The great Russian poet Sergei Yesenin is “the singer of the country of birch chintz”, “the singer of love, sadness, sorrow”, he is also the “Moscow mischievous reveler” and, of course, a poet-philosopher. Yesenin was always concerned with such philosophical and worldview problems as “Man and the Universe”, “Man and Nature”. In Yesenin’s poems there are many kind of cross-cutting images, enriched and modified, passing through all of his poetry. These, of course, are, first of all, images of his native nature, which so deeply conveyed his beliefs about the fundamental unity of man with nature, the inseparability of man from all living things. Reading “You are my fallen maple, frozen maple...”, one cannot help but recall the “little maple tree” from the first verses. In one of Yesenin’s last poems there are the lines:
I am forever for fog and dew
I fell in love with the birch tree,
And her golden braids,
And her canvas sundress.
In this birch tree, which appeared at the very end of his life, one can clearly read the birch that appeared in his first published poem (“White birch tree under my window ...”), and many other appeals to this image.
The dialogue of the lyrical hero with the World (man, nature, earth, universe) is constant. "Man is a marvelous creation of nature, a unique flower of living life." In “Anna Snegina” - the largest work of the last years of his life, he wrote:
How beautiful
And there is a man on it.
These lines are filled with pride, joy and anxiety for a person, his fate, his future. They could rightfully become an epigraph to his entire work.
All of us, all of us in this world are perishable,
Copper quietly pours from the maple leaves...
May you be blessed forever,
What has come to flourish and die.
The philosophical depth and highest lyricism of this poem comes from the great traditions of Russian classical literature.
The poet feels like a part of nature and sees animals as “our little brothers.” His poems about animals clearly express sympathy for all living things on earth. So, in “Song of the Dog” the author shows the motherly love of a bitch for her puppies, and then her pain from losing them. This dog's feelings are similar to those of a woman. And when the month above the “hut” seemed to her like “one of her puppies,” she dies of melancholy:
And deaf, as if from a handout,
When they throw a stone at her to laugh,
The dog's eyes rolled
Golden stars in the snow.
In the poem "Fox" Yesenin shows the ruthless attitude of people towards animals. The description of the shot fox sounds piercing:
The yellow tail fell like a fire in the snowstorm,
On the lips - like rotten carrots.
It smelled of frost and clay fumes,
And blood was seeping quietly into my eyes.
The poet protects animals with his love. In the poem "To Kachalov's Dog" the author talks to a dog named Jim as if he were a friend. In each line, Yesenin conveys the beauty and gullibility of this dog, admiring him:
You are devilishly beautiful like a dog,
With such a sweet, trusting friend
And, without asking anyone a bit,
Like a drunk friend, you go in for a kiss.
Sergei Yesenin emphasizes the unity of all living things, all things. There is not and cannot be someone else’s pain in the world; we are all connected to each other.
In the poem “Songs, songs, what are you shouting about?..” one senses the fragility of the boundaries between nature and man through the likening of a tree and a man:
I want to be quiet and strict.
I learn from the stars by silence.
Good willow on the road
To guard dormant Rus'.
The interpenetration and interweaving of man and nature is especially felt in the poem “Silver Road”:
Give me the dawn for firewood.
A willow branch for a bridle.
Maybe to the gates of God
I'll bring myself.
Yesenin’s spiritualization of nature and even the likening of man to natural phenomena is reminiscent of folk poetry.
I've never been thrifty before
So did not listen to rational flesh,
It would be nice, like willow branches,
To capsize into the pink waters.
It would be nice, smiling at the haystack,
The muzzle of the month chews hay
Where are you, where, my quiet joy,
Loving everything, wishing for nothing!
From the folklore environment the poet took only what was close to his poetic worldview. This led to the appearance of a whole group of poetic symbols in Yesenin’s poetry. One of the most common symbols is the image of a tree. In ancient myths, the tree symbolized life and death, the ancient idea of the universe: the top is the sky, the bottom is the underworld, the middle is the earth. The tree of life as a whole can be compared to a person. Yesenin’s desire for harmony between man and the world is expressed through likening himself to a tree:
I wish I could stand like a tree
When traveling on one leg.
I would like to hear horses snore
Hugging a nearby bush.
("Winds, Winds")
Ah, the bush of my head has withered.
("Hooligan")
My head flies around
The bush of golden hair withers.
("An owl hoots like autumn")
Yesenin showed that a person in the vastness of the universe is just a defenseless grain of sand, and in order to leave a memory of oneself, one must create something beautiful.
Filled with love for people, for man, for his native land, imbued with sincerity, kindness, sincerity, Yesenin’s poetry helps us to learn, rediscover and protect nature.
The theme of the collision of nature and the human mind, invading it and destroying its harmony, sounds in S. Yesenin’s poem “Sorokoust”. In it, the competition between the foal and the train, which takes on a deeply symbolic meaning, becomes central. At the same time, the foal embodies all the beauty of nature, its touching defenselessness. The locomotive takes on the features of an ominous monster. In Yesenin's "Sorokoust" the eternal theme of the confrontation between nature and reason, technological progress merges with reflections on the fate of Russia.
(315 words) Sergei Yesenin is a man with a primordially Russian soul. He was born into a simple peasant family, in the small but picturesque village of Konstantinovo, where his boundless love for the Motherland was formed. Many of Yesenin’s poems are the result of the indestructible union of the poet and Russian nature as a living creature. Therefore, the inner world of the lyrical hero almost always resonates with her essence, her multifaceted soul. It is reflected in the eyes of a person contemplating all the incomprehensible beauty of Rus', and sounds like an intoxicating voice in his heart. Let us also plunge into this bewitching symphony created by the poetic genius of Yesenin.
Let's move to the Ryazan region, where the village of Konstantinovo stands on the right bank of the Oka. Evening. Here droplets of dew sparkle on the grass, somewhere far away you can hear the song of a nightingale - as if he is saying goodbye to the passing day. Moonlight pours onto the roof of the house, near which there are birch trees that look like “big candles”, this makes it warm and cozy. And somewhere across the river, a watchman with a “dead mallet” guards the peace of this serene region. This is how we see Konstantinovo through the eyes of a fifteen-year-old poet, who captured his native village in the poem “It’s already evening. Dew…”, and just two years after writing it, Yesenin actually leaves his father’s house forever. The work “Winter Sings and Calls...” dates back to the same period. The bright landscape of the coldest and most merciless time of the year comes to life in simple lines, giving birth to wonderful images in the head. We can even observe the struggle between the evil and harsh winter and the beautiful and smiling spring, which, in the end, invariably wins. Already, while in Moscow, Yesenin will write “I left my native home,” but now here the feeling of calm is replaced by boundless melancholy. The poet will never again find his “blue Rus'” the way it was in childhood. In this poem, the lyrical hero perceives the world around him and people through the prism of natural forms and phenomena. In addition, a comparative image appears here, reflecting the poet himself: “...Because that old maple / Head looks like me.”
It is easy to notice that the theme of nature in Yesenin’s lyrics is inextricably linked with the theme of his native land, which is the embodiment of all peasant Rus', painfully beloved by the poet.
Interesting? Save it on your wall!Many of the events that worried the poet Sergei Yesenin have long gone into the past, but each new generation discovers something near and dear in his work. It is quite simple to explain this phenomenon: Yesenin’s poetry was born of love for man and nature. 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, which - more than anything else - is deserved by man.” Mercy, sympathy and love for all living things - these are the main components of S. Yesenin’s poetry from all periods of his creativity.
For the hero Yesenin, his native land is a kind of temple, in which, praying “on the bright dawns” and taking communion by the stream, you can forget about human grief. The soft green fields are the best chambers and mansions in the world. Man and nature speak the same language, trusting each other with spiritual secrets, sorrows and dreams:
Cows talk to me
In nodding language.
Spiritual oak trees
They call with branches to the river.
Yesenin's poetic landscapes are filled with bright joy and bright color. Admiring the features of village life and pictures of nature, we are simply infected by the author’s sense of the fullness and beauty of life. We sympathize and mourn the bitter fate of Tanyusha, who was not more beautiful in the entire village. We listen to the simple tunes of Talyanochka, and then suddenly we find ourselves in a stuffy and gloomy forge. We enjoy the well-functioning masterful work of a rural blacksmith. With every beat the heart lights up, and grief is forgotten in the work.
Playful dreams, flying into the sky, turn into steel. And there, in the distance, “behind a black cloud, beyond the threshold of gloomy days, the mighty brilliance of the sun soars over the plains of the fields.” Pictures of native nature are inextricably linked in Yesenin with the feelings and experiences of the lyrical hero. Yesenin’s parallel nature - man is marked with a bright stamp of national identity; the poet finds for it typically Russian realities of life and landscape, characteristic signs of the way of thinking and feelings of a Russian person. Everything he has is from the world of his native nature, folk poetic ideas, and experiences.
Pictures of haymaking, threshing, and grazing horses awaken in me memories of the past summer. I, like the lyrical hero, inhaling the aroma of freshly cut hay, forgot about everything in the world. Yesenin’s nature seems to be alive. The technique of humanizing nature, transferring natural phenomena to the inner world of the lyrical hero is, in principle, not new; it was used by the classics. Yesenin significantly enriched this technique and used it in a very original way. The richer the spiritual world of the lyrical hero became, the more meaningful and dramatic the figurative similes taken from the natural world or transferred to it became.
The basis of Yesenin’s artistic method is a complete and organic fusion of inner experience with nature. His animated landscape is a figurative self-disclosure, a philosophical meditation. In the picture of nature, in its poetic metaphor, the poet captures something of his own, his hero and something common to people. Through nature - about the most intimate, about what is characteristic of man:
Leaves are falling, leaves are falling.
The wind is moaning
Extended and dull.
Who will please your heart?
Who will calm him down, my friend?
At the same time, especially in the early period of his work, the poet uses traditional folklore symbolism: “black crows cawed”; “a flock of your clouds, barking like a wolf.” To create a general emotional picture, phenomena and states of nature that are well known to everyone are used. To convey sad moods, losses, mental turmoil - images of autumn, leaf fall, piercing wind, winter snowstorm:
It’s good in this moonlit autumn to wander through the grass alone and collect ears of corn on the road into your impoverished soul-bag.
To convey a peaceful state of mind - images of summer, spring, ripe ears of corn in the fields, flowering meadows:
I look into the vastness of your fields,
You are all - distant and close.
The whistling of cranes is akin to me, and the slimy path is no stranger to me.
One of the poet’s favorite images is the Russian birch tree. He appears in one of the first published poems, “White Birch Tree Under My Window.” External simplicity and artlessness carry within it unknown depths of feelings and experiences. The soul of an eighteen-year-old boy, enchanted by the beauty of his native nature, strives for unknown distances. In one of Yesenin’s last poems there are the lines:
For the fog and dew I have forever fallen in love with the camp of the birch tree,
And her golden braids,
And her canvas sundress.
It becomes clear that the white birch tree with a thin figure represents for the poet Russian nature, a woman, a beloved, and the homeland itself. According to A. Tolstoy, Yesenin is “the melodious gift of the Slavic soul”; “he is completely dissolved in nature, in the living, polyphonic beauty of the earth.” Dissolution in our native nature, our native element, is what attracts us to the work of this great national poet.
One of the problems that has worried and, obviously, will worry humanity throughout all the centuries of its existence is the problem of the relationship between man and nature. The most subtle lyricist and wonderful connoisseur of nature, Afanasy Afanasyevich Fet, formulated it this way in the middle of the 19th century: “Only man, and only he alone in the entire universe, feels the need to ask what is the nature surrounding him? Where does all this come from? What is he himself? Where? Where? For what? And the higher a person is, the more powerful his moral nature, the more sincerely these questions arise in him.”
All our classics wrote and spoke about the fact that man and nature are connected by inextricable threads in the last century, and philosophers of the late 19th and early 20th centuries even established a connection between the national character and the way of life of the Russian person, the nature among which he lives.
Evgeny Bazarov, through whose mouth Turgenev expressed the thought of a certain part of society that “nature is not a temple, but a workshop, and man is a worker in it,” and Doctor Astrov, one of the heroes of Chekhov’s play “Uncle Vanya,” planting and growing forests, thinking about how beautiful our earth is - these are the two poles in posing and solving the problem “Man and Nature”.
The dying Aral Sea and Chernobyl, polluted Baikal and drying up rivers, advancing on fertile desert lands and terrible diseases that appeared only in the 20th century are just a few of the “fruits” of human hands. And there are too few people like Astrov to stop the destructive activities of people.
The voices of Troepolsky and Vasiliev, Aitmatov and Astafiev, Rasputin and Abramov and many, many others sounded alarmingly. And ominous images of “Arkharovites”, “poachers”, “transistor tourists”, who “have become subject to vast expanses,” appear in Russian literature. “In the open spaces” they frolic so much that behind them, like after Mamaev’s troops, are burnt forests, a polluted shore, fish dead from explosives and poison.” These people have lost touch with the land on which they were born and raised.
The voice of the Siberian writer Valentin Rasputin in the story “Fire” sounds angry and accusatory against people who do not remember their kinship, their roots, the source of life. Fire as retribution, exposure, as a burning fire that destroys hastily built housing: “The timber-industrial warehouses are burning in the village of Sosnovka.” The story, according to the writer’s plan, created as a continuation of “Farewell to Matera,” speaks of the fate of those who... betrayed their land, nature, and their very human essence. The beautiful island was destroyed and flooded, because in its place there should have been a reservoir, everything was left: houses, gardens, unharvested crops, even graves - a sacred place for the Russian people. According to the instructions of the authorities, everything should be burned. But nature resists man. Burnt skeletons of trees stick out from the water like crosses. Matera is dying, but so are the souls of people, and spiritual values that have been preserved for centuries are being lost. And the continuers of the theme of Chekhov’s doctor Astrov, Ivan Petrovich Petrov from the story “Fire” and the old woman Daria from “Farewell to Matera” are still lonely. Her words were not heard: “Does this land belong to you alone? This land all belongs to whoever came before us and who will come after us.”
The tone of the theme of man and nature in literature changes sharply: from the problem of spiritual impoverishment it turns into the problem of the physical destruction of nature and man. This is exactly what the voice of the Kyrgyz writer Chingiz Aitmatov sounds like. The author examines this topic globally, on a universal scale, showing the tragedy of the severance of human ties with nature, connecting modernity with the past and future.
Destroying and selling the reserved forest, Orozkul turns into a bull-like creature, rejecting folk morality and withdrawing from the life of his native places, Sabidzhan, imagining himself as a big city boss, shows callousness and disrespect for his deceased father, objecting to his burial in the family cemetery of Ana-Beit - this "heroes" of the novel "Stormy Stop".
In “The Scaffold,” the conflict between nature and “dark forces” is sharpened to the limit, and wolves find themselves in the camp of the good heroes. The name of the she-wolf, who loses one litter after another due to the fault of people, is Akbara, which means “great,” and her eyes are characterized by the same words as the eyes of Jesus, the legend of whom Aitmatov made an integral part of the novel. A huge she-wolf is not a threat to humans. She is defenseless against rushing trucks, helicopters, and rifles.
Nature is defenseless, it needs our help. But how sometimes it’s a shame for a person who turns away, forgets about her, about everything good and bright that is in her depths, and seeks his happiness in the false and empty. How often do we not listen, do not want to hear the signals that she tirelessly sends us.
I want to conclude my thoughts with words from Viktor Astafiev’s story “The Fall of a Leaf”: “While the leaf was falling; while he reached the ground and lay down on it, how many people were born and died on earth? How many joys, love, sorrows, troubles happened? How many tears and blood were shed? How many exploits and betrayals have been accomplished? How to comprehend all this?
Who was called “the singer of the country of birch calico”, “the singer of love, sadness”, he is also a poet-philosopher who did not just write empty words, but who put his soul into every verse, into every line. This is probably why his poems so permeate our entire essence.
Yesenin man and nature
His poems are works that touch on themes of love, where the village is described, and these are wonderful landscape sketches. Moreover, all his works are inseparably connected with man and nature. This connection is so strong that every natural manifestation in Yesenin’s poems is not divorced from human feelings. All of his lyrics dedicated to love are filled with descriptions of nature, with the help of which the author manages to better portray to us the inner state of the lyrical hero. So, for example, when the soul is restless, then nature blows with snowy winds in the author’s work “Oh Snowy Winds.”
Man and nature are inseparable in Yesenin’s work. The author writes: “How beautiful is the Earth and man on it.” Thanks to trees, streams, and earth, Yesenin depicts the hero’s state of mind, where there may be notes of sadness, for example, as in the poem “I remember, beloved,” where the image of a blooming linden tree is used, which reminded the hero of his beloved. Here we see the sadness of parting, but at the same time, the blooming linden smoothes out these feelings.
Man and nature in Yesenin’s lyrics only complement each other. Thus, with the help of natural paintings, the author manages to create the image of his beloved girl, where the key element is the birch tree. This tree appears before us in the guise of a girl. For example, in the poem “Green Hairstyle,” the author draws a girl using natural strokes. At the same time, Yesenin does not just use the image of a birch tree to create a portrait of a girl. With this we see the connection between the natural world and man in Yesenin’s lyrics.
Nature and man in Yesenin’s poetry are often intertwined; man and Yesenin’s natural world are inseparable, just as nature is inseparable from his mood. Yesenin emphasizes the unity of all living things, he shows us that there is no other person's pain in the world. All his poetry is filled with love for animals, people, land, nature. All his poems were imbued with sincerity, sincerity, and kindness. Reading Yesenin’s works, we look at the reality around us differently, see the beauty of Russian nature and learn to take care of our country.
Yesenin's poetry... A wonderful, beautiful, unique world" A world that is close and understandable to everyone. Yesenin is a true poet of Russia; a poet who rose to the heights of his mastery from the depths of people's life. His homeland - the Ryazan land - fed and nourished him, taught us to love and understand what surrounds us all. Here, on Ryazan soil, Sergei Yesenin first saw all the beauty of Russian nature, which he sang in his poems. From the first days of his life, the poet was surrounded by the world of folk songs and legends:
I was born with songs in a grass blanket.
The spring dawns twisted me into a rainbow.
In the spiritual appearance in Yesenin’s poetry, the features of the people were clearly revealed - its “restless, daring strength”, scope, cordiality, spiritual restlessness, deep humanity. Yesenin’s whole life is closely connected with the people. Maybe that’s why the main characters of all his poems are ordinary people; in every line one can feel the close connection between the poet and the man - Yesenin - with the Russian peasants, which has not weakened over the years.
Sergei Yesenin was born into a peasant family. “As a child, I grew up breathing the atmosphere of folk life,” the poet recalled. Already by his contemporaries Yesenin was perceived as a poet of “great song power.” His poems are similar to smooth, calm folk songs. And the splash of the waves, and the silvery moon, and the rustle of the reeds, and the immense, heavenly blue, and the blue surface of the lakes - all the beauty of the native land has been embodied over the years in poems full of love for the Russian land and its people:
About Rus' - raspberry field
And the blue that fell into the river -
I love you to the point of joy and pain
Your lake melancholy...
“My lyrics are alive with one great love,” said Yesenin, “love for the homeland. The feeling of homeland is central to my work.” In Yesenin’s poems, not only does Rus' “shine”, not only does the poet’s quiet declaration of love for her sound, but also faith in man, in his great deeds, in the great future of his native people is expressed. The poet warms every line of the poem with a feeling of boundless love for the Motherland:
I became indifferent to the shacks,
And the hearth fire is not dear to me,
Even the apple trees are in the spring blizzard
Because of the poverty of the fields, I stopped loving them.
Now I like something else...
And in the consumptive light of the moon
Through stone and steel
I see the power of my native side
With amazing skill, Yesenin reveals to us pictures of his native nature. What a rich palette of colors, what precise, sometimes unexpected comparisons, what a sense of unity between the poet and nature! In his poetry, according to A. Tolstoy, one can hear “the melodious gift of the Slavic soul, dreamy, carefree, mysteriously excited by the voices of nature.” Everything about Yesenin is multicolored and multicolored. The poet eagerly peers at the pictures of the world renewed in spring and feels like a part of it, tremblingly awaits the sunrise and stares for a long time at the brilliant colors of the morning and evening dawn, at the sky covered with thunderclouds, at old forests, at fields flaunting flowers and greenery. With deep sympathy Yesenin writes about animals - “our smaller brothers.” In M. Gorky’s memoirs about one of his meetings with Yesenin and his poem “Song of a Dog;/” the following words were heard: “... and when he said the last lines:
The dog's eyes rolled
Golden stars in the snow, -
Tears also sparkled in his eyes.”
After these poems, I couldn’t help but think that S. Yesenin is not so much a person as an organ created by nature exclusively for poetry, to express the inexhaustible “sadness of the fields, love for all living things in the world and mercy, which - more than anything else - is deserved by man.”
Yesenin’s nature is not a frozen landscape background: it lives, acts, reacts ardently to the fate of people and the events of history. She is the poet’s favorite hero. She always attracts Yesenin to her. The poet is not captivated by the beauty of eastern nature, the gentle wind: and in the Caucasus, thoughts about his homeland do not leave:
No matter how beautiful Shiraz is,
It is no better than the expanses of Ryazan.
Yesenin, without turning aside, walks the same road together with his Motherland, with his people. The poet anticipates great changes in the life of Russia:
Come down and appear to us, red horse!
Harness yourself to the earth's shafts...
We give you a rainbow - an arc,
The Arctic Circle is on harness.
Oh, take out our globe
On a different track.
In his autobiography, Yesenin writes: “During the years of the revolution he was entirely on the side of October, but he accepted everything in his own way, with a peasant bias.” He accepted the revolution with indescribable delight:
Long live the revolution
On earth and in heaven!
New features appear in Yesenin’s poetry, born of revolutionary reality. Yesenin's poems reflect all the contradictions of the early period of the formation of the Soviets in the country. The violent revolutionary pathos in the early 20s, when the new economic policy was being implemented, gave way to pessimistic sentiments, which were reflected in the cycle “Moscow Tavern”. The poet cannot determine his place in life, feels confused and bewildered, suffers from the consciousness of spiritual duality :
Russia! Dear land to the heart!
The soul shrinks from pain.
The field has not heard for many years
Cocks crowing, dogs barking.
How many years has our quiet life
Lost peaceful verbs.
Like smallpox, hoof pits
Pastures and valleys are dug up.
What pain is felt in the poet’s tragic song about the internecine discord that is tearing “the native country apart,” anxiety for the future of Russia. The question painfully arises before him: “Where is the fate of events taking us?” It was not easy to answer this question; it was then that a breakdown occurred in the poet’s spiritual perception of the revolution, his utopian plans collapsed. Yesenin thinks and “suffers about the doomed village:
Only me. sing like a psalmist
Hallelujah over our native country.
The passage of time is tireless, and Yesenin feels it; lines full of mental confusion and anxiety appear more and more often:
I am the last poet of the village,
The plank bridge is modest in its songs.
At the farewell mass I stand
Birch trees burning with leaves.
Yesenin's inconsistency is most dramatically reflected in his thoughts about the future of the village. The poet's commitment to the peasantry is becoming more and more evident. In Yesenin’s poems one can hear a longing for nature, which civilization will lose. Unforgettable Yeseninsky “red-maned foal”:
Dear, dear, funny fool,
Well, where is he, where is he going?
Doesn't he really know that live horses
Did the steel cavalry win?
In Yesenin, the opposition between city and countryside takes on a particularly acute character. After a trip abroad, Yesenin acts as a critic of bourgeois reality. The poet sees the harmful impact of the capitalist system on the souls and hearts of people, and acutely feels the spiritual squalor of bourgeois civilization. But the trip abroad had an impact on Yesenin’s work. He again remembers the “melancholy of the endless plains”, familiar to him from his youth, but now, however, he is no longer pleased with the “cart song of the wheels”:
I became indifferent to the shacks,
And the hearth fire is not dear to me,
Even the apple trees are in the spring blizzard
Because of the poverty of the fields, I stopped loving them.
Pictures of the past evoke a passionate thirst for the renewal of one’s native village:
Field Russia! Enough
Dragging the plow across the fields
It hurts to see your poverty
And birches and poplars.
I don't know what will happen to me.
Maybe I’m not fit for this new life.
But I still want steel
See poor, beggarly Rus'.
Isn’t it this truth of feelings that burns the heart and soul that is especially dear to us in Yesenin’s poems? Isn’t this the true greatness of the poet?
S. Yesenin deeply knew the peasant life of Russia, and this contributed to the fact that he was able to become a truly people's poet.
No matter what Yesenin writes about: about the revolution, about the peasant way of life, he still returns to the theme of his homeland. His homeland is something bright for him, and writing about it is the meaning of his whole life:
I love my homeland
I love my homeland very much!..
The homeland both worries and calms the poet. In his lyrical works one can hear boundless devotion to the Motherland and admiration for it:
But even then
When in the whole planet
The tribal feud will pass,
Lies and sadness will disappear, -
I will chant
With the whole being in the poet
Sixth of the land
With a short name “Rus”
From Yesenin’s poems emerges the image of a poet-thinker, vitally connected with his country. He was a worthy singer and a citizen of his homeland. In a good way, he envied those “who spent their lives in battle, who defended a great idea,” and wrote with sincere pain “about days wasted in vain”:
After all, I could give
Not what I gave
What was given to me for the sake of a joke.
Yesenin was a bright individual personality. According to R. Rozhdestvensky, he possessed “that rare human quality that is usually called the vague and indefinite word “charm”... Any interlocutor found in Yesenin something of his own, familiar and beloved - and this is the secret of such a powerful influence of his poems."
How many people warmed their souls around the miraculous fire of Yesenin’s poetry, how many enjoyed the sounds of his lyre. And how often they were inattentive to Yesenin the Man. Maybe this was what ruined him. “We have lost a great Russian poet...” wrote M. Gorky, shocked by the tragic news.