"Singer and Herald" wooden Rus'"- this is how Yesenin himself defined himself as a poet. His works are truly sincere and frank. Without undue embarrassment, he exposes his Russian soul, which suffers, yearns, rings and rejoices.

Themes of Yesenin's lyrics

Yesenin wrote about what worried him and his contemporaries. He was a child of his era, which experienced many cataclysms. That is why the main themes of Yesenin’s poetry are the fate of the Russian village, the present and future of Russia, tenderness for nature, love for a woman and religion.

Red thread through everything creative heritage The poet experiences a burning love for the Motherland. This feeling is the starting point of all his further literary research. Moreover, Yesenin does not primarily put a political meaning into the concept of the Motherland, although he did not ignore the sorrows and joys of peasant Rus'. The poet’s homeland is the surrounding fields, forests, and plains, which begin from the parental home of the lyrical hero and extend into vast distances. The poet drew images of incredible beauty from childhood memories and the nature of his patrimony - the village of Konstantinovo, where his “crimson Rus'” began for Yesenin. Such feelings of reverent love for native land expressed in the most delicate poetic watercolors.

All themes, in particular the theme of love for the Motherland, are so closely intertwined that they cannot be distinguished from one another. He admired the world around him, like a child “born singing in a blanket of grass,” considering himself an integral part of it.

Love lyrics are a separate layer of the creative work of the poet-nugget. The image of a woman from his poems is copied from Russian beauties “with scarlet berry juice on her skin”, “with a sheaf of oatmeal hair”. But love relationship always occur as if in the background, in the center of the action there is always the same nature. The poet often compares the girl to a thin birch tree, and her chosen one to a maple tree. For early creativity characterized by youthful ardor, concentration on the physical aspect of relationships (“I’ll kiss you while you’re drunk, I’ll wear you out like a flower”). Over the years, having experienced bitter disappointments on the personal front, the poet expresses his feelings of contempt for corrupt women, cynically considering love itself to be nothing more than an illusion (“our life is a sheet and a bed”). Yesenin himself considered “Persian Motifs” to be the pinnacle of his love lyrics, where the poet’s trip to Batumi left an imprint.

It should be noted that there are many philosophical motives in Yesenin’s poems. Early works sparkle with a feeling of the fullness of life, a precise awareness of one’s place in it and the meaning of existence. The lyrical hero finds him in unity with nature, calling himself a shepherd, whose “chambers are the boundaries of undulating fields.” He is aware of the rapid fading of life (“everything will pass like smoke from white apple trees”), and because of this his lyrics are tinged with light sadness.

Of particular interest is the topic “God, nature, man in Yesenin’s poetry.”

God

Origins Christian motives Yesenin must be looked for in his childhood. His grandparents were deeply religious people and instilled in their grandson the same reverent attitude towards the Creator.

The poet seeks and finds analogies of the atoning sacrifice in natural phenomena (“the schema-monk-wind... kisses the red sores of the invisible Christ on the rowan bush,” “the sacrifice of the sunset atoned for all sin”).

Yesenin’s God lives in that same old, fading Rus', “where the sunrise waters the cabbage beds with red water.” The poet sees the Creator primarily in creation—the surrounding world. God, nature, and man always interact in Yesenin’s poetry.

But the poet was not always a humble pilgrim. In one period, he wrote a whole series of rebellious, godless poems. This is due to his belief in and acceptance of the new communist ideology. The lyrical hero even challenges the Creator, promising to create a new society without the need for God, “the city of Inonia, where the deity of the living lives.” But this period was short-lived, soon lyrical hero again calls himself a “humble monk”, praying for the heaps and herds.

Human

Quite often, the poet portrays his hero as a wanderer walking along the road, or as a guest in this life (“everyone in the world is a wanderer - he will pass, enter and leave the house again”). In many of his works, Yesenin touches on the antithesis “youth - maturity” (“The golden grove dissuaded...”). He often thinks about death and sees it as the natural ending of everyone (“I came to this earth to leave it as soon as possible”). Everyone can know the meaning of their existence by finding their place in the triad “God - nature - man”. In Yesenin’s poetry, the main link of this tandem is nature, and the key to happiness is harmony with it.

Nature

It is a temple for the poet, and a person in it must be a pilgrim (“I pray at the dawn, take communion by the stream”). In general, the theme of the Almighty and the theme of nature in Yesenin’s poetry are so interconnected that there is no clear line of transition.

Nature is also the main character of all works. She lives a vibrant, dynamic life. Very often the author uses the technique of personification (a maple baby sucks a green udder, a red autumn mare scratches her golden mane, a blizzard cries like a gypsy violin, a bird cherry sleeps in a white cape, a pine tree is tied with a white scarf).

The most favorite images are birch, maple, moon, dawn. Yesenin is the author of the so-called wooden romance between a birch-girl and a maple-boy.

Yesenin's poem "Birch"

As an example of a refined and at the same time simple awareness of existence, one can consider the verse “Birch”. Since ancient times, this tree has been considered both a symbol of a Russian girl and of Russia itself, so Yesenin put into this work deep meaning. Touching a small piece of nature develops into admiration for the beauty of the vast Russian land. In ordinary everyday things (snow, birch, branches) the author teaches us to see more. This effect is achieved with the help of comparisons (snow is silver), metaphors (snowflakes are burning, dawn sprinkles branches). Simple and understandable imagery makes Yesenin’s poem “Birch” very similar to folk poetry, and this is the highest praise for any poet.

General mood of the lyrics

It should be noted that in Yesenin’s poetry one can so clearly feel a slight sadness “over the buckwheat expanses,” and sometimes a pinching melancholy even when admiring his native land. Most likely, the poet foresaw tragic fate his Motherland-Rus, which in the future “will still live, dance and cry at the fence.” The reader is involuntarily conveyed pity for all living things, because, despite its beauty, absolutely everything around is fleeting, and the author mourns this in advance: “Sad song, you are Russian pain.”

You can also note some distinctive features poet's style.

Yesenin is the king of metaphors. He so skillfully packed the capacious into a few words that each poem is replete with bright poetic figures (“the evening has raised its black eyebrows,” “the sunset quietly floats across the pond like a red swan,” “a flock of jackdaws on the roof serves the evening star”).

The closeness of Yesenin’s poetry to folklore gives the feeling that some of his poems are folk. They fit incredibly easily to the music.

Thanks to such features of the artistic world of the poet of “wooden Rus'”, his poems cannot be confused with others. He cannot help but be captivated by his selfless love for the Motherland, which starts from the Ryazan fields and ends in space. The essence of the theme “God - nature - man” in Yesenin’s poetry can be summed up in his own words: “I think: how beautiful the earth is and the man on it...”

Philosophical motives lyrics by S.A. Yesenina

Seryozha has his own beautiful voice. He loves Russia in his own way, like no one else. And he sings it in his own way. Birches, moonlight, rye fields, lakes - this is his song. And he sings it with his whole being. A. Andreev The red, unkempt sun, as if half asleep, was setting behind the dark ridge of the forest. IN last time the scattered haystacks and fluffy clouds illuminated the scattered haystacks and fluffy clouds with a crimson shower of light, and looked into my eyes. Maybe it wanted to ask if I had heard anything about a Ryazan guy with light brown hair, the color of ripe rye, blue eyes like the sky and a smile as clear as spring rain. Sun, stop for a moment! I will tell you about Sergei Yesenin, I will tell you about his lyrics, I will tell you why I fell in love with his poems. Yesenin's poems became dear to me as soon as I entered Magic world poetry. Since then, the versatility and originality of his work have never ceased to amaze me. Studying more and more deeply the life and work of the poet, I fell in love with him with all my soul and want to be a singer of his poetry. Why? I often asked myself this question. Indeed, why are his poems so close and understandable today? Perhaps because of his deep love for his homeland, for his people, because of his boundless love for nature, its beauty, because they teach me to understand everything beautiful. The poet's lyrics live alone great love- love for the homeland. The feeling of homeland is fundamental in the work of Sergei Yesenin. Many poets tried to reveal the theme of their homeland in their works. But, in my opinion, no one succeeded the way Yesenin did it. He proudly called himself a "peasant son" and a "citizen of the village." Wherever Yesenin was, no matter what height of glory he rose to, he always saw peasant Rus' and lived in its hopes. In Yesenin’s poems, not only does Rus' “shine”, not only does the poet’s quiet declaration of love for her sound, but also expresses a person’s faith in its future, the great future of his native people. Yesenin froze in place. He imagined a huge, endless Rus', all bathed in birch light, standing next to huts along the Oka. “My homeland,” lips whispered, “Motherland.” And suddenly they froze, because other words were found: You are a wretch, my dear Rus', Huts are in the vestments of the image... There is no end in sight, Only the blue blinds the eyes. Yesenin praises unique beauty with frank warmth native land. How he loves it! He is in love with endless fields, forests, his Ryazan sky, and wild flowers. Everything around has been quiet for a long time. And he couldn't sleep. He suddenly wanted to see a small forest lake, where he, a barefoot boy, chased the slanting rays of the sun, a young birch tree that in the summer rinsed its braids in the water, and in the winter tinkled them crystal. Tomorrow is the beginning of haymaking time. And how much strength it takes to swing a scythe from dawn until dark. And a man walks and walks on his native land. And the prankish stars have no idea that the poet has no time for sleep, that he is immensely happy, because the whole world is for him. The grasses bloom for him, the mischievous eyes of the lakes laugh for him, and even they, the stars, shine for him. And involuntarily the words burst from the heart: O Rus'! The raspberry field and the blue that fell into the river - I love your lake melancholy to the point of joy, to the point of pain! Which endless Love to nature! I am fascinated by Yesenin’s unique lyrics, understanding of all the subtleties native nature and the ability to convey this in poetry. Yesenin creates his poems about nature from a rough drawing sketched by nature itself and verified with the big picture natural life. The poet plants a rowan tree near a peasant hut. They burn in the "rowan bonfire" last hopes: A red rowan fire is burning in the garden, But it can’t warm anyone. Yesenin has a sharpened view of those features of nature that can be likened to the material world. He even invites the heavenly bodies to earth. The month is similar to a foal, it is also red and “harnesses” to the sleigh. The most painful searches and discoveries of oneself take place under the moon. Yesenin’s poems contain all of life, with all the turns, potholes and ups. Yesenin went through a short but thorny life path. He stumbled, made mistakes, fell into populism - these are completely natural “costs” of youth, of a personal nature. However, Sergei Yesenin was always in search, on the road, on sharp turns stories. All his personal experiences and failures recede before the main thing - love for his homeland. What is the most precious thing in life for a person? I would answer: “Motherland.” And isn’t it happiness to glorify her beauty! You cannot live on earth and not have a home, mother, homeland. And it’s impossible not to love her. Dew fell on the grass. The mocking stars melted in the sky. The dawn was somehow pink and ringing. It seemed as if you would say a word quietly, and it would fly across the whole earth. Somewhere far away a song began. The forest, lake, and sun responded loudly to her. And Yesenin wanted to meet people. He ran out into the meadow, looked at his native, painfully familiar fields and froze. Now he knew for sure: no matter where fate took him, he would never part with either this land or the birch tree above the pond. The words themselves lined up in a row: If the holy army shouts: “Throw away Rus', live in paradise!” I will say: “There is no need for paradise, Give me my homeland.” This was his first oath of allegiance to the new, steel Russia. The words rose in the ringing silence of dawn towards the sun and flew over Russia along with the free winds through forests, lakes, meadows, through the years. Having passed away at the age of 30, Yesenin left us a wonderful legacy. Filled with love for man, for his native land, imbued with sincerity, utmost sincerity, kindness, Yesenin’s poetry is relevant and modern today. Many of his poems became songs. And throughout my life I will carry a volume of Yesenin’s poems with me.

A person’s life path can be different - long and short, happy and not very happy, filled with events and calm, like the waters of a lake. But there is probably no person who has never thought about death. These thoughts, as you grow older, cause horror or peaceful calm, but they still appear. That is why in the work of any writer or poet you can find a work that in one way or another reveals this topic.
Yesenin did not bypass this direction in his work either. But what were his thoughts about life and death, about being and non-being?
In the early lyrics one can find the poet's reflections on life and death, but they are more filled with youthful pessimism than actual reflection on this issue. And this is understandable - young people rarely think about this topic. But already at the age of twenty-one, a poem appears in Yesenin’s creative piggy bank, which deserves special attention. In it, the poet talks about how his life is inexorably moving forward, he is changing both externally and internally, and only a black shadow remains from the past, but it also separated from him and went somewhere. The first lines of this work are especially poetic; they sound like the beginning of Yesenin’s later thoughtful reflection on life:
The day has passed. The line has decreased.
I moved towards leaving again
With a light wave of a white finger...
Already in 1924, in the poet’s poems, many questions unexpectedly appeared, addressed, first of all, to himself: how did I live? what did I manage?
Who am I? What am I? Just a dreamer
The blue of his eyes lost in the darkness,
I lived this life as if by the way,
Together with others on earth...
These questions, which remain unanswered, reflect his confusion and loss, thoughts about the near end. The last masterpieces of his philosophical lyrics, which include the poem “We are now leaving little by little,” were filled with such a difficult state of mind. I especially like this poem.
The poem “Now we are leaving little by little...” was written in 1924 on the death of Alexander Vasilyevich Shiryaev, the “new peasant” poet with whom Yesenin was associated for many years strong friendship. Here comes the summing up of the violent and troubled life, a reflection on the transitory nature of our existence:
We're leaving little by little now
To that country where there is peace and grace.
“That country,” the land of the dead, is very carefully mentioned. The “peace and grace” that reigns there is a reward sent by the Lord for earthly life. This is how the first stanza begins, permeated with a prophetic premonition of the approaching end. Death is spoken of in veiled terms:
Maybe I'll be on my way soon
Collect mortal belongings.
The epithet “perishable” gives the stanza an almost tragic sound, however spoken word“belongings” simultaneously fills it with light irony. The thought is expressed with an affirmative intonation. There is no doubt that this will happen.
However, the second stanza is completely different in mood. She convinces that the lyrical hero is not yet ready to walk along this mournful road. Vivid personifications, a touching epithet, exclamatory intonation, addresses and the use of personal pronouns indicate a love of life and a reverent attitude towards Russian nature:
Lovely birch thickets!
You, earth! And you, plain sands!
It is to nature that the lyrical hero appeals, it is to her that it is most bitter to say goodbye, standing at the fatal line.
But people are dying... “The host of those leaving” - how sad and dreary this combination sounds! The impression is strengthened by his belonging to high style.
The next three stanzas are a reflection on the meaning of existence in this world, because before death, Christian traditions must confess. Isn't this a confession? All verbs in these stanzas are used in the past tense, this creates a feeling of hopelessness and irrevocability.
Frank confession in excessive love for earthly things, for “that which clothes the soul in flesh,” that is, for wild life, is replaced by an enthusiastic look at the pictures of nature. This is where you can find peace, this is how you can soothe a wounded heart! The wish sounds like a prayer: “Peace to the aspens.”
But life was not only filled with carnal passions: “I thought through many thoughts in silence, composed many songs to myself.” On this contradictory path, on this “gloomy land” there were moments colored bright hues. The feeling of complete satisfaction is not alien to the hero, so the lines are heard again:
Happy that I breathed and lived.
I'm happy that I kissed women,
Crushed flowers, lay on the grass.
The last two stanzas are combined general meaning. In them the gaze again turns to that sad and silent world. Is there anything there? The hero is only sure that there are no beauties with which to please the eye in this world: “the thickets will not bloom there,” “there will be no... these fields, golden in the darkness,” “the rye will not ring with the swan’s neck.” Epithets and metaphors help to recreate truly a magical picture.
The last lines of the poem are a kind of conclusion, the result of deep reflection, but it is also a hidden call to the reader:
That's why people are dear to me,
That they live with me on earth.
We need to appreciate what life has given us, we need to enjoy every day, we need to love the living, we need to admit this to them more often, otherwise we may not have time...
In this poem, the whole soul of the Russian poet, full of painful torment, is revealed to us... And we understand Yesenin, because in our life there is a lot of high, bordering on low.

In numerous critical articles and notes on A. S. Griboyedov’s comedy “Woe from Wit,” written and published over the past one hundred and seventy-eight years, the only idea can be seen most clearly and clearly: this work is extremely ambiguous. Despite the apparent definiteness of the posed problem of the relationship between a “man of a new formation” and a rotten one “ Famusovsky society", in no case should one lose sight of the mystery and sometimes contradictory nature of the images, supposedly relegated to the background and introduced into the narrative only for the sake of

In Alexander Tvardovsky’s poem “Vasily Terkin” the Great Patriotic War seen through the eyes of its ordinary participant, simple soldier. This is indicated by the subtitle “A Book about a Fighter.” Terkin is an exponent of the people's worldview. The author literally became close to his hero. It is no coincidence that he emphasizes in the final chapter of the poem From the first days of the bitter time, In the difficult hour of the native land, Not joking, Vasily Terkin, You and I became friends And Terkin perceives the fate as his own, noting that after the victory Terkin, Terkin, in fact The hour has come, warrior lights out

Each story has its own tone. “Sevastopol in December” is pathetically journalistic; “Sevastopol in May” is sharply critical; “Sevastopol in August 1855” is truly heroic. They need to be read together as single cycle. The main thing that Tolstoy saw and learned in the Caucasus and especially in Sevastopol was psychology different types soldiers, different - both base and sublime - feelings that guided the behavior of the officers. The truth, which is so difficult to tell about the war, is proclaimed by the hero of the story in the second Sevastopol story and, in a heated polemic against the lies of “historical” descriptions,

Work on the topic:

Philosophy of creativity by S. Yesenin

Introduction. 3

Chapter 1. Existential issues in Yesenin’s works. 5

Chapter 2. Poetry of S. Yesenin and the philosophy of the “existentialists”. 9

Chapter 3. Philosophy of creativity of S. Yesenin. 15

Conclusion. 19

Goal of the work– to gain a deeper understanding of the philosophical principles of Yesenin’s lyrics, including through the inclusion in the arsenal of modern researchers of elements of existential and psychoanalytic methods of analyzing artistic phenomena, previously used only by Western literary criticism.

And this is a completely natural trend. After all, S. Yesenin, perhaps more acutely than many other poets, was able to feel such new symptoms of human spiritual existence, which ultimately formed the main content of existential philosophy and literature of the twentieth century: the feeling of “forsakenness” and “deification” of the world; alienation and self-alienation of the individual; the threat of total “standardization”, capable of eliminating the uniqueness of each human individual; the loss of an “intimate” state of mind under the pressure of technocratic and other global macrotrends.

Chapter 1. Existential problems in Yesenin's works

Existential issues in Yesenin’s work are associated, first of all, with the reflection of crisis consciousness modern man, experiencing the drama of loss of roots, unity with nature, the world, people, separation from the “soil” and “faith”, and other traditional values.

The situation of the spiritual “gap” between the native soil element and the new urbanized reality for a long time determined the tragic existential acuity of the poet’s worldview, who at some point felt like an “outsider,” “alien,” “superfluous” in his native fatherland, like the heroes of A. Camus, J. .-P. Sartre and other existentialist writers:

There is no love for either the village or the city...

(“Don’t swear! This is the case...”)

I found myself in a narrow gap...

(Rus' is leaving)

The language of my fellow citizens has become like a foreign language to me,

I'm like a foreigner in my own country...

(Soviet Rus')

I stand sadly, like a persecuted wanderer,

The old owner of his hut...

(“Blue fog. Snowy expanse...”)

“All existentialist literature, both philosophical and artistic, is centered around the dilemma: “the natural individual is a completed civilization.” The same collision, in essence, is recreated in Yesenin’s poetry, and from an absolutely existential perspective of perception - through the prism of the contradictions of individual consciousness and private destiny, behind which the tragedy of many is hidden.

The tendency to “reject civilization,” the search for “primordial” humanity, the path of remembering origins are characteristic motifs of many existentialist works, finding their parallel in Yesenin’s spiritual and creative quest, in particular, in the core theme of “departure” and “return” for his lyrics.

As G. Adamovich showed back in the 30s, this theme is correlated in its origins with biblical mythological stories about “ paradise lost" and "the return of the prodigal son".

However, it must be emphasized that it also has very definite philosophical “consonances”, for example, in Hegel’s “idea of ​​development as the self-enrichment of the spirit through voluntary withdrawal from oneself into someone else’s element and return with victory.” From the point of view of existentialist philosophy, “departure” is also “a necessary moment of development: only by leaving your native home, and then, having undergone all the necessary tests, does the spirit become what it should truly be, truly finds itself. In the end, it turns out that development is a return to the beginning, a connection with oneself through temporary loss, voluntary separation and surmountable pain.”

The lyrical subject of Yesenin's poetry feels his internal conflict With new reality in much the same way as a hero of the existential type, who is characterized not so much by the “critical position of a contemporary, aware of his antagonistic attitude towards the social whole,” but by the “spontaneous amazement of a person, a witness, accidentally... thrown into a “ready” modern world" At the same time, as a modern researcher explains, “an existential feeling of abandonment arises in connection with the discovery by a “naive” person of his... absolute internal inconsistency” modern civilization. “And here he is, helpless, confronting this completed civilization as original human spontaneity, as unarmed spiritual purity.”

Yesenin’s lyrical “I” largely corresponds to this type of “naive”, “immediate” consciousness modeled by existential philosophy, “not ready” to accept the dubious “gifts” of ever-accelerating technical progress. He finds himself in a very similar position of an “amazed witness”, accidentally “thrown” into a previously native, but now alien world from some other limits:

Idle spy, am I not strange?

To my dear fields and forests...

(“Bless every work, good luck!”)

After all, for almost everyone here I’m a gloomy pilgrim

God knows from what distant side...

(Soviet Rus')

My poetry is no longer needed here,

And, perhaps, I myself am not needed here either...

(Soviet Rus')

Yesenin was able to express the growing threat of existence to the foundations of “natural” consciousness in the most acute form precisely because, in his deepest essence, he always remained a person and artist of the “soil” type, firmly rooted in the national spiritual tradition. In his poetic diagnosis of the tragically irreversible changes occurring in the very structure of the consciousness of modern man, who is gradually losing touch with his roots and origins, Yesenin anticipated the famous German philosopher

Martin Heidegger, who decades later formulated an important thought consonant with the dramatic pathos of Yesenin’s poetry: “Now the very rootedness of today’s man is under threat. Moreover: the loss of roots is not caused only by external circumstances, it does not occur only from the negligence and superficiality of a person’s lifestyle. The loss of rootedness comes from the very spirit of the age in which we live."

It is noteworthy that M. Heidegger, in support of this thought, cites the words of the German poet Johann Hebel, highly valued by S. Yesenin, the author of the poems “Oatmeal Kissel” and “Perishability”: “We are plants that - whether we want to realize it or not - must to take root in the earth, so that, having risen, it may blossom in the ether and bear fruit.” M. Heidegger comments on this quote: “We will think even harder and ask: what is the situation with what Johann Peter Hebel spoke about. Is there still a homeland in whose soil a person’s roots are, in which he is rooted?” . Chapter 2.

Poetry of S. Yesenin and the philosophy of “existentialists” As we see, the work of S. Yesenin is in tune with to a wide circle ideas developed by European existentialists. However, to the greatest extent, the problems of Yesenin’s poetry come into contact with the ethically oriented philosophy of the “Russian existentialists” - N. Berdyaev, L. Shestov, L. Frank, etc. Characterizing the originality of Russian existentialism, modern researchers especially emphasize its focus on staging moral issues

: “The existentialism of Russian literature, which gave rise to philosophical existentialism, is associated to a greater extent with the problems of guilt and conscience,” dating back to the “Christian tradition.” The theme of guilt and conscience forms an integral moral and philosophical subtext of Yesenin’s work, especially in. It is no coincidence that N. Otsup emphasized at one time that “Yesenin’s muse was conscience,” and Marina Tsvetaeva argued that the poet died “because of a feeling very close to conscience.” Perhaps this is why the penitential motives of Yesenin’s late lyrics are in many ways consonant moral issues Christian existentialism, which addresses the understanding of such categories as “anxiety of existence”, “religious and ethical anxiety”, the gap between “essence” and “existence”, between “genuine” and “inauthentic” being.

Speaking about existential principles in Yesenin’s work, one should keep in mind, of course, not a system of views, but special way worldview, based on the poet’s ability to reveal common spiritual universals through the prism of individual consciousness.

For many of us, Sergei Yesenin is a singer of Russian nature, a master of love lyrics, and the author of poems about reckless youth. However, upon closer reading, a deeper meaning is revealed in Yesenin’s simple, and sometimes naive, as it seems, images.

Already in Yesenin’s earliest poems one can feel the poet’s special understanding of nature. It appears not as a static background, but as a living world in which every blade of grass and every petal is capable of sadness and joy, thought and love. This is a green temple in which willow trees (“meek nuns”) prayerfully finger their rosaries, and birch trees stand “like big candles.” The poet often sees his own reflection in images of nature. His soul is blossoming apple tree, love is a fragrant linden tree, separation is a scarlet and bitter rowan tree. In one of his later poems, the poet likens himself to a tree: just like “an old maple on one leg,” he protects his dear “blue Rus'” from harm and protects its purity.

The image of the tree occupies important place in the poet's lyrics. The philosophical perception of nature is also revealed in prose work Sergei Yesenin’s “Keys of Mary”, where the mythical image of the world tree appears, on which the Moon, Sun, stars and planets “grow”. This tree, in the author’s interpretation, is the source of strength and the beginning of life.

Yesenin's mature poems are characterized by a hint of melancholy. Drawing gloomy autumn landscapes, when nature has already lost its brightness and freshness and is preparing for a long sleep, the poet reflects on his homeland, its fate and own way. He feels that old life, who was so sweet to him, leaves without a trace. In the poem “I am the last poet of the village” one can already hear almost hopeless tragedy. Here, images of nature appear as harbingers of imminent disaster. Birches, censing leaves, celebrate a farewell funeral service; the “wooden moon clock” ticks the last minutes; the wind dances farewell dance. The poet is bitter to realize that “the oatmeal, spilled at dawn,” will be collected by a black handful of the iron guest, but he does not separate his fate from the fate of his homeland, expecting that his “twelfth hour” will soon thunder.

In the poem “I don’t regret, I don’t call, I don’t cry,” there is a motif of sadness about lost youth. The poet understands that he is “withered in gold”; the former simple-minded joys are lost. Summing up his thoughts, he says:

All of us, all of us in this world are perishable,

Copper quietly flows from the apple tree leaves.

May you be blessed forever,

What has come to bloom and die.

Thus, the ending of the poem takes on a philosophical sound: in the poet’s words there is neither resentment nor bitter pessimism. He blesses the natural course of existence, without blaming anyone for anything. The theme of humility before the immutable law of life became the leitmotif of Yesenin’s mature lyrics:

That's how we will bloom too

And let's make some noise like guests of the garden:

If there are no flowers in the middle of winter,

So there is no need to be sad about them.

Or:

Peace be with you, noisy life,

Peace be with you, blue coolness.

Filled with philosophical sound love lyrics Sergei Yesenin. Rethinking his life, the poet understands: what he really needs is bright and sincere love.

“I would just look at you, see the golden-brown pool of eyes,” he says, admitting that for the first time in a long time he “sang about love” and “denied making a scandal.” In another poem, the poet is sad that he did not save himself “for quiet life, for smiles."

In Yesenin's later works one can feel the motive of loss true love and disappointment in the feeling that is given out and accepted as her, which is only “snow” and “frost” instead of white linden blossom.

In the poem “Flowers,” the poet’s philosophical mood is manifested in the images of the flowers themselves—each of them reveals some feeling or character trait. Flowers are people who “are able to crawl and walk both in the sun and in the cold.”

Throughout its entire creative life Yesenin tried to comprehend the relationship between the eternal and the transitory, the repeating and the unique. Each new generation, entering the world, asks these questions. Therefore, Yesenin’s poems, filled with the most different feelings, never cease to excite us.