“... But most of all love for my native land tormented me, tormented and burned me ...” pp. Yesenin. Sergey Yesenin But more love for the native land

The Ryazan State University named after S. Yesenin will host the All-Russian scientific and practical conference "New technologies for the introduction of regional historical materials into the practice of teaching school and university courses in Russian history" on October 14-15.
Participation in the conference is not only expected for scientists, teachers of the history of universities and schools of Ryazan, but also representatives of the scientific community of a number of Russian cities and even guests from abroad, in particular, from Germany. After all, it was in this country that historians once faced a task similar to ours - how to change the attitude of society towards the past of their own country, without compromising patriotic feelings.
The relevance of the stated topic of the conference is beyond doubt, if only because recently in the Russian state and society there is obvious concern about the level of teaching Russian history both in schools and in higher educational institutions. The young generation's ignorance of the past of Russia, a kind of historical nihilism have reached their climax, evidence of which is more than enough.
I must say that along with the problems of interpreting one's own history that have emerged in recent decades, a lot of good things are happening. First of all, this concerns the sustained interest in local, own, even family history that has emerged recently. It is in the last 15-20 years that the local history component of national history is experiencing a kind of renaissance: archival funds have become more accessible for local history work, local museums, including school ones, have become more active, more and more books and research materials are published on the history of the native land. The situation with the study of local history strongly resembles the beginning
last century. Then everything started well with the intensification of local history work, but quickly ended with the prejudice of the Soviet government towards local history experts. The Soviet country needed a new, one story for all. Local inconsistencies and accents were considered unnecessary and even harmful.
Now everything is back to normal. Historians - professionals and enthusiasts, local lore experts, bit by bit, collect evidence of the past, mostly lost. Local museums and private collections are filled with them. A Ryazan textbook on regional studies is being prepared, the local history component is increasingly being used in school lessons by history teachers, who, in this way, save their students from unconsciousness.
The university, which trains professional researchers and history teachers, has also accumulated many years of experience in scientific research of the past of the Ryazan land, prepared a lot of publications, dissertation research on materials
Ryazan archives and libraries. Libraries, by the way, have become centers for the study of local history and the accumulation of knowledge about it. It is no coincidence that the Ryazan Regional Library named after Gorky, a repository and active promoter of a huge array of knowledge about the region's past, will also participate in the upcoming conference.
How to combine all the accumulated potential into one powerful creative stream directed towards a specific goal? To teach history as a subject and at the same time to form one of the elements of social self-awareness of society, to transmit positive values \u200b\u200bfrom generation to generation, to foster a positive attitude towards their country and towards themselves.
The conference, initiated by the Department of Russian History of the Russian State University under the leadership of Professor A.F. Agareva, will begin its work on October 14 at 10 am in the conference hall of Ryazan State University. We will tell you more about the results of its work.
Irina Sizova Ryazan Bulletin No. 192 (10.10.2008)

I will chant

With the whole being in the poet

Sixth of the earth

With a short title "Rus".

S. Yesenin

Sergei Alexandrovich Yesenin rose to the heights of world poetry from the depths of folk life. Ryazan land became the cradle of his poetry, Russian songs, sad and free, were reflected in his poems. The theme of the Motherland is the leading theme in Yesenin's work. Yesenin himself said: "My lyrics are alive with one great love - love for the Motherland. The feeling of the Motherland is the main thing in my work." For him there was nothing outside of Russia: no poetry, no life, no love, no glory. Outside of Russia, Yesenin simply could not imagine himself. But the theme of the Motherland in the poet's work has its own evolution. At first she was almost irresponsible, childish, serene.

I was born with songs in a grass blanket

The spring dawns twisted me into a rainbow.

I grew up to maturity, the grandson of a bathing night,

The cradle of magic prophesied happiness to me.

And the fire of the dawn, and the splash of the waves, and the silvery moonlight, and the rustle of the reeds, over the years, have molded in Yesenin's poems with all their beauty.

About Russia - a crimson field

And the blue that fell into the river

I love to joy and pain

Your lake melancholy

From a young age, the Russian land has sunk into Yesenin's heart, its rustic and free songs, bright sadness and valiant prowess, rebellious Ryazan spirit, cheerful girlish laughter. Each Yesenin line is warmed by a feeling of boundless love for Russia. He exclaims:

But most of all love for the native land

It tormented me, tormented and burned me.

The poet lovingly describes and poeticizes the signs of his native country.

Moonlight, mysterious and long.

The willows are crying, the poplars are crying.

But no one under the shout of a crane

The fatherland of the field will not stop loving.

Yesenin's favorite image is the image of a birch. He has a birch - "girl", "bride", she is the personification of everything pure and beautiful:

I am forever behind the fog and dew

I also fell in love with the birch trees,

And her golden braids

And her canvas sundress.

Yesenin's poetry can be used to study our history. Here is 1914. War. And the poet's poems reflect the pain of the era. In the poem "Rus" Yesenin conveys pain and sadness for the fate of the country, anxiety for the life of the peasants involved in the whirlpool of the world war:

The black crows cawed:

There is a wide open space for terrible troubles.

Twists the whirlwind of the forest in all directions.

Foam from the lakes waves a shroud.

Yesenin is dear and close to this Russia. In the most difficult time, the poet with all his soul, with all his heart is next to the people.

Oh you, Russia, my homeland is meek.

Only to you I love the shore.

The more bleak the picture of Russian reality, the stronger the poet's attachment to the Motherland. With the advent of the revolution, a new stage begins in Yesenin's work. The fate of the Motherland, the people in a turbulent revolutionary era - that's what worries him now:

Oh, Rus, flap your wings,

Put on a different support!

With different names

Another steppe rises,

Yesenin welcomed the revolutionary renewal of the Motherland, but when the transformation of the village began, the poet perceived the invasion of the countryside of the urban civilization as the arrival of a hostile "iron guest".

A significant role in the creative development of the poet was played by his trip abroad in 1922-1923. After her, Yesenin "fell out of love with the poor Motherland." The poet is happy to describe the changes that have taken place in the life of the Russian peasantry. He now accepts with all his heart and is ready to sing the beauty of the emerging "steel" Russia, because the future belongs to her.

Field Russia! Pretty

Drag the plow through the fields!

It hurts to see your poverty

Both birches and poplars.

I don't know what will happen to me ...

Maybe I'm not fit for a new life.

But still I want steel

To see poor, impoverished Russia.

In Yesenin's books, which are published in 1924-1925, there is the voice of the new Russia, her dreams, hopes, anxieties, they are the soul of the people, the soul of the poet. The appearance of his native land, the historical destinies of the Motherland and the people - these are the most important themes that Yesenin decides in a highly original, artistic, bright way.

Yesenin's work is one of the bright, deeply exciting pages in the history of Russian poetry, filled with love for people, the beauty of his native land, imbued with kindness, a sense of constant concern for the fate of the people and all life on earth. Yesenin's poetry awakens in us all the best human feelings. From the distant 1920s, the poet invisibly stepped into our time and further into the future. "The further he leaves us, the closer he becomes to us," the poet Lugovskoy justly said about Yesenin.

"But most of all love for my native land tormented me, tormented and burned ..." THE MAIN MOTIVES OF THE POETRY OF S. A. ESENIN (1895 -1925)

The most important theme in the work of S. Yesenin was the theme of the Motherland. In his early poems, the poet comprehends with his soul and embodies his "small" homeland - the village of Konstantinovo and its environs into living visual images. Homeland, Russia appears in early lyrics as Blue Russia, a wonderful country in the bird cherry snow. Love for the Motherland finds expression in love for the native nature. The poet feels his fusion with his native land: "I would like to get lost in the greens of your hundred-ringers ..."

Sergei Yesenin's poems about nature are permeated with light sadness, a kind of nagging tenderness. Subdued, as if through a haze, sunlit landscapes recreate the Motherland, Russia at different times of the year and day. Especially Yesenin loves sunrises and sunsets ("Where there are cabbage beds ...", "The scarlet light of dawn was woven on the lake ...", "It's already evening. Dew ..."). Love for the native land poured into heartfelt poetic lines: O Russia - a crimson field And blue that fell into the river, I love your lake melancholy to joy and pain.

Gradually, the borders of the "country of birch chintz" are expanding. The concept of the Motherland is becoming more capacious and filled. The poet sees not only the breadth of the steppe expanses, the blue of the lakes, as in the early verses ("Beloved land! Heart dreams ...", "Goy you, Russia, my dear ...", "Feather grass is sleeping. Dear plain ..."), but "black, then the smell of howling ”,“ the village drowned in bumps ”.

Love for the nature of Russia is poured into love for her people, into participation in their grief. He sees peasants whose rye dries up and oats do not sprout, an old grandfather who, bending his back, “cleans the trampled current,” village recruits. From idealizing natural, patriarchal Russia ("Transfiguration", "Rural Hours") Yesenin goes on to comprehend Russia at the beginning of the twentieth century.

After the October Revolution, Yesenin's work is characterized by a turn. The poet accepted the revolution, in his own words, "with a peasant bias", waited for an idyllic earthly paradise. In the poems "The Jordanian Dove", "The Heavenly Drummer", in the poem "Ionia", he talks about the new that the revolution brings to the Motherland. Yesenin hopes for the transformation of Russia, enthusiastically reckons himself with the cohort of the renovators of the Russian land: the sky is like a bell, the month is the language, my mother is the homeland, I am a Bolshevik.

But the poet's hopes were not justified. He is experiencing a spiritual crisis, not accepting the paths of development of Soviet Russia: In a life torn apart by a storm So I am tormented that I do not understand Where the fate of events takes us.

In Yesenin's poetry, the theme of opposing the city to the village appears. The contradictory attitude to industrialization, to the invasion of the "iron guest", the idea of \u200b\u200bthe future as a kingdom of iron machines that kill the beauty of nature, led to the appearance of pessimistic, anxiety-riddled verses.

The poet sadly calls himself “the last poet of the village”. He seeks to overcome the isolation from revolutionary transformations, to understand the essence of events ("Return to the Motherland", "Departing Rus", "Soviet Rus"). In Yesenin's post-revolutionary poetry, the impulse of the tragic is intensified. It is palpable in the rejection of the "iron Mirgorod", is exacerbated by the presentiment of a possible loss of human unity with nature. At the same time, Yesenin understood that a turn back in history was not possible. Hence his worrisome thoughts about the future of peasant Russia, contradictory, painful: I don't know what will happen to me ... Maybe I'm not fit for a new life, But I still want to see the steel poor, impoverished Russia.

All Yesenin's poetry, in his words, “is alive with one great love, love for the homeland. The feeling of homeland is the main thing in my work ”. All the years Yesenin remained faithful to the feeling he sang in his youth: If the saint shouts: "Throw you Rus, live in paradise!" I will say: "No need for paradise, Give me my homeland."

Do not call a doctor for help - he will not cure love. The rose easily scatters its crimson gifts. I open my heart to a friend - it burns, it is in the blood. Rise, love, like the sun, illuminate and renew everything. Your love is a closed box. Where are your keys hidden? Give them to me without regret, be generous, do not anger God. Do not be stingy, save Hafiz, soften my suffering. (Hafiz. Gazelles)

Sergei Yesenin was deeply moved by the verses of the poets of the East. In Hafiz's gazelles, earthly love is a priceless gift, the greatest value of being. He claims that the triumph of love is a sentence to the forces of evil, lies and violence. His works are distinguished by faith in the best qualities of man - a thirst for good and truth. Classical poetry of medieval Persia was very popular at the turn of the 19th and 20th centuries. Sergei Yesenin wanted to see Shiraz with his own eyes, to walk through narrow streets to the graves of the great lyricists of Persia. But he only managed to make a trip to the Caucasus, where he went in 1920. The poet reached only Tiflis and returned to Moscow.

Great events in Yesenin's life were his trips to the Transcaucasian republics. Over the last two years of his life, he had been there three times, each time gaining new impressions and happily giving himself to creative work. The first trip lasted for a whole six months. Leaving Moscow in early September 1924, Yesenin stayed in Baku, Tiflis, Batumi until the end of February 1925. He published extensively in the Transcaucasian newspapers Zarya Vostoka and Bakinsky Rabochiy, published two books of poetry (Russkaya Sovetskaya in Baku and Strana Sovetskaya in Tiflis) and worked with extraordinary productivity. It was a period of enthusiasm, inspiration, joy and fruitful work.

In letters from Batum to Moscow, the poet reported: “I work and write devilishly well. I may not come until spring. They drag me to Sukhum, Erivan, Trebizond and Tehran, then back to Baku. " And in another letter: “Only one thing lives in me now. I feel enlightened, I don't need this stupid noisy fame, I don't need line-by-line success. I understood what poetry is ... I will soon flood you with material. It is very rare to write so much and easily in life. This is simply because I am alone and focused in myself. They say I am very prettier. Probably because I saw something and calmed down "

In Transcaucasia, Yesenin wrote in six months "The Ballad of Twenty-Six", the poems "In Memory of Bryusov", "A Letter to a Woman", "Captain of the Earth", "Leaving Russia", "Homeless Russia", "Flowers", "Remembrance", "My way" and others, work has begun on the poem "Anna Snegina" and the cycle "Persian motives". The period from the end of March to the end of May 1925, Yesenin spent in Baku and Mardakan, he intensively collaborated in the "Baku Worker", wrote the poems "The dawn is calling another ...", "Letter to my sister", "Uncomfortable liquid moon ...", "Farewell, Baku!" ... In the same places he spent the last days of July and the whole of August, created four new poems, wrote a pamphlet "Lady with a lorgnette" and finished "Persian motives."

In "Persian Motives" the metaphorical and exotic element is greatly enhanced. This is explained by the fact. That Yesenin here did not strive either for completeness or for the accuracy of a landscape painting: he had not been to Persia, Baghdad, or the Bosphorus and, while working on a cycle of his poems, in many ways “invented” these places. "I have never been to the Bosphorus ..."

A certain share of exotic conventions can be seen in the blue colors of Tehran, and in the "evening light of the saffron region", and in the gardens and in the walls of Khorossan. But all this, as if seen by the poet himself, was recreated with the power of a living, immediate feeling. The artist's imagination gives us the opportunity to plunge into the romantic world of fabulous nature - a tangible, visible, tangible world. Its difference from all the "Eastern worlds" encountered in painting and poetry is that refracted ray that from the magical Shiraz, from the Bosphorus distance sheds light on the discreet, but also unique beauty of the Ryazan fields. Shagane you are mine, Shagane! Because I'm from the north, or something, I'm ready to tell you the field, About wavy rye under the moon. Shagane you are mine, Shagane. Because I'm from the north, or something, That the moon there is a hundred times larger, No matter how beautiful Shiraz is, He is no better than Ryazan's expanse. Because I'm from the north, or something. I'm ready to tell you the field, I took this hair from rye, If you want, knit it on your finger - I don't feel any pain at all. I'm ready to tell you the field. About wavy rye in the moonlight Guess my curls. Honey, joke, smile, Do not wake up only the memory in me About the wavy rye in the moonlight. Shagane you are mine, Shagane! There, in the north, the girl too, She looks terribly like you, Maybe she thinks about me ... You are my Shagane, Shagane.

Seeing in a foreign country that which pleases his soul, the poet is ready to take it with him, to sing it in his homeland: There are such doors in Khorossan, Where the threshold is sprinkled with roses. A brooding peri lives there. There are such doors in Horossan, But I could not open those doors. I have enough strength in my hands, There is gold and copper in my hair. Peri's voice is gentle and beautiful. I have enough strength in my hands, But I could not unlock the doors. There is no need for courage in my love. And for what? Who should I sing songs to? - If I became not jealous Step, Kohl I could not unlock the doors, To nothing in my love courage. It's time for me to go back to Russia. Persia! Am I leaving you? Do I part with you forever Out of love for my native land? It's time for me to go back to Russia. Goodbye, peri, goodbye, May I not be able to open the door, You gave a beautiful suffering, I sing about you at home. Goodbye, peri, goodbye.

Meeting with what the soul cannot accept - the chador on the face of a Persian woman - he returns in thought to his native country and is ready to sing such that no one in the East has sung yet: "The evening light of the saffron region ..."

The originality of the cycle is enhanced by some traditional forms of oriental poetry, refrains, repetitions, as well as framing lines in the stanza: "The blue homeland of Firdusi ..."

In the Yesenin cycle, echoes of ancient Persian poetry are heard, in it one sees the outlines of a blessed, fabulous country. But this cycle cannot be read - and even less understood - if one does not hear in it the beating of the heart of a Russian poet, who exclaims in the ecstasy of his mystified journey: "There are such doors in Khorossan ..."

One cannot fail to feel all the charm and originality of this cycle, if one does not notice the subtlety, soulfulness and poetry with which the artist introduced the motives of Russian nature into the composition he created.

The writing

The beautiful, bright, sonorous and multi-colored lyrics of Sergei Yesenin are filled with high patriotism. Whatever the poet writes about, it's all about Russia. She appears to the author as a tender girl-birch tree, then blue, falling into the river, then meek and serene, then restless and proud, but always infinitely beloved.

Swamp and swamps

Blue circuit boards of heaven.

Coniferous gilding

Weighs the forest.

Yesenin is akin to the boundless expanses of Russia, he thinks on a cosmic scale, including earth and sky in his poems. It captures the spirit from the images with which the poet thinks, from the epithets with which everything that exists. The author's favorite technique is impersonation. He addresses trees and grasses, rivers and lakes, steppes and fields as close friends, including them in his confidential conversation. Hence the poet's special relationship with the surrounding world, complete merging with nature, to which the author constantly strives. If there is no such harmony, the poet experiences longing, sadness, discomfort. His friend nature is sensitive to the state of the author, or vice versa. Yesenin perfectly sees the mood of the world around him, knows how to sensitively convey it in colors.

Black, then smelling like a howl! How can I not caress you, not love you I will go out to the lake in the blue heath, Evening grace clings to my heart. The huts stand like a gray wind, the reeds deeply cradle the squish. A red fire covered the tagans, In the brushwood there are white eyelids of the moon.

Contrasting colors create the inner tension of the narrative, psychologism is present in every couplet. Surprisingly accurately and dramatically conveyed by the poet the melancholy that sounds in Russian folk song, its lyrical beauty.

Green and blue are the traditional colors of Russia in the poetic world of Yesenin. The author often combines them, giving each other as shades. Raised in an Orthodox family from childhood, Yesenin could not help but know that blue is the patronage of the Virgin Mary, the patron of Russia, and the color of innocence and purity. This is how he sees his homeland as sublime and beautiful. Behind a dark strand of woods, In the unshakable blue, The curly moon Lamb Walks in the blue grass.

Later, gray will appear, instead of golden lemon yellow. This is how the author imagines a soulless city, with skeletal buildings, streets and stone caves. There is no harmony in the world around us, and dissonance is heard in poetics: drogs squeal, the cow's roar of shadows groans ...

The poet sees something completely different in his native open spaces; he feels joy traveling to his fatherland.

The blasted road slumbers. Today she dreamed that it was very, very little To wait for the gray winter. Ah, and I myself, in a thicket ringing I saw yesterday in the fog: Red-haired month as a foal Harnessed to our sleigh.

Yesenin's poetic spirit is directly related to the poet's mood, the general state of the world around him. With maturity and wisdom, he associates crimson-red and golden-orange tones.

Dissuaded the golden grove, With a birch, cheerful language, And the cranes, sadly flying, Do not regret anyone else. Rowan brushes will not stain, The grass will not disappear from the yellowness, As a tree quietly drops its leaves, So I drop sad words.

Surprisingly tender, melodious and colorful poetry of Yesenin leaves an indelible mark on the soul of the reader, teaches to be a devoted, selfless and faithful son of the great and long-suffering country of Russia.