The image of Yesenin's mother, love lyrics briefly. The image of a mother in poetry C

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The image of a mother in the lyrics of Sergei Yesenin

Introduction

3. “Letter to Mother”

Conclusion

Bibliography

Introduction

In the lyrics of S.A. Yesenina great place are occupied by themes of nature, homeland, and women. But if we look at them from the angle of Yesenin’s mythopoeticism, we can see that nature, homeland, and woman absorb the imagery of the natural, human, national-historical series.

Yesenin's lyrics are both folkloric and religious. IN religious aspect the mythologem of the feminine, maternal principle can be defined as the mythologem of Sophia, which came to Yesenin from Vl. Solovyov through the Young Symbolists. In line with Russian religious ideas, Sophia is often identified with the Mother of God. In the folklore aspect, the mythologem feminine is expressed in the collective image of mother earth and the natural and animal images accompanying her. The unifying principle of these two aspects in the context of Yesenin’s lyrics is collective image mother, bearer of the birth principle. In this regard, the young Yesenin was greatly influenced by N. Klyuev, in whose work this image is the central and, perhaps, the only bright female image.

The feminine, maternal principle, running like a red thread through all of Yesenin’s work, turns out to be his only support and support. He believes in it as a good beginning, and even after losing everything, he clings to it in order to stay in life.

The purpose of the essay is to analyze the image of the mother in the lyrics of S. Yesenin.

1. The appearance and development of the feminine principle in Yesenin’s lyrics

Sergei Aleksandrovich Yesenin entered literature at the moment of the collapse of symbolism as a single movement, joining the poets of the so-called neo-peasant school, which was collected by N.A. Klyuev. However, ideologically and artistically, both Klyuev and Yesenin found themselves closely dependent on symbolism, and we can talk about Yesenin as a poet of post-symbolist orientation. In the 10s, Yesenin was determined to openly perceive the world. It's perfect for him.

At the core beautiful world, according to sophiologists and young symbolists, lies the truth that the unifying principle of all life on earth is one soul - Sophia, Eternal Femininity, world soul. We can talk about the presence of Sophia in Yesenin’s work, but she has a “hidden” character in him. The peculiarity of his work is that it intertwines two traditions. One of them is literary, inherited from the Symbolists. In its vein, Sophia is embodied in the image of the Mother of God. Such a comparison was made by some sophiologists (Vl. Solovyov, S.N. Bulgakov) and the Young Symbolists. They believed that Sophia and the Virgin Mary are one in their divine nature, but are two different forms of it: purely spiritual (Sophia) and incarnate, human (Virgin Mary, Mother of God).

In Yesenin's lyrics, the unity of Sophia and the Virgin Mary is present in a hidden form. He paints the Mother of God somewhat with a folkloric connotation, integral to natural world:

I see - in the titmouse fee,

On light-winged clouds,

Beloved mother is coming

With a pure son in his arms.

She brings for the world again

Crucify the Risen Christ:

“Go, my son, live homeless,

Dawn and spend the afternoon by the bush.”

“All the melancholy of suffering humanity, all the tenderness before the divine world, which does not dare to pour out before Christ due to religious fear, flows freely and lovingly onto the Mother of God,” Fedotov G.P. Spiritual poems. Russian folk faith according to spiritual verses. - M., 1991. P. 49. - writes G.P. Fedotov. Yesenin perceives the feminine principle in the aspect of salvation and boundless love. “The world rests on the shoulders of the Mother of God. Only her prayer saves the world from destruction for our sins.” Ibid. P. 55.

The Sophia principle of the Mother of God is manifested in the fact that she turns out to be the mistress of a beautifully arranged natural world. The Mother of God, like a peasant woman, bakes a kolob - a month - for the sake of people wandering in the dark. Here the originality of Yesenin is revealed, for whom the mystical essence of Sophia has not only a theological (and least of all theological) but also a folklore aspect.

The image of Christ is important for Yesenin, since he, along with Sophia, is a symbol of the new, bright, divine world. The presence of Jesus in nature endows it with sophia.

Mother Earth, like the Mother of God, is also the bearer of the birth principle:

Where the cabbage beds are

The sunrise pours red water,

Little maple baby to the uterus

The green udder sucks.

This small quatrain from 1910 sets the theme of many of the poet’s future poems - the birth of a new one. But nothing can be born without a mother. For anyone normal person her name is sacred. In the image of a mother, a woman in labor, Yesenin combines two principles of his lyrics: literary, symbolist and folklore. In poetry, this is expressed in the unification of the heavenly and earthly, spiritual and carnal into a single whole. Such a comparison was also found in Russian spiritual poems. G.P. Fedotov wrote: “In the circle of heavenly forces - the Mother of God, in the circle of the natural world - the earth, in the ancestral social life- mothers are, at different levels of the cosmic and divine hierarchy, bearers of one maternal principle. Fedotov G.P. Spiritual poems. Russian folk faith based on spiritual verses. P. 65.

The first mother is the Most Holy Theotokos,

The second mother is the damp earth,

The third mother accepted grief.” Right there. P.78.

As a result of this comparison, prayer to the earth becomes possible. Alla Marchenko noted Yesenin’s perception of nature as a temple: “Yesenin (...) is characterized by an attitude towards nature as the most perfect of buildings - a “mansion”, “temple”, “cathedral” ... “Huts - in the vestments of an image ... ”, haystacks - “churches”, “prayer feather grass”, “willows - meek nuns” - Yesenin builds an image to an image with a “dome”, which is covered by “dawns”, builds a temple, the end of which has no end and whose name is peace, a temple open “at every hour” and for those living “in every place.” Marchenko A.M. The poetic world of Yesenin. M., 1989. P. 29.

Will I go to Skufia as a humble monk?

Or a blond tramp -

To where it pours over the plains

Birch milk.

...............................................

Happy is he who is miserable in joy,

Living without friend and enemy,

Will pass along a country road,

Praying on the haystacks and haystacks.

As a result of the fact that in Yesenin’s poems there are two hypostases of the feminine principle - Sophia - the Virgin Mary and mother - the earth, two hypostases also appear lyrical hero: “humble monk” and “blond tramp”. The monk prays to the Mother of God, and the tramp to the “smoking earth”, “scarlet dawns”, but both are characterized by especially careful, sacred attitude to the ground:

Forgetting human grief,

I sleep on the cuttings of branches.

I pray for the red dawns,

I take communion by the stream. (“I am a shepherd, my chambers...”)

And often I'm in the evening darkness,

To the sound of broken sedge,

I pray to the smoking ground

About the irrevocable and distant.

The earth, as it were, takes on part of the suffering of the Mother of God, and therefore also turns out to be holy. G.P. Fedotov writes about it this way: “Sorrow, that is, the pangs of birth of an earthly mother, clouds the eyes of the Mother of God with the contemplation of the passions of Her Son, and crushes the mother earth with the weight of human sins. The religion of motherhood is at the same time the religion of suffering.” Fedotov G.P. Spiritual poems. Russian folk faith based on spiritual verses. P. 78.

All the sorrow of motherhood was reflected in the image of the Mother of God. In the created world, living according to divine laws, everything carnal acquires at the same time a spiritual principle, therefore the murder of any living creature is tantamount to desecration of a shrine. Yesenin, the poet, felt this very subtly, which is why he wrote the poems “Song of the Dog” and “Cow,” which could not have appeared in Yesenin, the peasant.

We mourn with the cow who lost her “white-footed heifer”:

They didn't give the mother a son,

The first joy is not for future use,

And on a stake under the aspen

The breeze ruffled the skin,

and with a dog that lost seven puppies:

And in the evening, when the chickens

Sitting on the pole

The owner came out gloomy,

He put all seven of them in a bag.

She ran through the snowdrifts,

Keeping up with running after him...

And I trembled for so long, long time

The water is unfrozen.

The events that take place in these poems are not out of the ordinary, especially for a villager. But Yesenin puts the dog that gave birth to “seven puppies” and the cow that gave birth to a “white-footed heifer” on a par with the Mother of God who gave birth to Christ. Their grief for their lost children is as great as the grief of humanity for the Son of God.

A mother gives her children to the world, gives away her treasure, and the representative of this world - the “gloomy master” - takes them away. The parallel between the Mother of God and the animal world is especially clear in the poem “Song of the Dog.” Its action begins on earth, in a “rye corner,” and ends with the ascension of one of the puppies to heaven:

And when I trudged back a little,

Licking the sweat from the sides,

A month seemed to her above the hut

One of her puppies.

Loudly into the blue heights

She looked, whining,

And the month slid thin

And disappeared behind a hill in the fields.

The contrast of the scene of action is also emphasized by color: if in the first quatrains there is red and rye, then in the last ones - gold and blue.

The mother of man also joins the unity of the Mother of God, mother earth, nature and animals. Yesenin describes his mother with great warmth, placing her in a familiar environment:

The mother can't cope with the grips,

Bends low

An old cat sneaks up to the makhotka

For fresh milk. (“In the hut”)

Thanks to the presence of the mother, the hut is filled with warmth and comfort. A woman is so inseparable from the house that in the poet’s creative mind they can replace each other:

The road thought about the red evening,

Rowan bushes are more misty than the depths.

Hut - old woman jaw threshold

Chews fragrant crumb silence.

“The hut is an old woman” is also one of the ways of expressing the mythologem of the feminine principle. This is not a generative principle, but it is closely connected with the image of the mother, who is the guarantee of peace and quiet in the house. A mother will never abandon her child or deny him anything.

The reason for the unification of the Mother of God, mother, “hut - old woman”, animal, flora and even trees into a single whole and endowing them with holiness must be sought in Yesenin’s work “The Keys of Mary”, where he explains why man has identified himself with nature, with the entire living world, since ancient times.

In the context of Yesenin’s lyrics, Rus' is also the bearer of the feminine principle, and, therefore, holy:

Goy, my dear Rus',

The huts are in the robes of the image.

No end in sight -

Only blue sucks his eyes.

..........................................

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 this poem, as V.V. Musatov writes, “there is no opposition between the heavenly and the earthly, or between paradise and Rus', since Rus' is paradise, and the earthly is an expression of the heavenly. Yesenin in “The Keys of Mary” will call this “compelling the airy world with earthly objectivity (V, 37). Rus' with its fields, forests, cows, foals, heifers is a realized paradise, a realized myth” Musatov V.V. The poetic world of Sergei Yesenin // Literature at school, 1995. No. 6. P. 18 - 19.

Rus' in the context of Yesenin’s creativity unites both natural origin, and the spiritual is the most full expression his understanding of Sophia.

Thus, the mythologem of the feminine principle is realized in Yesenin’s work on two levels: symbolist (like Sophia), to which the image of the Mother of God corresponds; and in folklore, which corresponds to the images of the mother - the earth, the mothers of the created world (mother of man, dog, cow, nature). The union of these two principles symbolizes the formation of the spiritual world. This is the aspect of sophia in Yesenin’s lyrics of the 10s - in the confession of a beautifully arranged world.

The February Revolution of 1917 radically changed Sergei Yesenin's worldview. Yesenin saw new Rus' peasant. We can find confirmation of this in his autobiographical article “About Myself”: “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.” Yesenin S.A. Collection comp.: In 5 vols. T. 5. P. 22 At this time, Yesenin feels like a representative of a certain “peasant merchant”, which distinguishes him and the writers of his circle from the “urban” poets.

The idea of transformation, according to Yesenin, was the spiritual rebirth of man and the earth. In the poems the poet says goodbye to past life, the land on which he lived, and welcomes the advent of a new world. His lyrical hero acts as a mediator between the created, earthly world and a new, spiritual (or, as the Young Symbolists would say, Sophia) world, which should appear, purified through destruction.

In “Transfiguration” Yesenin, as it were, “solders” into a single whole two feminine principles, equally close and dear to him: the Mother of God and Rus':

O Rus', ever-virgin,

Correcting Death!

From the womb of the stars

You have descended to the firmament.

Not only does the poet convey to Rus' the qualities of the Mother of God, but he also gives her the functions of Christ. It is he who tramples death with his resurrection, it is he who was born by God the Father, the “starry womb.” Thus, Yesenin makes Rus' - the Mother of God - the fourth hypostasis of the Divine, although in canonical Christianity God is triune. Rus' is born from the depths of the universe, the “womb of the stars”, at the same time being the mother of Jesus Christ - the peasant God the Son:

In the sheep's manger

Has become astonished

For being in the forerunners

There was a plowman and an ox.

In the 4th chapter of “Transfiguration” the motif of the sky - a cow feeding the earth with milk is repeated:

Quiet, wind,

Don't bark, water glass.

From heaven through red nets

Milk will rain.

The word swells with wisdom,

Elm ears of the field.

Above the clouds like a cow

The dawn lifted its tail.

The East, in Yesenin’s understanding, is a semantic duplicate of the sky - the abode of Hosts. But now he is not the owner of paradise, but the Mother of God:

About how the Mother of God

Throwing on a blue scarf,

At the edge of the clouds

Calls calves to heaven.

Thus, the mistress of the entire sky, the entire universe, turns out to be a woman. Giving the sky the function of birth, Yesenin touches on very deep archaic layers of culture related to the mythology of the period of matriarchy. Placing the feminine in celestial spheres, Yesenin lifts him above the created world. This ascension is due to the fact that he saw the birth of a new world precisely in line with the feminine principle. The motif of birth is the leitmotif in the poem “Transfiguration”. But, acquiring divine traits, the feminine principle also acquires new torments. Since the Lord in the “Transfiguration” gives birth to a new prophet - the “heifer - Rus'”, now she must go through the crucifixion instead of Christ:

It's hard and sad for me...

My lips sing with blood...

Snow, white snow -

Cover of my homeland -

They tear into pieces.

Hanging on the cross

The shins of roads and hills

Killed...

In connection with the crucifixion, Rus' also has a new name: she is now not only the Mother of God, but also “Jesus of Nazareth, King of the Jews” himself:

Thus, the ways of expressing the feminine principle in “small poems” are determined by Yesenin’s desire to transform mother earth, and indeed the entire universe. The feminine principle rises to invisible heights, since with its help, having gone through the pangs of birth, a new, bright, spiritual world, in which the “city of Inonia” will be built. The maternal principle also performs the function of atonement for the sins of all humanity. Rus', in the image of which all the hypostases of the feminine principle are accumulated, takes upon itself the suffering of the Mother of God for the death of her son, and the suffering of Christ himself on the cross, and the torment of transfiguration, from which she must emerge immaculate, “paradisal.”

2. Destruction of the image of a woman as a mother

However, Yesenin’s dreams were not destined to come true: the transformation of the world did not happen, and the “hut convoy” sank its roots even deeper into the ground. V.V. Musatov described this situation as follows: “The cart of the earth” did not think about moving, earth's axis did not move, and the promised “city of Inonia” turned out to be a utopia.” Musatov V.V. Pushkin tradition in Russian literature of the first half of the twentieth century. Block. Yesenin. Mayakovsky. P. 85.

Misunderstanding of contemporaries, on the one hand, unrealized dream- on the other hand, the real historical situation of the 20s - on the third, they forced Yesenin to take a new look at the world around him. In it, the idea of transforming Rus' turns out to be impossible. Since a dream cannot be realized in life, it can be made into an image. This understanding of imagery is the point of contact between Yesenin and the Imagists. Despite some disagreements of an aesthetic nature, Yesenin joins the Imagists, who, like him, turned out to be outcasts in literature. The feeling of being thrown out of life constantly haunts the poet.

Yesenin transfers his experiences to the lyrical hero of “Moscow Tavern”. The drunken stupor in which the poet lived permeates all the poems of the cycle. The appearance of the image of a prostitute in Yesenin’s lyrics marks the destruction of the Sophia nature of the feminine principle. The woman was one of the forms of motherhood. In the lyrics of the 10s, she was portrayed as inseparable from nature; in “small poems” she stands next to the images of the Mother of God and Holy Rus'. Now she finds herself relegated from the heights of heaven to the level of a tavern. Yesenin is not the only one experiencing disappointment in its bright beginning. In the works of many writers and poets of his time, there is a decline in the female ideal. Olga Forsh in her novel “The Crazy Ship” speaks about the reasons for this decline in the work of the “Serapion Brothers”: “It’s somewhat worse that they dealt with the theme of women accordingly. They remembered the woman at the fronts, in the facelessness of refugee, the thinness of hunger, the extraction of rations, and the woman, full-blooded, ancestor and love, as punishment for the negligence of interpretation, for the lack of emphasis, underestimation of her topic, the woman herself left their pages, leaving for everything about everything one Anna Timofeevna. “Actresses” and a variety of prostitutes turned into exoticism with the most worthy of the sung tigresses - Daisy.” Forsh O. Crazy Ship: A Novel. Stories / Comp., intro. Art. comment S. Timina. L., 1998. P. 139.

The woman does not leave the pages of Yesenin’s lyrics - he turns her into a prostitute. This woman is no longer the bearer of the maternal principle, so she loses her inviolability along with the halo of holiness. In retaliation for the fact that the woman turned out to be not what he expected to see her, the poet seeks to humiliate her as much as possible, to reduce her to a bestial state:

Yesenin renounces what he sees in front of him. But in this stream of abuse, one can also hear the poet’s deep sorrow for someone who has gone irrevocably. Never, perhaps, has there been such an exaltation of the feminine principle, the feminine idea - by the church, by philosophy, cunningly reduced by everyday life to the metaphysical and every application of man. In this peasant, Khlyst, deeply Russian concept, for the first time a woman was elevated to a unit of independent value as a mother. Everything else - lady, rose, mysticism, maiden - is dismissed as pampering.

People's depths were suddenly revealed and justified, even what seemed nonsense and obscenity. And suddenly it occurred to me that perhaps an unconscious craving for the mother’s womb, a craving for the dark, protective maternal protection and annoyance that it was no longer there explained the origin of everything terrifying, unique in the world. Russian swearing" Right there. P. 141.

The poet understands perfectly well that when he loses a woman, he also loses a part of himself:

The more painful it is, the louder it is,

Here and there

I won't commit suicide

Go to hell.

Therefore, after all the curses, he asks her for forgiveness for everything:

Darling, I'm crying

Sorry Sorry...

Thus, Yesenin excludes a woman deprived of the maternal principle from the circle of images consecrated by the Sophia principle. And against the background of this renunciation, Yesenin’s love for his mother sounds all the more heartfelt and lyrical.

3. “Letter to Mother”

Mother is probably only person in the entire cycle of “hooligan poems”, which Yesenin treats with care, with love, because she loves him, as she loved before, worries about him. But if earlier cause This concern was just a broken nose, now - the possible death of his son in a drunken brawl:

And to you in the evening blue darkness

It often seems like the same thing:

It's like someone is in a tavern fight with me

I planted a Finnish knife under my heart.

The mother retains in her heart not only the love for her son, but also the ideals of the past, therefore she is the only earthly woman who is the keeper of the Sophia principle. Her presence still surrounds the house and the things in it with an aura of holiness. This is what happened once during the poet’s childhood:

I loved this wooden house,

A menacing wrinkle glowed in the logs,

Our oven is somehow wild and strange

Howled on a rainy night.

This remains the case in the present tense, despite the poet’s disappointment in the world around him:

Are you still alive, my old lady?

I'm alive too. Hello, hello!

That evening, unspeakable light.

S. Yesenin’s poem “Letter to a Mother” was written by the poet in 1924, that is, at the end of his life. Last period the author's creativity is the pinnacle of his poetry. This is the poetry of reconciliation and summing up. “A Letter to a Mother” is perceived not only as an address to a specific addressee, but more broadly as a farewell to the motherland:

You alone are my help and joy,

You alone are an unspeakable light to me.

Reading Yesenin’s works, you see: the poet grew with time. In difficult moments of sorrowful thoughts, the poet’s heart was drawn to his parents’ hearth, to his parents’ home. And, as if reviving Pushkin tradition poetic messages, S. Yesenin addresses a letter-poem to his mother.

In Russian poetry, heartfelt words about mother have been heard more than once, but Yesenin’s works can perhaps be called the most touching declarations of love for the “sweet, dear old lady.” His lines are full of such piercing cordiality that they seem not to be perceived as poetry, art, but as inescapable tenderness pouring out by itself.

The poet seemed to embrace the “old woman” with his soul. He addresses her lovingly, using gentle, good words. His poetic language close to colloquial, even, rather, to folk (“old woman”, “hut”, “old-fashioned ramshackle shushun”, “very good”). These words give a folkloric coloring to the image of the mother. She seems like a sweet, kind, warm-hearted old woman from a romantic fairy tale. But nevertheless, the poet in “Letter to a Mother” resorts to convention and idealization of the image - his mother, strict and not too affectionate Tatyana Fedorovna Yesenina, was far from the image created by her son.

“Letter to a Mother” is Yesenin’s poetic message to the person dearest to him. Each line of this poem is full of restrained love and tenderness.

S. Yesenin more than once pointed out folklore sources of his poetry. And above all, on melody and musicality. It is no coincidence that Yesenin is still a poet whose poems are used in songs. The vocabulary and expressions used by the poet recreate the picture of a dilapidated “hut” in which the mother is waiting for her son to return, convey internal state and the feelings of a woman-mother. The first stanza begins with a rhetorical question: “Are you still alive, my old lady?” In the context of the poem, the above line takes on a special meaning: when asking a question, the poet does not expect to hear the answer to it, he (the question) enhances the emotionality of the statement. In the first line, S. Yesenin admires the perseverance, patience and tender love of his mother. This stanza is filled with great meaning: it's warm here, and time has passed since the day last date son and mother, and the poverty of the old woman’s home; and the poet’s boundless love for his home.

In the second, using an exclamation, he seems to be trying to assure his “old lady” once again that everything is fine with him, that he is “not such a bitter... drunkard that... he would die” without seeing his own mother. The stanza ends with a concessionary sentence:

Let it flow over your hut

That evening unspeakable light.

This is a good wish for a loved one using magnificent epithets (“evening unspeakable light”) and the emotionally charged word “flowing.” In the second and third stanzas, S. Yesenin’s feelings about his mother are felt. The poet realizes that she knows about his ruined life, about “tavern fights,” about binges. Her melancholy is so great, her forebodings are so joyless that they torment her, and she “often walks on the road.” The image of the road appears more than once in the poem. It symbolizes the poet’s life path, on which the mother always appears, wishing goodness and happiness for her son. But the poet, realizing the hopelessness of his situation, asks her not to worry, not to worry:

Don't go on the road so often

In an old-fashioned, shabby shushun.

In the third stanza, Yesenin’s favorite epithet “blue” appears. This is the color of a cloudy sky, spring water, painted village shutters, forest flowers. S. Yesenin has almost no poem without this color. Spiritual crisis The poet is emphasized by the epithets “evening”, “decrepit”, “painful”. It is no coincidence that the word “sadanul” was used; it also conveys the author’s thought about moving away from the eternal values of life. The harshness of this verb is softened in the fourth stanza with the exclamation “nothing, dear...” and affirmative sentence"calm down". The climax is over and the action ends. Again, with sincere tenderness, S. Yesenin turns to his mother, writing that only near her, in his homeland, can he find spiritual rest. The following stanzas reflect the son’s desire to reassure his mother, to justify himself, and not to let her believe the gossip:

Nothing, dear! Calm down.

This is just a painful nonsense.

Behind long years separation, the poet did not change in his tender, careful attitude to mother. The fifth and sixth stanzas are written very romantically and sublimely, in which the poet dreams of returning home (but not to the past):

I'm still as gentle

And I only dream about

So that rather from rebellious melancholy

Return to our low house.

The image of a white garden is also characteristic, symbolizing the bright time of spring, the poet’s youth:

I'll be back when the branches spread out

Our white garden looks like spring.

Only you have me already at dawn

Don't be like eight years ago.

In the last stanzas, restraint gives way to the intensity of emotions. In his thoughts, the poet already sees himself returning to his parents’ house, to a spring-white garden, which is akin to the spiritual mood of a poet who has experienced melancholy and fatigue.

The mother turns out to be the only person close to the poet, his only religion:

And don’t teach me to pray. No need!

There is no going back to the old ways anymore.

The poet seems to finish in one breath poetic work. He uses anaphora, which gives an emotional coloring to these lines (“don’t wake up...”, “don’t worry...”, “didn’t come true...”, “don’t teach...”, “don’t...” , “don’t be sad...”, “don’t go...”). Such increased denial shows uncertainty in the soul of the lyrical hero. The ring composition gives completeness to the work, and the trochee pentameter and cross rhyme create a special rhythm of the entire poem, which carries state of mind lyrical hero.

In the poems of S. Yesenin, sincere and frank in Russian, one can feel the beating of the poet’s restless, tender heart. It is not for nothing that his poetry was and remains close and understandable to many Russian people. After all, she has a “Russian spirit”, she “smells of Russia”. The poet’s lyrics are close and understandable; one can feel human kindness and warmth in it, which is so necessary in our difficult times.

The filial feeling in this small work is conveyed with enormous artistic power. Every line of this poem is warmed by the poet’s kind smile. It is written simply, without pompous phrases, high words. The whole soul of Sergei Yesenin is in him.

4. The image of the mother in the autumn woman

The world in which the mother lives is the world of Holy Rus', which the poet glorifies in the 10s and whose coming he expected in “small poems.” Motive “ wooden Rus'” runs through all the “hooligan poems”. But now he doesn't carry it life-affirming beginning, which sounded in early lyrics. It was possible to pray to the old “Blue Rus'”, and not real Russia, which Yesenin sees in the 20s.

Yes, the hero received the nickname of a hooligan in the city, but his memories of his rural childhood, when he was with his dog:

Having stolen a crust of bread from my mother,

You and I bit her once,

Without burying each other one bit, -

bright and clean. The hero doesn't fit in urban environment, because there is too much room for pity in his heart.

Thus, the mythologem of the feminine principle in Yesenin’s lyrics of the 20s loses its integrity, its Sophia nature and the possibility of implementation in real life. In addition, some of the images that made it up lose their holiness: not a single poem in “Moscow Tavern” contains any mention of the Mother of God; a woman who was once the bearer of the sacred maternal principle turns into a prostitute; Holy Rus' is becoming a thing of the past, and modern Russia does not reach her level; even the image of nature loses its integrity due to human intervention. Of all the hypostases of the feminine principle, only the image of the mother retains its Sophia essence; it alone is permeated with light and warmth, but is also somewhat distant from reality.

However, the poet does not want to completely lose his ideal. He does last try to recreate the image of a woman, combining both the Sophia essence and the natural principle in a cycle of poems dedicated to the actress Augusta Leonidovna Miklashevskaya “The Love of a Hooligan.” For the first time in all the “hooligan poems” a woman appears who can be loved, for whose sake one can give up hooliganism. Trying to unite in the image of a woman - autumn, all the hypostases of the Sophia principle, Yesenin makes an attempt to compare her with the Mother of God:

In a funny way, I'm in trouble with my heart,

I thought stupidly.

Your iconic and stern face

He hung in chapels in Ryazan.

However, he himself feels the impossibility of such a unification:

I didn't care about these icons

I honored rudeness and shouting in the rake,

And now suddenly the words grow

The most tender and meek songs.

But the Sophia beginning in “The Love of a Hooligan” is destroyed not only by the impossibility of uniting an earthly woman, “drunk by another,” with the image of the Virgin Mary, but also by the theme of cold and emptiness that comes along with the theme of autumn.

Thus, Yesenin failed in his attempt to turn a fallen woman into Mary Magdalene, just as his attempt to play the role of a new prophet himself failed. The sophia of the feminine principle turns out to be forever lost for him. He managed to restore the ideal of the “knotted ovary” of nature with man, but both nature and man fade in the “Love of a Hooligan” cycle. The poet also feels his own fading, so in the poem of 1924 “We are now leaving little by little...” he says goodbye to everything that was dear to his heart. Thus, the motif of a woman - autumn, instead of rebirth, brings death to the poet.

This is the feminine response to the curses that the lyrical hero sends to her in “Moscow Tavern”. Now, instead of rebirth, instead of the maternal principle, it is a sign of revenge, retribution for the desecration of shrines. From a mother she turns into an “evil and mean, ragged old woman” with a “cheerless, cold smile.” This motive is stable for the last period of Yesenin’s work. In the poem “I see a dream. The road is black...” the image of a woman who cannot be loved appears: an “unloved darling” is coming to him.

The mythologem of the feminine principle turns into a metaphor for death - this is the poet’s retribution for his careless attitude towards it. Yesenin's lyrical hero resigns himself to inevitable death, but before death he wants to receive forgiveness and blessings from a woman. Thus, for his curses on the feminine principle, the poet is doomed to death, but he receives forgiveness and the last maternal blessing.

Conclusion

The mythologem of the maternal principle turns out to be a stable category in the works of S.A. Yesenina. It enables the poet’s lyrical hero to withstand times of crisis, being the support that supports his life.

In early lyric poetry, when the poet confesses beautifully and wisely arranged world, built on the basis of light, goodness and reverence for motherhood, the motif of the feminine sounds life-affirming. With its presence it ennobles the earth. As a result of this mood, in almost all poems of the 10s the theme of the mother is heard, expressed in different images: Mother of God, mother of the earth, nature, Russia, mothers of the created world, mother of the poet, and even in the images of the objects around them.

In an effort to emphasize the importance of motherhood, Yesenin lifts all its incarnations to heaven, reflecting the most archaic ideas about the origin of the world, dating back to the period of matriarchy. Thanks to this exaltation of women in the lyrics of S.A. Yesenin turns out to be violated by the traditional idea of the arrangement of heavenly powers.

In reality, such a transformation could not happen. This led both Yesenin and his lyrical hero to a deep mental crisis. And now the woman whom he treated so carefully, whom he exalted so highly, he curses with the most last words. And only those hypostases of the feminine principle retain the sacred essence that come into contact with it: this is, of course, the poet’s mother - a resident of patriarchal Rus'; nature, which is illuminated by an unearthly glow.

Bibliography

1. Bely A. Symbolism as a worldview. / Comp., author entry. Art. and approx. L.A. Sugai. - M., 1994.

2. Yesenin S.A. Father's word. - M., 1962.

3. Yesenin S.A. Collection works: In 5 volumes. T. 5.

4. Ivanov - Reasoner. Two Russias // Collection “Scythians”. - 1918. - No. 2.

5. Marchenko A.M. The poetic world of Yesenin. - M., 1989.

6. Musatov V.V. The poetic world of Sergei Yesenin // Literature at school. - 1995. - No. 6.

7. Fedotov G.P. Spiritual poems. Russian folk faith based on spiritual verses. - M., 1991.

8. Florensky P. A. Iconostasis. Selected works in art. - St. Petersburg, 1993.

9. Forsh O. Crazy Ship: A Novel. Stories / Comp., intro. Art. comment S. Timina. - L., 1988.

"Letter to Mother"

The mother is, perhaps, the only person in the entire cycle of “hooligan poems” whom Yesenin treats with care, with love, because she also loves him, as she loved before, worries about him. But if earlier the cause of this concern was just a broken nose, now it is the possible death of his son in a drunken brawl:

And to you in the evening blue darkness

It often seems like the same thing:

It's like someone is in a tavern fight with me

I planted a Finnish knife under my heart.

I loved this wooden house,

A menacing wrinkle glowed in the logs,

Our oven is somehow wild and strange

Howled on a rainy night.

This remains the case in the present tense, despite the poet’s disappointment in the world around him:

Are you still alive, my old lady?

I'm alive too. Hello, hello!

That evening, unspeakable light.

S. Yesenin’s poem “Letter to a Mother” was written by the poet in 1924, that is, at the end of his life. The last period of the author's work is the pinnacle of his poetry. This is the poetry of reconciliation and summing up. “A Letter to a Mother” is perceived not only as an address to a specific addressee, but more broadly as a farewell to the motherland:

You alone are my help and joy,

You alone are an unspeakable light to me.

Reading Yesenin’s works, you see: the poet grew with time. In difficult moments of sorrowful thoughts, the poet’s heart was drawn to his parents’ hearth, to his parents’ home. And, as if reviving the Pushkin tradition of poetic messages, S. Yesenin addresses a letter-poem to his mother.

The poet seemed to embrace the “old woman” with his soul. He addresses her lovingly, using gentle, kind words. His poetic language is close to colloquial, even, rather, to folk (“old woman”, “hut”, “old-fashioned ramshackle shushun”, “very good”). These words give a folkloric coloring to the image of the mother. She seems like a sweet, kind, warm-hearted old woman from a romantic fairy tale. But nevertheless, the poet in “Letter to a Mother” resorts to convention and idealization of the image - his mother, strict and not too affectionate Tatyana Fedorovna Yesenina, was far from the image created by her son.

“Letter to a Mother” is Yesenin’s poetic message to the person dearest to him. Each line of this poem is full of restrained love and tenderness.

S. Yesenin more than once pointed to the folklore sources of his poetry. And above all, on melody and musicality. It is no coincidence that Yesenin is still a poet whose poems are used in songs. The vocabulary and expressions used by the poet recreate the picture of a dilapidated “hut” in which a mother is waiting for her son to return, conveying the inner state and feelings of a woman-mother. The first stanza begins with a rhetorical question: “Are you still alive, my old lady?” In the context of the poem, the above line takes on a special meaning: when asking a question, the poet does not expect to hear the answer to it, he (the question) enhances the emotionality of the statement. In the first line, S. Yesenin admires the perseverance, patience and tender love of his mother. This stanza is filled with great meaning: it is warm here, and the time has passed since the last meeting between the son and mother, and the poverty of the old woman’s home; and the poet’s boundless love for his home.

Let it flow over your hut

That evening unspeakable light.

Don't go on the road so often

In an old-fashioned, shabby shushun.

In the third stanza, Yesenin’s favorite epithet “blue” appears. This is the color of a cloudy sky, spring water, painted village shutters, forest flowers. S. Yesenin has almost no poem without this color. The poet’s spiritual crisis is emphasized by the epithets “evening,” “decrepit,” and “painful.” It is no coincidence that the word “sadanul” was used; it also conveys the author’s thought about moving away from the eternal values of life. The harshness of this verb is softened in the fourth stanza with the exclamation “nothing, dear...” and the affirmative sentence “calm down.” The climax is over and the action ends. Again, with sincere tenderness, S. Yesenin turns to his mother, writing that only near her, in his homeland, can he find spiritual rest. The following stanzas reflect the son’s desire to reassure his mother, to justify himself, and not to let her believe the gossip:

Nothing, dear! Calm down.

This is just a painful nonsense.

Over the long years of separation, the poet did not change in his tender, caring attitude towards his mother. The fifth and sixth stanzas are written very romantically and sublimely, in which the poet dreams of returning home (but not to the past):

I'm still as gentle

And I only dream about

So that rather from rebellious melancholy

Return to our low house.

The image of a white garden is also characteristic, symbolizing the bright time of spring, the poet’s youth:

I'll be back when the branches spread out

Our white garden looks like spring.

Only you have me already at dawn

Don't be like eight years ago.

The mother turns out to be the only person close to the poet, his only religion:

And don’t teach me to pray. No need!

There is no going back to the old ways anymore.

The poet seems to finish a poetic work in one breath. He uses anaphora, which gives an emotional coloring to these lines (“don’t wake up...”, “don’t worry...”, “didn’t come true...”, “don’t teach...”, “don’t...” , “don’t be sad...”, “don’t go...”). Such increased denial shows uncertainty in the soul of the lyrical hero. The ring composition gives completeness to the work, and the trochee pentameter and cross rhyme create a special rhythm of the entire poem, which carries the mental state of the lyrical hero.

The filial feeling in this small work is conveyed with enormous artistic power. Every line of this poem is warmed by the poet’s kind smile. It is written simply, without pompous phrases or lofty words. The whole soul of Sergei Yesenin is in him.

Description of the presentation by individual slides:

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Poems about the mother A new and living perception of the Motherland sharpened Yesenin’s sense of home, enriched the theme of the mother, to which the poet addressed earlier, but which now begins to unite and merge with the theme of the Fatherland. Continuing Nekrasov's traditions, the poet of the 20th century invests in the “great holy word mother" capacious and reverent content. It was now, in 1923-1925, that he created especially many poems dedicated to his mother and in general and Tatyana Fedorovna Yesenina in particular.

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Tatyana Fedorovna Yesenina She is not the most famous Russian Tatyana, but the mother of one of the most famous poets with a worldwide reputation. It is about her, about Tatyana Fedorovna Yesenina, that son Sergei wrote “an old woman in an old-fashioned shushun.” Tatyana Fedorovna was born in 1875, at the age of 16, by decision of her parents, she got married and gave birth to nine children. Tatiana translated from Greek means “organizer” - she always tried to create comfort in her family...

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The appearance and development of the feminine and maternal principles in the poet’s lyrics, which, running like a red thread through all of his work, turns out to be his only support and support. The image of the mother in the autumn woman.

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“Letter to a Mother” S. Yesenin’s poem “Letter to a Mother” was written in 1924, that is, at the end of the author’s life. The last period of creativity is highest point his skill. Poetry dating back to this time seems to sum up all his thoughts expressed earlier. It also became simply a statement of the fact that the old is gone forever, and the new is incomprehensible and not at all similar to what the poet imagined in the days of October 1917. This poem is not so much about to a specific person, as much as the collective image of the mother or even the mother - the Motherland.

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The poem is of a confessional, repentant nature. His lyrical hero is tormented by his own contradictions: he has both tenderness and “rebellious melancholy.” He experienced early losses and fatigue. However, the poem also sounds like the lyrical hero’s hope for his spiritual renewal, for a cure for mental wounds motherly love: “You alone are my help and joy” “Letter to Mother”

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S. Yesenin’s poem “Letter to a Mother” has a ring composition (“Why do you often go to the road / In an old-fashioned shabby shushun” - “Don’t go to the road so often / In an old-fashioned shabby shushun.” Accordingly, there is an almost complete repetition of the phrase and at the end, and at the beginning). It gives it logical completeness of thought and enhances semantic accents. "Letter to Mother"

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The poem has a plot - the first two stanzas, which tell, as it were, the background to the events. The third stanza is “ascending development of action.” Sharper emotions already appear there, adding tragedy to the situation. The fourth stanza is the climax. “I’m not such a bitter drunkard, / So that I die without seeing you” - here we learn the true feelings of the lyrical hero for his mother. Next comes the “development of action in a descending manner” - from the fifth to the eighth stanzas. There it is already revealed in more detail tender feelings and a series of flashbacks from the past are told. The last stanza, the plot, seems to sum up all of the above. The lyrical hero tries to calm and reassure his mother. “Letter to Mother” composition

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The main images of the poem are, of course, the lyrical hero and his mother. However, as I already said, the image of a mother is just like the image of Russia as a whole. I would also like to note, for example, the image of the garden (“I will return when the branches spread out / Our white garden is like spring”) - a symbol of spring and the poet’s childhood. The image of the road (“That you often go to the road”) is also important - this is a symbol life path poet. “Letter to Mother” main images

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a rhetorical question(“Are you still alive, my old lady?”), with which “Letter to Mother” begins, the fact that this question does not require an answer becomes clear from the context of the poem (for example, then the lyrical hero says: “I am also alive.” That is he already knows the answer). It is needed in order to emphasize the importance of the sentences that follow it: “I am also alive. Hello, hello!/ Let that evening unspeakable light flow over your hut” - that is best wishes mother. "Letter to Mother" means of expression

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epithets: “rebellious melancholy”, “painful delirium”, “evening unspeakable light”, etc. The author deliberately introduces colloquial words into his poem like “old woman”, “hut”, “great”. This helps us feel the atmosphere of a truly Russian village, an atmosphere of a certain comfort and originality. “Letter to Mother” expressive means

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anaphors (“don’t wake up...”, “don’t worry...”, “didn’t come true...”, “don’t teach...”, “don’t...”, “don’t be sad...”, "do not go..."). “Letter to a Mother” expressive means It, first of all, points to the sadness that exists in the soul of the lyrical hero, to his disappointment in life and true care and longing for his mother.

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The idea of the poem “Letter to a Mother” is, first of all, to show the Russian people that they need to love, always remember about their Motherland and set them in a patriotic mood. Indeed, at first glance it may seem that all the hero’s feelings are addressed specifically to a specific person, and in part this may indeed be the case, but there is no evidence that the “mother” here is not a collective image of the Motherland. Idea

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Each line of the letter is imbued with filial love and care: “They write to me that you, filled with anxiety, are very sad about me.” The son understands how difficult these bitter periods of separation and worry are for the mother. He tries to convince that, despite the rumors, his heart still remains pure, and the goal of his life’s path is clear to him. And let the mother not worry in vain, for whom the blue darkness paints pictures one more terrible than the other. An adult man at heart remained the same gentle boy, and not a bitter drunkard who could die without saying goodbye to his mother. We see that the lyrical hero is burdened by his current situation, separation from his sweet home, mother, father. Being far from his native nest, he languishes from rebellious melancholy and dreams of quickly returning to a low, but very cozy house. He lives with memories of recent happiness, of a white spring-like garden and the affection of the one who gave him life. Lyrical hero

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But at the same time, a sad, melancholy note is clearly felt in the poem. This feeling is associated, in particular, with thoughts about past life, about the experience, about the poet’s duty. The poet gives himself completely to people. He brings all his life, all his gifts, to serving them. But there is no return to the past, since in the soul of the poet, the lyrical hero, the awareness of his calling has long matured. And perhaps on early stage service poetic creativity was perceived by him in a rosy light, causing dreams that were not allowed to come true. he still has Philosophical Reflections

The image of the mother in the works of S. Yesenin. Nekrasov's traditions are reflected in the poetry of the great Russian poet S. A. Yesenin, who created surprisingly sincere poems about his mother, a peasant woman. Yesenin was 19 years old when, with amazing insight, he sang in the poem “Rus” the sadness of a mother’s expectation of sons-soldiers. Loyalty, constancy of feeling, heartfelt devotion, inexhaustible patience are generalized and poeticized by Yesenin in the image of his mother. "Oh, my patient mother!" - this exclamation came out of him not by chance: a son brings a lot of worries, but his mother’s heart forgives everything. This is how Yesenin’s frequent motive of his son’s guilt arises.

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