic vocabulary, thanks to which his poems acquire a special solemnity.
The color palette of Yesenin’s poems is multicolored. Yesenin has his favorite colors. He uses gold and yellow to create lyrical self-portraits. Scarlet symbolizes tenderness and youth. Crimson is associated with the ringing of bells. Blue and light blue colors, according to the poet, most accurately characterize Russia. "Russia! Which good word... And “dew”, and “strength”, and “blue” something!” - Yesenin wrote to Vsevolod Rozhdestvensky, explaining his love for this definition. The color epithets in his poems do not so much describe nature as they convey the subtlest shades of the mental state and feelings of the lyrical hero: depending on whether the color chosen by the poet is white, scarlet or crimson-red, we can guess about his mood and the depth of his experiences. Color painting is often enhanced by the technique of reflection and specularity:
I loved too much in this world
Everything that puts the soul into flesh.
Peace to the aspens, who, spreading their branches,
Look into the pink water!
“We are now leaving little by little...”, 1924
In many ways, Yesenin’s color painting continues folklore tradition: in songs and fairy tales combinations of iconographic colors are used, the poet only adds shades. In addition, folk poetry influenced the figurative and song structure of Yesenin’s lyrics. Colloquial vocabulary, lexical repetitions, unusual, imprecise rhymes, and masterful alliteration create the melodious quality of Yesenin’s poems.
Gradually Yesenin moves from color painting to sound painting as an expressive means. In later lyric poetry, it is the sound structure of the verse that dominates over color, hence the romance and melodiousness of his later poems.
According to the memoirs of contemporaries, Yesenin had his own classification of images. It is very important for us: after all, Pushkin also called for judging the poet according to the laws he himself created. So, Yesenin distinguished the splash image - a simple likening of one object to another, the ship image - “catching in some object, phenomenon or being a flow, where the splash image floats like a boat on water” and the angelic - “creation or breaking through from a given splash screen and a ship’s image of some window, where the flow reveals from the face one or more new faces.”
Yesenin's poetry contains many unusual, vivid images inspired by peasant life. Along with personification, the poet widely uses metaphor - these are the main artistic means that allow one to show the fluidity of images and the interconnection of all living things. Thus, the poem “The Evening Smoked…” shows the inseparability of nature, the world of the peasant hut and peace in the soul of the lyrical hero. This is done with the help of interconnected metaphors and personifications: “the evening is smoking” - “the dawns are blazing” - “cobwebs are curling” - “silence and power rest in the heart.” The poet himself advocated for fresh, unusual metaphors that would allow one to “push the boundaries of vision with words” and look at the world in a new way.
The poet also humanizes trees: both the birch and the maple. The latter is essentially a double of the lyrical hero. Yesenin “humanizes” all objects around the lyrical hero. This principle of creating a poetic world is called anthropomorphism. In Yesenin's later lyrics, anthropomorphism becomes more and more obvious. Church Slavonic vocabulary disappears from the poems, images become more accurate and verified, new color epithets appear, metaphors are simplified outwardly, but the capacity of the artistic image is preserved.
Source (abbreviated): Literature: 9th grade: in 2 hours. Part 2/ B.A. Lanin, L.Yu. Ustinova; edited by B.A. Lanina. - 2nd ed., rev. and additional - M.: Ventana-Graf, 2016
Yesenin's poetry lives because in
in it the reader finds those close to him
pictures of native nature and dear to the heart
feelings of great, selfless and
enduring love for your great Motherland."
I.S. Events
Sergei Yesenin lived only thirty years, but his creative legacy contains great ideological and artistic wealth. It reflected the contradictions, quests, and complex psychology of a person in a transitional time. Everything dark and painful that visited the poet was ultimately connected with yesterday, with what was disappearing into the twilight of history. Everything bright and pure in his poetry, all his hopes and joys had their source in the bright morning of revolutionary Russia - the first page new history humanity,
Ksenin's poetry is rooted in deep folk soil. This was clearly reflected in the artistic features of his poetry, which are closely related to folk poetry.
A characteristic feature of Russian folklore is the principle of psychological parallelism: surrounding nature She is closely connected with the thoughts and feelings of a person, she seems to share joy and sorrow with him, sympathizes with him, warns him, instills hope in him, cries over his unfulfilled dreams. This historically established feature of Russian folk poetry lies at the basis of all Yesenin’s lyrics. The poet constantly turns to Russian nature when he expresses his most intimate thoughts about himself, about his place in life, about his past, about the present, about the future. “Soon I will be cold without leaves,” “The bad weather will lick the path I have lived with its tongue,” he said in an hour of bitter reflection. The depiction of her own experiences through pictures of her native nature led to her humanization: “The golden grove talked with a cheerful birch language”, “A bird cherry tree is sleeping in a white cape”, “Somewhere in a clearing a maple tree is dancing drunk”, “A green-haired birch tree in a white skirt stands over a pond ...” This principle of depiction brings nature unusually closer to man and makes us fall in love with it especially ardently.
Yesenin also borrowed many of the colors of his poetry from Russian nature. He doesn’t just copy them, each paint has its own meaning and content, resulting in a color reflection of feelings.
Blue and cyan - these colors are most often found in Russian nature, this is the color of the atmosphere and water. In Yesenin's poetry Blue colour symbolizes peace and quiet, peace of mind; person: “Unspeakable, blue, tender...”, My land is quiet after storms, after thunderstorms...” The blue color conveys a joyful feeling of space and freedom: “blue field”, “blue doors of the day”, “blue star”, “blue Rus'...”
“The color scarlet is dear to the whole world,” says folk saying. This favorite color of Yesenin always signifies in his poetry virgin purity, spotlessness, purity of feeling (“The scarlet color of dawn was woven on the lake...”). Pink color symbolizes youth and “fresh rosy cheeks”, “thoughts of rosy days...”. Unforgettable “pink horse” by Yesenin.
These paint-symbols are very characteristic of the romantic poet, who uses colors not so much in a direct, but in a conventional meaning. One of the reasons for the strong emotional impact of Yesenin’s lyrics lies in the color display of thoughts and feelings.
The connection of his poetics with folk art is most noticeable in the use of riddles, proverbs, and sayings.
At the core folk riddle there is always a grain of image. Yesenin felt this well and widely used the metaphorical structure of folk riddles.
Yesenin did not just repeat riddles, he developed the metaphorical principle that is inherent in them, and subjected them to original poetic processing. There is a famous riddle about the sun: “ White cat climbs through the window." We find Yesenin using it directly: “Now the sun is like a cat...” But at the same time, based on this comparison, he creates a derivative poetic image that conveys a picture of the evening dawn: “In a quiet hour, when the dawn is on the roof, like a kitten , washes his mouth with his paw...” There is no doubt that the “dawn-kitten” traces its ancestry to the “sun-cat”.
There is no doubt about Yesenin’s connection with folk proverbs, sayings, which reflect one of the most striking features of Russian folklore - the aphoristic nature of the language.
On this richest artistic material More than one generation of Russian writers was brought up, starting with Griboyedov, Pushkin and especially Nekrasov. Each of the writers mastered this great heritage in their own way. In Yesenin’s work it is easy to notice a direct adherence to proverbs and sayings. Thus, the basis of his lines “The red rowan fire burns in the garden, but it cannot warm anyone” undoubtedly lies in the saying: “It shines, but does not warm.” But the poet did not stop at such periphrases.
The lyricism and emotionality of Yesenin’s poetry entailed a peculiar use of the aphoristic structure of Russian speech, so brilliantly reflected in proverbs and sayings. Formulas of feeling - this is how you can call the aphorisms of Yesenin, a soulful lyricist. These formulas hold his verse together, giving it enormous artistic impact, making it especially memorable: “So few roads have been traveled, so many mistakes have been made,” “Whoever loved cannot love, whoever is burned, you cannot set him on fire,” “If If there are no flowers in the middle of winter, then there is no need to regret them...”
Yesenin’s poetry is similar to folk poetry through the naivety of his lyrics. It is no coincidence that many of his poems are set to music.
“My lyrics are alive with one great love, love for the Motherland. The feeling of the Motherland is fundamental in my work,” said Yesenin. This love and these feelings were clearly imprinted not only in the content of his lyrics, but also in his very poetics, organically connected with the poetics of the people.
Yesenin's poetry with great romantic depth embodied the world of human feelings caused by unprecedented breakdown public life Russia, she captured the complex, difficult, contradictory process of formation of the consciousness of the broad masses involved in the revolutionary reorganization of reality. Interest in the inner world of a person, in his thoughts, feelings, psychology, changing in the course of building a new life, as well as the constant inescapable desire to express this sincerely, truthfully, each time pushed the poet to select more and more new stylistic means.
Overcoming numerous influences and contradictions, Yesenin asserted his late creativity such artistic and aesthetic principles of depicting life that were established and developed in the literature of socialist realism.
Yesenin's poetry is an integral part of national artistic creativity. It emotionally and psychologically reflects the most difficult era of social life. These are the general conclusions about Yesenin’s poetry that can be drawn by reading some of his works. Despite the complexity of Yesenin’s life quest, he still found his way, following the path of revolution, along the path of radical transformations of Russia. He realized the beauty of the new Russia, replacing his, Yesenin’s Russia. Yesenin is a poet standing at the crossroads between the old and the new, despite this, his lyrics touch our hearts with their sincerity, love for the Motherland, depth of feelings.
Yesenin's poetry lives because in
in it the reader finds those close to him
pictures of native nature and dear to the heart
feelings of great, selfless and
enduring love for your great Motherland."
I.S. Events
Ryazan Lel, poet of the village, singer of Russian nature. All this is about Sergei Alexandrovich Yesenin. He lived only thirty years, but gave the world poems whose value is immeasurably great.
He was born and raised in the village. Perhaps that is why his lyrics are so close to the land, to the people. His poems about nature are inextricably linked with folklore and this can be proven by analyzing his works.
In the poem “The golden grove dissuaded...” one can trace a parallelism: the nature surrounding the lyrical hero seems to be part of his soul. Together with him, she shares joys and sorrows, but conveying this not with words, but with the sun's rays, storms and winds, and the swaying of grass. “The golden grove dissuaded / With birch, cheerful language” - the golden time - Yesenin’s youth - also dissuaded. Hot youth, the time of making decisions, the time of heyday is passing and the poet’s devastated soul “cannot warm anyone.” He feels like a part of nature. But no matter how much the author says that “I don’t feel sorry for the years wasted in vain, / I don’t feel sorry for the lilac blossom of the soul,” a note of sadness is heard in his speeches. But these are the laws of life and it is impossible for a person to go against them - “after all, everyone in the world is a wanderer.” And just as a grove, having lost its decoration for the winter, will be reborn again in the spring, so Sergei Alexandrovich realizes that one period of his life is over. But another one will come.
Another example of Yesenin’s inextricable connection with nature is the poem “A blue fire swept up…”. In Yesenin's poetry special place occupied by the color palette. Blue is the color of freedom, peace and hope. His life lights up with such a “blue fire” - he is in love, the feelings in him are raging and rushing out. He speaks mockingly about his past. “I was all like a neglected garden, / I was greedy for women and potions.” But now his life made sense. And he even describes his beloved’s hair as “autumn color.” What color is it in autumn? It's difficult to answer. But a romantic image of a girl appears in the reader’s imagination. All we know about her is “light gait, slender figure”, “thin hand”. But the author speaks so frankly and sincerely that one cannot doubt that this girl is the most beautiful!
Yesenin's poems are remembered by themselves, without any effort. They flow like a stream, still very clean and young. Therefore, Sergei Alexandrovich’s lyrics will never lose their relevance.
