The theme of the homeland in the works of Sergei Aleksandrovich Yesenin. The theme of the motherland in the works of Sergei Yesenin The image of the motherland in the works of Yesenin

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-ringing rings.” 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”).

A characteristic feature of 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. Yesenin connected the life and customs of the Russian village with these poetic images. He is happy to hear girlish laughter, ringing like earrings, to contemplate the cheerful dance in the meadows Pavlov P.V. Writer Yesenin. M., Young Guard, 1988 - P. 153. Therefore, to the cry of the holy army - “Throw away Rus', live in paradise!” - the poet can only answer this way:

“I will say: “There is no need for heaven,

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” Prosvirin I.Yu. Yesenin S.E. ZhZL. M.: Young Guard, 1988 - P. 118.

"And now, when the new light

And my life was touched by fate,

I still remain a poet

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 the Soviet style of life, tries to understand “Rus reared up by the Commune”.

But the new light of a different generation still does not warm up. Yesenin feels like a gloomy pilgrim. His words sound annoyed and sad...

“Ah, homeland! How funny I have become.

A dry blush flies onto 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.”

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 beauty.

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 “Good Morning.”

The identification of the Motherland with the native village is also characteristic of Yesenin’s later lyrics. The village is conceptualized as a kind of microcosm. In the poem “Go you, Rus', my dear...” and “The hewn horns began to sing...” the theme of the holiness of the Russian land begins to sound latently:

"And on the lime with a bell

The hand involuntarily crosses itself.

(“The hewn horns began to sing...")

Like a visiting pilgrim, I look at your fields. »

(“Go away, Rus', my dear...”)

Christian motives are not accidental - we are talking 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,” says Yesenin about that unaccountable melancholy that mixes with love and makes it the feeling is 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 the “forest evil spirits” and the sorcerers Abramov A.S. Yesenin S.E. Life and art. M., Education, 1976 - P. 58.

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 described event - recruitment in the village - goes beyond the ordinary, turning into a universal catastrophe:

“Thunder struck, the cup of the sky was split...

The lamps of heaven began to sway. »

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 strives to explore the national character, understand the secret of the Russian soul, and 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 that he accepted the October Revolution “in his own way, with a peasant bias.” 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”)

The lyrical hero of the 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:

"New Ascension"

I'll leave footprints on the ground...

Today I have an elastic hand

Ready to turn the world around. »

("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: “icon saliva”, “barking bells”.

Yesenin understands that in order to create a “peasant paradise” it is necessary to sacrifice his former Motherland - 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 horn of death blows, blows

What should we do, what should we do now?..”

Already without youthful romance, from the position of a mature person, Yesenin looks at what is happening and draws real pictures of people's life. In the poem “Anna Snegina” he shows how the “struggle for Inonia” ended for the Russian village. People like the Ogloblin brothers, Pron and Labutya, came to power: “They should be sent to prison after prison...” The heavenly drummer’s campaign led to a dead end:

“There are now thousands of them

I hate to create in freedom.

Race is gone, gone...

The nurse Rus died..."

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 1924 poem by P.V. Pavlov. Writer Yesenin. M., Young Guard, 1988 - P. 198.

The lyrical hero of these years acquires the facial features of a tragic one. Returning after many years of tossing and searching for himself to 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 was 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 fault is clear

The poet only prays to some higher power, hopes for a miracle:

Protect me, gentle moisture,

My blue May, my blue June..."

Temporary landmarks 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 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.”

Ryazan region. His biography is bright, stormy, sad and, alas, very short. During his lifetime, the poet became popular and aroused genuine interest from his contemporaries.

Yesenin's childhood

Yesenin’s talent largely manifested itself thanks to his beloved grandmother, who actually raised him.

The poet’s mother married the peasant Alexander Yesenin not of her own free will and, unable to bear life with her unloved husband, returned with three-year-old Seryozha to her parents. She herself soon left to work in Ryazan, leaving her son in the care of her own mother and father.

He would later write about his childhood and creativity that he began to compose poetry thanks to his grandmother, who told him fairy tales, and he remade them in his own way, imitating ditties. Probably, the grandmother was able to convey to Sergei the charm of folk speech, which permeates Yesenin’s work.

Boyhood

In 1904 Yesenin was sent to study at a four-year school, which

was in the same village, and after that - to a church school. After a free life in his home, fourteen-year-old Sergei finds himself far from his family.

Yesenin’s creativity made itself felt during friendly gatherings, when the guys read poems, among which Yesenin’s especially stood out. However, this did not earn him respect from the guys.

The growth of Yesenin's popularity

In 1915-1916 The young poet's poems are increasingly published alongside the works of the most famous poets of that time. Yesenin's work is now becoming generally known.

During this period, Sergei Alexandrovich became close to the poet whose poems were consonant with his own. However, hostility to Klyuev’s poems creeps in, so they cannot be called friends.

Poetry reading in Tsarskoe Selo

In the summer of 1916, while serving in the Tsarskoye Selo hospital, he read poetry in the infirmary to wounded soldiers. The empress was present. This speech causes indignation among the writers of St. Petersburg, who are hostile to the tsarist power.

The poet's attitude to the revolution

The revolution of 1917, as it seemed to Yesenin, carried hopes for change for the better, and not unrest and destruction. It was in anticipation of this event that the poet changed greatly. He became more courageous and serious. However, it turned out that patriarchal Russia was closer to the poet than the harsh post-revolutionary reality.

Isadora Duncan. Travel to Europe and America

Isadora Duncan, a famous dancer, came to Moscow in the fall of 1921. She met Yesenin, and very soon they got married. In the spring of 1922, the couple went on a trip to Europe and the USA. At first, Yesenin is delighted with everything foreign, but then he begins to mope in the “most terrible kingdom of philistinism”; he lacks soulfulness.

In August 1923, his marriage to Duncan broke down.

The theme of the homeland in Yesenin’s works

The poet’s homeland, as mentioned at the beginning of the article, is the village of Konstantinovo. His work absorbed the world of bright colors of nature in central Russia.

The theme of the homeland in Yesenin’s early works is closely related to the types of landscapes of the Central Russian strip: endless fields, golden groves, picturesque lakes. The poet loves peasant Rus', which is expressed in his lyrics. The heroes of his poems are: a child begging for alms, plowmen who go to the front, a girl waiting for her beloved from the war. Such was the life of people in those days, which, as the poet thought, would become a stage on the way to a new wonderful life, led to disappointment and misunderstanding, “where the fate of events is taking us.”

Every line of the poet's poems is filled with love for his native land. The homeland in Yesenin’s work, as he himself admits, is the leading theme.

Of course, the poet managed to make a name for himself from his earliest works, but his original handwriting is especially clearly visible in the poem “Go away, my dear Rus'.” The poet’s nature is felt here: scope, mischief, at times turning into hooliganism, boundless love for his native land. Yesenin’s very first poems about his homeland are filled with bright colors, smells, and sounds. Perhaps it was his simplicity and clarity for most people that made him so famous during his lifetime. About a year before his own, he would write poems full of disappointment and bitterness, in which he would talk about his worries about the fate of his native land: “But most of all / Love for my native land / Tormented me, / Tormented and burned me.”

Yesenin's life and work occurred during a period of great change in Russia. The poet goes from Rus', engulfed in world war, to a country completely changed by revolutions. The events of 1917 gave Yesenin hope for a bright future, but he soon realized that the promised utopian paradise was impossible. While abroad, the poet remembers his country and closely follows all the events taking place. His poems reflect his feelings about people’s destinies and his attitude to change: “The world is mysterious, my ancient world, / You, like the wind, calmed down and sat down. / So they squeezed the village by the neck / The stone hands of the highway.”

However, a large part of the poet’s work is still occupied by the description of rural beauties and village festivities. Life in the outback for the most part looks bright, joyful, and beautiful in his poems: “The dawns are blazing, the mists are smoking, / There is a crimson curtain over the carved window.” In Yesenin’s works, nature, like man, is endowed with the ability to grieve, rejoice, and cry: “The spruce girls are saddened...”, “... birches in white are crying through the forests...” Nature lives in his poems. She experiences feelings, talks. However, no matter how beautifully and figuratively Yesenin sings of rural Rus', his love for his homeland is undoubtedly deeper. He was proud of his country and the fact that he was born in such a difficult time for it. This theme is reflected in the poem “Soviet Rus'”.

Yesenin's life and work are full of love for the Motherland, anxiety for it, hopes and pride.

From December 27 to December 28, 1925, while the circumstances of his death have not been fully clarified.

It must be said that not all contemporaries considered Yesenin’s poems beautiful. For example, K.I. Even before his death, Chukovsky wrote in his diary that the “graphomaniacal talent” of the village poet would soon dry up.

The poet’s posthumous fate was determined by “Evil Notes” (1927) by N.I. Bukharin, in which he, noting Yesenin’s talent, wrote that it was still “disgusting foul language, abundantly moistened with drunken tears.” After such an assessment of Yesenin, very little was published before the thaw. Many of his works were distributed in handwritten versions.

Sergei Yesenin soared to the top of world poetry from among the people. The Ryazan land became the cradle of his creativity. Sad and dissolute Russian songs are reflected in his poetry. The theme of the Motherland plays a leading role in the poet’s work.

As Sergei Alexandrovich himself said: “My lyrics are alive with one great love - love for the Motherland. The feeling of the Motherland is fundamental in my work.” Yesenin could not imagine life, poetry, or love outside of Russia. He did not think of himself separately from his native places.

The poems of the great poet masterfully depict the beauty of his native land: the splash of waves, the fire of dawn, and the rustle of reeds. The Russian land sank into Yesenin’s soul from his youth. One of the poet’s favorite images is the birch tree. For him, she symbolizes a girl, a bride, personifying all that is most beautiful and pure.

However, the theme of the Motherland in Yesenin’s work has evolved in some way. At first she was more serene, childlike. With the advent of the 1914 war, his poems began to reflect the pain of the era. This can be clearly seen in the poem “Rus”. The author conveys sadness and anxiety for the fate of Russia, for the lives of people drawn into the maelstrom of a terrible war. In the darkest time, Yesenin was with the Russian people with all his heart and soul.

The sadder the pictures of Russian life, the stronger Sergei Alexandrovich’s attachment to the Motherland. The revolution gives rise to a new round in the poet’s work. Now he is primarily concerned about the fate of the people in turbulent revolutionary times. In 1922-1923 Yesenin traveled abroad. This trip played an important role in his creative development. It was after her that the poet “fell out of love with his impoverished Motherland.” He happily depicts the changes that have occurred in the life of the Russian people. Now Yesenin with all his soul accepts and praises the beauty of “steel” Rus', moving towards the future.

The theme of the Motherland can be traced throughout the work of Sergei Yesenin. His poems amaze with their naturalness, their boundless love for the Motherland, for its native fields, for its open spaces and its village life.
Yesenin’s homeland is not the historical past of Russia, not its present or future. The homeland for him is what he loves and sees in front of him, this is what the poet remembered from childhood: “You are my fallen maple, you are an icy maple, why are you standing, bending over the white blizzard?”, “The snow jam is crushed and pricked, the chilled moon shines from above. Again I see my native outskirts, through the snowstorm there is a light at the window.”
The poet in his poems glorifies his Motherland, his Rus', his “country of birch calico.” The poet’s concept of the Motherland consists of signs that are of little significance, but dear to his heart: “spring echoing early,” “maple leaf copper,” “a bell tower without a cross,” rising “like a tower with a birch tower.”

And for the poet,
No matter how beautiful Shiraz is,
It is no better than the expanses of Ryazan.

The Ryazan expanse is the Motherland that he glorifies and loves. This is “wavy rye in the moonlight”, and “dog barking in the moonlight”, and tallyanka, and arable land.

Oh arable lands, arable lands, arable lands,
Kolomna sadness,
Yesterday is in my heart,
And Rus' shines in the heart...

But the poet’s homeland is both homeless and fading Rus'. The homeless Rus' that the poet speaks of are homeless children with “unwashed faces.” We see that Yesenin feels sorry for these boys, who, perhaps, could become , or , or Koltsov. For the poet, the Rus' that is leaving is Rus' before Soviet rule. Yesenin is sad that he has one foot left in the past, “striving to catch up with the steel army.”
The homeland of Sergei Yesenin is “a land of overflows of formidable and quiet spring forces,” where “an overnight stay beckons, not far from the hut, the garden smells of languid dill, the wavy horn of the moon pours oil drop by drop onto the gray cabbage beds.”
The poet's homeland is firmly connected with his thoughts about his mother. No wonder he asks in his poems: “Are you still alive, my old lady?”
His mother “in an old-fashioned dilapidated shushun”, who taught him to pray in the land where the white garden spreads its branches like spring, where there are lovely birch thickets. The poet’s homeland is his home, where he was born and raised, and the kitten that played near the stove and threw itself at the ball, and the birch tree in “fog and dew.” The parental home, the mother’s hands, the birch tree under the window - these are the parts that make up the concept of “Motherland”. The poet feels a blood connection with this world, with this land. And hence his strength. The weakening of the poet’s connection with his family becomes a tragedy, which is why his letter to his mother is sad. Yesenin feels not only the loss of his mother’s warmth and affection, but also the loss of part of his Motherland.
The poet becomes a prophet and senses the imminent death of peasant Rus' - the one he knew and loved. The thin-legged colt, with which he compares peasant Rus', cannot keep up with the locomotive, the iron horse of civilization. Yesenin is sad because what he loved is dying. And yet he says to sister Shura: “Without regretting the lost hope, I will be able to sing along with you...”
In conclusion, I want to say that the poet’s homeland is his home, his mother, Rus' with its wonderful nature and a thin-legged foal rushing at full speed. He loves her dearly. His love for his homeland is visible in all his poems.

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Plan

1. Life and work of S. Yesenin

2. The theme of the homeland in the works of S. Yesenin

2.1 The theme of the homeland in the poetry of S. Yesenin

2.2 Poem “You are my Shagane, Shagane...”

2.3 Poem “The golden grove dissuaded...”

2.4 Poem by S.A. Yesenin "Rus"

1. Life and work of S. Yesenin

Rodina S.A. Yesenina (1895-1925) - the village of Konstantinovo, Ryazan region. His biography is bright, stormy, sad and, alas, very short. During his lifetime, the poet became popular and aroused genuine interest from his contemporaries.

Yesenin’s talent largely manifested itself thanks to his beloved grandmother, who actually raised him. The poet’s mother married the peasant Alexander Yesenin not of her own free will and, unable to bear life with her unloved husband, returned with three-year-old Seryozha to her parents. She herself soon left to work in Ryazan, leaving her son in the care of her own mother and father. He would later write about his childhood and creativity that he began to compose poetry thanks to his grandmother, who told him fairy tales, and he remade them in his own way, imitating ditties. Probably, the grandmother was able to convey to Sergei the charm of folk speech, which permeates Yesenin’s work.

In 1904, Yesenin was sent to study at a four-year school, which was located in the same village, and after that to a church school. After a free life in his home, fourteen-year-old Sergei finds himself far from his family. Yesenin’s creativity made itself felt during friendly gatherings, when the guys read poems, among which Yesenin’s especially stood out. However, this did not earn him respect from the guys.

In 1915-1916 The young poet's poems are increasingly published alongside the works of the most famous poets of that time. Yesenin's work is now becoming generally known. During this period, Sergei Alexandrovich became close to the poet Nikolai Klyuev, whose poems were consonant with his own. However, in Yesenin’s works there is a hint of hostility towards Klyuev’s poems, so they cannot be called friends. Reading poetry in Tsarskoye Selo In the summer of 1916, while serving in the Tsarskoye Selo hospital, he read poetry in the infirmary to wounded soldiers. The empress was present. This speech causes indignation among the writers of St. Petersburg, who are hostile to the tsarist power.

Isadora Duncan, a famous dancer, came to Moscow in the fall of 1921. She met Yesenin, and very soon they got married.

In the spring of 1922, the couple went on a trip to Europe and the USA. At first, Yesenin is delighted with everything foreign, but then he begins to mope in the “most terrible kingdom of philistinism”; he lacks soulfulness. In August 1923, his marriage to Duncan broke down.

Yesenin's life and work are full of love for the Motherland, anxiety for it, hopes and pride. The poet died from December 27 to 28, 1925, while the circumstances of his death have not been fully clarified. It must be said that not all contemporaries considered Yesenin’s poems beautiful. For example, K.I. Even before his death, Chukovsky wrote in his diary that the “graphomaniacal talent” of the village poet would soon dry up. The poet’s posthumous fate was determined by “Evil Notes” (1927) by N.I. Bukharin, in which he, noting Yesenin’s talent, wrote that it was still “disgusting foul language, abundantly moistened with drunken tears.” After such an assessment of Yesenin, very little was published before the thaw. Many of his works were distributed in handwritten versions.

2. The theme of the homeland in the works of S. Yesenin

The poet's homeland is the village of Konstantinovo. His work absorbed the world of bright colors of nature in central Russia.

The theme of the homeland in Yesenin’s early works is closely related to the types of landscapes of the Central Russian strip: endless fields, golden groves, picturesque lakes. The poet loves peasant Rus', which is expressed in his lyrics. The heroes of his poems are: a child begging for alms, plowmen who go to the front, a girl waiting for her beloved from the war. Such was the life of people in those days. The October Revolution, which the poet thought would be a stage on the path to a new wonderful life, led to disappointment and misunderstanding “where the fate of events is taking us.” Every line of the poet's poems is filled with love for his native land.

The homeland in Yesenin’s work, as he himself admits, is the leading theme. Of course, the poet managed to make a name for himself from his earliest works, but his original handwriting is especially clearly visible in the poem “Go away, my dear Rus'.” The poet’s nature is felt here: scope, mischief, at times turning into hooliganism, boundless love for his native land. Yesenin’s very first poems about his homeland are filled with bright colors, smells, and sounds. Perhaps it was his simplicity and clarity for most people that made him so famous during his lifetime.

About a year before his death, Yesenin would write poems full of disappointment and bitterness, in which he would talk about his worries about the fate of his native land: “But most of all / Love for my native land / Tormented me, / Tormented and burned me.”

The work of Sergei Yesenin is permeated with anxiety for the fate of the village. He knows about the hardships of rural life, as evidenced by many of the poet’s poems, in particular “You are my abandoned land.” However, a large part of the poet’s work is still occupied by the description of rural beauties and village festivities. Life in the outback for the most part looks bright, joyful, and beautiful in his poems: “The dawns are blazing, the mists are smoking, / There is a crimson curtain over the carved window.” In Yesenin’s works, nature, like man, is endowed with the ability to grieve, rejoice, and cry: “The spruce girls are saddened...”, “... birches in white are crying through the forests...” Nature lives in his poems. She experiences feelings, talks. However, no matter how beautifully and figuratively Yesenin sings of rural Rus', his love for his homeland is undoubtedly deeper. He was proud of his country and the fact that he was born in such a difficult time for it. This theme is reflected in the poem “Soviet Rus'”.

2.1 The theme of the homeland in the poetry of S. Yesenin

The best part of Yesenin’s creativity is connected with the village. The homeland of Sergei Yesenin was the village of Konstantinovo, Ryazan province. The middle, the heart of Russia gave the world a wonderful poet. Ever-changing nature, the colorful local dialect of peasants, long-standing traditions, songs and fairy tales entered the consciousness of the future poet from the cradle. Yesenin stated: “My lyrics are alive with one great love, love for the homeland. The feeling of homeland is fundamental in my work." It was Yesenin who managed to create in Russian lyrics the image of a village of the late 19th - early 20th centuries:

Peasant hut,

The foul smell of tar,

Old goddess

Lamps gentle light,

How good

That I saved those

All the feelings of childhood.

Yesenin’s talent was nourished by his native land. He was far from any literary traditions, did not learn from anyone, did not imitate anyone. As a poet, he developed independently, grew up on the creativity of the people. His poems have their own individual rhythm:

It's already evening. Dew

Glistens on nettles.

I'm standing by the road

Leaning against the willow tree.

The poet treats his small homeland with care and love. The poem “In the Hut” lists the native objects of peasant life, not as they are seen from the outside, but from the inside, through the eyes of a peasant:

Soot curls over the damper,

There are threads of Popelitz in the stove,

And on the bench behind the salt shaker -

Raw egg husks.

The theme of the poet’s first collections “Radunitsa” and “Dove” was his native village, his native land:

Again there is a blue field in front of me.

The puddles of the sun shake the red face.

The word “rainbow” means “brilliant”, “enlightened”. This is what the first days of spring were called. The epithets “blue” and “blue” are most common when describing the homeland.

The radiant image of Holy Rus' becomes more complex and multifaceted over time. Poor, drunken, homeless Rus' appears through the shining face:

The puddle grass glows with tin.

Sad song, you are Russian pain.

Yesenin’s lyrical hero now identifies himself with his homeland in the poem “Behind the Dark Strand of Woodlands...”:

And you, like me, are in sad need,

Forgetting who is your friend and enemy,

You yearn for the pink sky

And dove clouds.

For Yesenin, his homeland has become a temple of the soul, for her sake he is ready to give up even heavenly paradise:

Goy, my dear Rus',

Huts - in the vestments of the image...

If the holy army shouts:

“Throw away Rus', live in paradise!”

I will say: “There is no need for heaven,

Give me my homeland."

In 1920, the poet’s worldview changed. Yesenin does not know where the country’s historical paths lead. The theme of abandoned home is now complicated by conflict. Yesenin feared that technology would destroy the village, feared the power of the inanimate over the living, the loss of man’s connection with nature.

The poet writes two poems, “Soviet Rus'” and “Leaving Rus'.” He gives his fellow villagers, his mother, grandfather, and sisters, a voice, who in the poem “Departing Rus'” talk about life under the new Bolshevik rule:

I'm listening to. I look in my memory

What the peasants are gossiping about.

“With Soviet power, we live according to our guts...

Now I’d like some chintz... Yes, a few nails..."

In the poem “Soviet Rus',” written 10 years later, the poet glorifies Russia:

I will chant

With the whole being in the poet

Sixth of the land

With a short name “Rus”.

The poet felt his native land, talked to it, and from it alone he drew inspiration and strength. He heard the noise of oats, the voices of birches, the songs of birds, and understood the soul of animals. With all his heart he loved the beautiful world, sang love for a woman, for his mother. For him, nature is inseparable from the concept of homeland. At the end of his life, tired of rushing about and doubting, he comes to the wise conclusion: “I am happy that I breathed and lived.”

2.2 Poem “You are my Shagane, Shagane...”

The poem “You are my Shagane, Shagane...” was written by S.A. Yesenin in 1924. It was included in the series “Persian Motifs”. We can classify the work as love poetry. Its genre is a love letter. However, the main theme is the poet's nostalgia for his homeland. It is known that Yesenin greatly appreciated oriental poetry and dreamed of visiting Persia. However, the poet's dream was not destined to come true. His “Persian Motifs” were written under the impression of a trip to the Caucasus. In 1924, in Batumi, Yesenin met school teacher Shagane Nersesovna Talyan and, as she recalls, on the third day of their acquaintance he brought her these poems. And then he presented a book of his poems with the inscription:

My dear Shagane,

You are pleasant and sweet to me.

Mention of Shagane is found in six poems of the “Persian Motifs” cycle. Love in this cycle appears in a romantic way.

The composition of the poem is based on the opposition between the East and Russia. This antithesis underlies each stanza. Each stanza in Yesenin is circular: the fifth verse exactly repeats the first. The first stanza is the highway. The second is framed by the second verse of the first, the third by the third verse of the first, the fourth by the fourth verse of the first, the fifth by the fifth. As a result, we have a ring composition.

The first stanza opens with the poet’s address to Shagane, which flows into the hero’s thought about the Motherland:

Shagane, you are mine, Shagane,

I'm ready to tell you the field,

About wavy rye under the moon,

Shagane, you are mine, Shagane.

Here Yesenin deliberately violates the norms of grammar: “I am ready to tell you the field.” As researchers note, this expression is similar to the poet’s expression “to express the soul.” In the poem “Unspeakable, blue, tender...” we read: “And my soul - a boundless field - Breathes the smell of honey and roses.”

In the second stanza, the theme of Russia and the north receives its further development. Talking about the Motherland, the poet resorts to hyperbole:

Because I'm from the north, or something,

That the moon is a hundred times bigger there,

No matter how beautiful Shiraz is,

It is no better than the expanses of Ryazan.

Because I'm from the north, or something.

Researchers have noted that Yesenin’s entire poem is built on one extended metaphor: the lyrical hero compares his curls with “wavy rye under the moon.” And the third stanza becomes the compositional center of the work:

I'm ready to tell you the field.

I took this hair from the rye,

If you want, knit it on your finger -

I don't feel any pain.

I'm ready to tell you the field.

Here we see the rapprochement of the lyrical hero with the natural world, characteristic of Yesenin’s poetry.

In the penultimate stanza there is a romantic motif: the lyrical hero is sad about the Motherland:

About wavy rye under the moon

You can guess by my curls.

Darling, joke, smile,

Just don’t wake up the memory in me

About wavy rye under the moon.

These lines contain a hidden reminiscence from Pushkin’s poem “Don’t sing, beauty, in front of me...”:

Don't sing, beauty, in front of me

You are the songs of sad Georgia:

Remind me of her

Another life and a distant shore

The memory of the lyrical hero Yesenin (like Pushkin’s hero) preserves the memory of another girl, a distant northerner. And nostalgia for the Motherland merges in his soul with a romantic feeling:

Shagane, you are mine, Shagane!

There, in the north, there is a girl too,

She looks an awful lot like you

Maybe he's thinking about me...

Shagane, you are mine, Shagane.

Thus, the composition of the poem is based on a special form - gloss. The theme develops in a spiral. As we noted above, each subsequent stanza begins with the subsequent line of the first stanza. The poet built the poem “on the model of a wreath of sonnets, in which the last sonnet, the so-called “mainline,” is the key to all the previous ones... Yesenin “compressed” the wreath of sonnets within one poem, consisting of five stanzas - a five-line stanza, and the role of the mainline is played by the first. And that is not all. In Yesenin’s masterpiece one can hear echoes of other poetic genres, for example, the rondo (the lines of the initial stanza conclude all subsequent ones) and the romance, in which the beginning is repeated at the end (ring composition).”

The poem is written in three-foot anapest, pentaverse, and has a ring rhyme pattern. The poet uses modest means of artistic expression: an epithet (“about the wavy rye under the moon”), a metaphor (“just don’t awaken the memory in me”), a ring (in each stanza).

The poem “You are my Shagane, Shagane...” is a masterpiece of the poet’s love lyrics. It delights us with the sincerity and spontaneity of feelings.

Yesenin creativity poetry homeland

2.3 The poem “The golden grove dissuaded...”

The poem “The golden grove dissuaded...” was written by S.A. Yesenin in 1924. We can classify it as philosophical, meditative and landscape lyrics. In genre it is close to elegy. Its main theme is the inexorable passage of time, the kinship between man and nature, past and present.

The poet’s human life is intertwined with the life of nature. First we talk about the onset of autumn:

The golden grove dissuaded

Birch, cheerful language,

And the cranes, sadly flying,

They don’t regret anyone anymore.

Natural images here are likened to humans: this is emphasized by the metaphor “the grove dissuaded”; the cranes experience sadness and may or may not regret someone. The first stanza is sound. Here we hear the rustling of golden leaves, the crowing of cranes, and feel the blow of the wind. Just like the life of nature, so the life of man is fleeting: youth passes and is replaced by maturity, the “age of autumn,” and then old age. It is this motive that becomes dominant in the second stanza. Its central images are the images of a wanderer, a house (earth) and the images of a hemp plant, a moon, a pond. Here mortal man and nature, doomed to eternal life, are already opposed to each other. The hemp tree, the moon and the pond keep the memory of all those who left home forever:

Whom should I feel sorry for? After all, everyone in the world is a wanderer -

He will pass, come in and leave the house again.

The hemp plant dreams of all those who have passed away

With a wide moon over the blue pond.

The hemp plant, the moon and the pond are also spiritualized here, acquiring the human quality of dreaming and remembering the departed. This is how the poet begins to develop a dialogue between man and nature.

Then the image of the lyrical hero appears in the poem. He feels his loneliness in the Universe:

I stand alone among the naked plain,

And the wind carries the cranes into the distance,

I'm full of thoughts about my cheerful youth,

But I don’t regret anything about the past.

Here Lermontov’s lines come to mind:

I go out alone on the road;

Among the plains the flinty path shines;

The night is quiet, the desert listens to God,

And star speaks to star...

However, Lermontov escapes reality into the world of sleep, a wonderful dream. Yesenin’s lyrical hero remains in reality, yearning for his irretrievably gone youth. This motif of sadness in the poem is growing all the time. It is already set by the first denial: the cranes “don’t regret anything anymore.” Then the denial is repeated three times in the hero’s speech: he “does not regret” anything “in the past”:

I don't feel sorry for the years wasted in vain,

I don’t feel sorry for the soul of the lilac blossom.

The same thing happens in nature. Here the poet also uses the negative particle “not”:

There is a fire of red rowan burning in the garden,

But he can't warm anyone.

The rowan brushes will not burn, the grass will not disappear from yellowness, just as a tree silently drops its leaves, so I drop sad words.

In the last lines of this stanza, the parallelism in human and natural life is emphasized by a comparison-statement. In the subtext of the poem one can discern the idea of the powerlessness of the lyrical hero in the face of time, of the loneliness of the “wanderer” in the world. However, when this emotion reaches its apogee in the poem, a poetic feeling of acceptance of life and the passage of time and an awareness of the reasonableness of this natural law suddenly comes to the fore:

And if time, swept away by the wind,

He'll shovel them all into one unnecessary lump...

Say this...that the grove is golden

She answered with sweet language.

The work is structured as a gradual development of a theme with a culmination and denouement in the last stanza. The ring composition is created by the image of a golden grove, present at the beginning and at the end of the work. Only at the beginning of the elegy, the lyrical emotion is a sharp regret about youth (numerous denials only strengthen this emotion, the hero seems to be trying to convince himself), in the finale - the restoration of spiritual harmony, a feeling of gratitude to life and the past.

The poem is written in iambic pentameter, quatrains, and cross rhymes. The poet uses various means of artistic expression: epithets (“in a birch, cheerful language”, “lilac blossoms”, “golden grove”), metaphors (“the golden grove dissuaded”, “a fire of red rowan is burning in the garden”), personification (“about all the hemp of the departed dreams”), inversion (“the lilac blossom of the soul”), anaphora and syntactic parallelism (“I don’t feel sorry for the years wasted in vain, I don’t feel sorry for the lilac blossom of the soul”), comparison (“Like a tree quietly drops castings, So I drop sad words"), alliteration ("A fire of red rowan is burning in the garden"), assonance ("The golden grove dissuaded").

Thus, a person in Yesenin’s poetry feels like a part of the natural world, completely dissolving in it, merging with flowers, trees, animals, and the elements. As M. Gorky wrote, “Sergei 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...”.

2.4 Poem “Rus”

Sergei Yesenin is a poet of peasant culture, peace, and Russian space. His lyrics have a high degree of integrity. Everything in it is about Russia. The image of peasant, rural Rus', a world of peace and grace, in which people’s lives are inextricably linked with nature and the change of seasons, is characteristic of the early period of his work.

Yesenin writes about such Russia, his “dear homeland” in the poem “Rus” (1914). “Rus” is divided into five parts, each of which consists of several stanzas. The first part describes Russian nature, enchanting, but sometimes mysterious and frightening. Nature surrounds the village on all sides, takes it in a ring, trying either to save and protect the peasant world, or, on the contrary, to destroy it: “The village has sunk in potholes, / The huts of the forest have been obscured.” Everything around: the forest, the blizzard, the stumps - seems animated, endowed with some mysterious power, in which our pagan ancestors believed. The poet uses many animating metaphors; in his poems the inanimate world begins to breathe, look, live. From the thicket, mysterious lights “look” at the lyrical hero through the snowstorm, and the drifting snow itself appears to him dressed in snow “shawls.” The stumps “stand behind oak tree nets, like forest evil spirits.” Russian nature, this “mysterious” and “ancient” world seems to the poet the way it is depicted in folk tales: “An evil force has frightened us, / No matter what the ice hole is, there are sorcerers everywhere.”

Fairy tales frighten and excite the imagination of listeners, but they are good because they contain “lies.” The difficult conditions in which peasant life passes (“evil frost”, “hazy twilight”) are associated with fabulous, and therefore easily overcome, adversities. Even in the harsh nature, Yesenin sees extraordinary beauty and splendor: on a gloomy winter evening, “galloons hang on the birch trees.”

The gloomy, dreary landscape, which the lyrical hero looks at under the howling of “formidable” wolves from the “skinny” fields, does not frighten him. At the beginning of the second stanza he exclaims: “... I love you, meek homeland! / And why - I can’t figure it out.” His love for Russia is connected primarily with the peasant world, meek and strong people, to whom the harsh Russian nature allows only “short” joy “with a loud song in the spring in the meadow.” The lyrical hero feels one with the peasants, shares both work and rest with them. He loves “above the mowing site / Listening to the hum of mosquitoes in the evening,” and then watching “how the guys bark their voices, / The girls come out to dance around the fires.” If, when describing nature, the poet uses inspiring metaphors, then, when describing girls, on the contrary, he uses natural metaphors, comparing their eyes to black currants. Thus, in Yesenin’s poems, images of people and nature are intertwined and harmoniously coexist with each other. At the end of the second part, Yesenin’s lyrical hero “unravels” why he loves his homeland: “Oh, my dear Rus', / Sweet rest in the silk of the kupirs.”

The third and fourth parts of the poem “Rus” are a short story about the life of peasants in “troubled” times. “The time of adversity” is described by the poet in the spirit of Russian epics. As in a fairy tale, Russian nature warns the peasant world about impending troubles: “The black crows cawed: / There is wide open space for terrible troubles.” And nature itself seems to be in distress, going through a terrible battle: “Thunder struck, the cup of the sky is split, / Ragged clouds envelop the forest. / On pendants of light gold / The lamps of heaven swayed.” Yesenin manages, with the help of metaphors, to connect the world of nature and the world of a peasant house and church. Yesenin’s lyrical hero imagines the world as a huge house-temple, where the stars look like “lamp lamps” under a dome sky. But now this majestic home is threatened by war.

The militia, “peaceful plowmen,” gather for war as if they were going to work: “without sadness, without complaints, without tears.” Grief unites the entire village. But the poet never ceases to be proud of the “good fellows” who will never be transferred to Rus' and will always be its support. The lyrical hero himself remains in the village with the peasant women to wait for news about the fate of his relatives and loved ones. The village seems to him like a “daughter-in-law”; all the women, as one, grieve for their loved ones in the “distant land”. The image of a Russian woman, a gray-haired mother, a young wife, acquires enormous significance in the poet’s lyrics, becoming a symbol of all of Rus' with its tender, feminine soul. Yesenin’s lyrical hero admires such Russia, its deep and bright sadness: “Ah, my fields, dear furrows, / You are beautiful in your sadness!”

For peasant women, it is an endless happiness to receive news from their husbands and sons, “doodles drawn up with hard work.” This detail suggests that the action of the poem no longer takes place in fairy-tale-epic Rus', but is connected with specific historical events of the author’s contemporary era. Apparently, the reason for the peasants joining the militia was the First World War. Men pay their wives and mothers a hundredfold for their melancholy and waiting: “later” they send everyone a letter. And again the whole village gathers together - now “over the Chetnitsa Lusha” in order to “examine their favorite speeches.” News from loved ones is associated in the popular consciousness with another great joy - the first rain after a long drought, over which peasant women also cry “with happiness and joy.”

Despite the fact that after the men leave for war, the women at first succumb to melancholy and fear (“The smell of incense could be smelled in the grove, / The sound of bones sparkled in the wind”), the lyrical hero sees their extraordinary strength, which lies primarily in their faith. He unravels the secret of Russian women: “Neither thunder nor darkness will frighten them. / Behind the plow to the cherished songs / Death and prison will not be imagined.” It seems that it is “frail huts / With the waiting of gray-haired mothers” and “the eyes of the bride” that protect the “relative strongmen” who have gone to war, just as Rus' is protected by its protector, the Mother of God. Yesenin’s poetry contains a lot of biblical symbolism, because the poet considered himself a preacher of a peasant paradise, a God-preserved Russian world. In religious consciousness, the blue color, which is so abundant in Yesenin’s lyrics, was associated with the Mother of God in religious consciousness. This color also appears in the poem “Rus”: “You can only see, on the hummocks and depressions, / How the skies turn blue all around.”

For the lyrical hero Yesenin, Rus', Russian women, and peasant labor are filled with almost religious meaning. Full of love for his “dear homeland,” he exclaims: “I will fall to the birch bark little shoes, / Peace be with you, rake, scythe and plow!” The lyrical hero himself is filled with something feminine and feminine. He is ready to come to terms with “weak thoughts”, like a woman, “to believe in the best... / Warming the candle of the evening star.” For the lyrical hero, the feminine and natural principles merge into one: he shares fears and hopes, joy and grief with peasant women and at the same time is ready to become a “bush by the water” in order to completely dissolve in the Russian, natural, cosmic. Together with the women, he dreams of “a cheerful mowing”, of the arrival of a new spring “in the soft grass, growing under beads.”

In the last stanza, the lyrical hero again exclaims about love for his “meek homeland.” He no longer wonders or wonders, but simply promises to “cherish” his love for Rus', because for him, his homeland is the only thing worthy of true love. But from the entire poem it becomes clear that for the lyrical hero Yesenin, Rus' is a comprehensive concept, a special, patriarchal, peasant, slightly fairy-tale world. His homeland is Russian nature, frightening and abundant. These are Russian peasants, “strong men”, and support from troubles and adversity, and Russian peasant women, on whose faith love in this world rests.

The lines “Your joy is short / With a loud song in the spring in the meadow,” which the lyrical hero addresses to his homeland, have already been found in the second part of the poem and are now repeated at the end with a refrain. This mention of joy and fun after the description of “terrible troubles” leaves a bright feeling in the soul after reading the poem. Together with the women, the lyrical hero seems to hope and believe that the troubles of the Russian people will pass, just as a thunderstorm passes over the forest. Spring will come again, mowing, a short but happy time.

Thus, in the poem “Rus” Yesenin managed to express everything that was painfully dear, intimate, at the same time joyful and sad, with which for him the concept of the homeland, the Russian land was associated. Throughout the poet's creative career, the image of Rus', while maintaining a high degree of unity, nevertheless changed. From ecclesiastical Rus', the land-temple, it was transformed into the image of rural Rus', which gave “flesh and blood” to the poet, the motherland. With all the alarming worldview that permeates the lyrics of the last years of the poet’s life, Russia will be associated with a feeling of a pure source, a spiritual spring from which Yesenin draws strength for poetry and life, with which he will forever remain closely connected.

Bibliography

1. Aganesov V.V. Russian literature of the 20th century. M., 2000, p. 328.

2. Belskaya L.L. Song word. M., 1990, p. 110.

3. Gorky A.M. Sergey Yesenin. - S.A. Yesenin in the memoirs of his contemporaries. In 2 volumes, M., 1986, p. 59.

4. Gorodetsky S. M. Sergei Yesenin. Magazine "Art for Working People" - 1926 - No. 1 - P. 3.

5. Yesenina A. A. Native and Close. - M.: Soviet Russia, 1968. - 88 p.

6. Lekmanov O., Sverdlov M. Sergei Yesenin: Biography. - M.: Astrel, Corpus, 2011. - 608 p.

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