Philosophical motives of Yesenin's lyrics (composition). Philosophical questions of being in the lyrics of S.A.

Yesenin's philosophical lyrics are very complex and multifaceted. At different stages of his work, the poet was interested in different questions and problems. His lyrical hero appears before us in the form of either a bully and a tomboy, or a deeply lyrical poet.

Yesenin was always interested in the theme of the Fatherland, his small homeland and his own destiny. For the poet, his own destiny has always been closely connected with the life of his native land. Therefore, very often in his philosophical poems, Yesenin uses the technique of syntactic parallelism, where he compares his fate with various states of nature. So, in the poem “The Golden Grove Dissuaded” the hero’s reflections on the bygone youth are closely intertwined with what happens in nature:

I stand alone among the naked plain,

And the cranes are carried by the wind into the distance,

I'm full of thoughts about a cheerful youth,

But I do not regret anything in the past ...

The lyrical hero turns to his past and he is overcome by sadness for the past time. However, the hero does not experience a feeling of disappointment, he has no desire to turn back time, change what was:

I do not regret the years wasted in vain,

Do not feel sorry for the soul of a lilac flower.

In the garden, a fire of red rowan is burning,

But he cannot warm anyone.

A work of philosophical content, containing universal and general historical ideas, is the poem "I do not regret, I do not call, I do not cry." The theme of the variability of time and the problem of the transformation of the human soul is fully disclosed here:

I do not regret, do not call, do not cry,

Everything will pass like smoke from white apple trees.

Withering gold is engulfed,

I won't be young anymore.

The lyrical hero feels the changes that are taking place in him: "I have now become more stingy in desires ...". But nothing can be changed, these are the laws of the universe, it is impossible to go against them. Yesenin understands this, but reverently recalls his youth as the most wonderful time, because it was then that he felt truly happy.

Thus, the philosophical lyrics of Sergei Yesenin are closely connected with the existence of man, with the meaning of his life. The poet accepts the variability and transience of time and considers such a law of life to be natural and the most true:

May you be blessed forever

That came to flourish and die.

The name of Sergei Yesenin is firmly connected in our view with the characteristic given by him: "I am the last poet of the village." His light, lively, colorful poems sing of the nature of the motherland dear to the poet, the simple and harmonious way of village life. But this is far from a complete portrait of Yesenin as a poet.

In his work, reflections on deep philosophical questions intertwined with contemplation and enjoyment of nature. The transience of human life and our inevitable departure, the poet so naturally reflected in the symbol of leaf fall:

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

Quietly pouring copper from maple leaves ...

May you be blessed forever

That came to flourish and die.

("I do not regret, do not call, do not cry...")

A characteristic feature of Yesenin's worldview is a great love for life, for everything that this life has given him:

Happy that I kissed women

Crumpled flowers, rolled on the grass

And the beast, like our smaller brothers,

Never hit on the head.

(“We are now leaving a little ...”)

Yesenin is deeply religious, and he has a bright idea of ​​\u200b\u200bthe afterlife: “We are now leaving little by little / / To that country where there is peace and grace” (“We are now leaving little by little ...”). But no matter how beautiful Paradise is, for a poet, nothing can be more beautiful and sweeter than his native land:

If the holy army shouts:

"Throw you Russia, live in paradise!"

I will say: "There is no need for paradise, Give me my homeland."

(“Goy you, my Russia, dear ...”)

The poet reflects on changing views on the world with age, reflects on his life, is amazed at the changes in himself in the poem “I don’t regret, I don’t call, I don’t cry ...”:

Now I have become more stingy in desires,

My life? did you dream of me?

Youth with its enthusiasm and scope, "a flood of feelings", is gone forever, but the poet does not regret anything, accepting everything with love.

Repeatedly repeated in Yesenin's work is the motive of the harmony of human life with nature and the hostile attitude towards the "offensive" of the city on the village, iron on the tender, living flesh of nature. The following position is most clearly reflected in the work “Sorokoust”: “He is coming, he is a terrible messenger, // The fifth bulky thicket is breaking”, “Here he is, here he is with an iron belly,// Pulls to the throats of the plains five." The image of a smoky, rumbling steam locomotive rushing across the field does not fit into the idyllic, peaceful picture! Much dearer to the poet is a foal galloping after a train. But his time is running out: "...for thousands of pounds of horse skin and meat They now buy a steam locomotive," the author says with hostility.

It cannot be said that Yesenin is an opponent of progress. But only something this progress is not at all what we would like! Yesenin's subtle nature foresees that civilization has turned in the wrong direction, starting to harm nature, having lost harmony and unity with it. And if he wasn't right? As if knowing that this iron guest - the industrial world - will do many more troubles and disasters, he exclaims in his hearts:

Damn you, nasty guest!

Our song will not get along with you.

It's a pity that you didn't have to as a child

Drown like a bucket in a well.

Sergei Yesenin managed in an amazing way to connect thoughts about the fate of a person, his life and death, about the past and future with the highly artistic lyrics of his melodic poems. The author's vision of the world is revealed in every stroke, in every landscape so lovingly drawn, and strikes the reader with his deep understanding of the essence of being.

Yesenin is a philosopher “by nature”, a singer of life and harmony, a true philanthropist: “... the people who live with me on earth are dear to me” (“We are now leaving little by little”), and his view of the world is deeply appeals to me.

S. A. Yesenin is not a thoughtless singer of his feelings and experiences, but a poet-philosopher. Like any high poetry, his lyrics are philosophical. The poems speak of the enduring problems of human existence, in which the inner "I" of the poet conducts a dialogue with the entire surrounding world, nature, the universe, trying to answer the eternal "why". Yesenin poses many questions, addressed primarily to himself: how did I live, what did I do, why did I come into this world? The amazing talent of the poet was subject to the deepest and most intimate human experiences. Some verses are a "flood of feelings", bright, joyful, others are full of hopelessness, despair.
Yesenin always felt like a part of this world, he sought and found agreement and response in the natural world, therefore his landscape lyrics are filled with philosophical motives, an analogy between the laws of human life and the laws of nature, “the chime of the nodal nature and the essence of man” is heard in it.
These motifs are developed, for example, in the elegy "The Golden Grove Dissuaded". The "Golden Grove" is both a specific natural image and a generalized one, it is the life of a poet, human existence in general. The philosophical content is revealed through landscape sketches. The theme of withering, the feeling of the last days comes through in the image of autumn. Autumn is a time of silence, bright colors, but at the same time, it is time to say goodbye. This is the inconsistency of our earthly existence. Cranes are the leitmotif of the poem, a farewell song with everything young, fresh, with the "lilac blossom" of nature and, most importantly, with the human soul. The man is lonely, however, this homelessness is adjacent to a warm memory: “I stand alone in the middle of the naked plain, // And the wind carries the cranes into the distance, // I am full of thoughts about my cheerful youth, // But I don’t regret anything in the past.” The path of life has been passed, nature has completed its circle ...
The ratio of the spring of a person and the dying fire of life is expressed through a visible objective image: “A fire of red mountain ash burns in the garden, // But it cannot warm anyone.” Despite this, the lyrical hero does not feel sorry for the past life, since being is perceived by him as transient. "Whom to pity? After all, everyone in the world is a wanderer ... ”- these words are the basis of a philosophical attitude to life. We are all born to die, each of us is a tiny grain of sand in the cosmos, each of us is an integral part of nature. That is why the lyrical hero compares his dying monologue with autumn leaf fall: “So I drop sad words.”
Despite the tragic sound of the poem, memories of a life that has made a splash make the reader accept death as a given. This elegy is very similar to the confession of a lyrical hero. Yesenin rose above his personal tragedy to universal heights.
Similar thoughts sound in the poem “I don’t regret, I don’t call, I don’t cry ...” “Withering covered in gold, // I won’t be young anymore” - in these drains there is a reflection on the impossibility of turning back time. "Spring echoing early" - the personification of the youth of nature and the youth of life. The feeling of inescapable sadness, the motive of the inevitable misfortune of the lyrical hero in the face of all-consuming time and eternal nature is removed by the word “prosper” in the last stanza: “All of us, all of us in this world are perishable, // Copper quietly pours from maple leaves ... // Be you are blessed forever, / That it has come to flourish and die. It is to nature that the lyrical hero appeals, it is with her that it is most bitter to say goodbye, standing at the fatal line.
The human soul and the world are one... however, sometimes this unity is broken, tragic disharmony destroys the idyllic existence. This can manifest itself in everyday, everyday situations. So, in the "Song of the Dog" a man cruelly violates the laws of nature, taking away newborn puppies from their mother. This not only causes maternal grief, a personal tragedy, but also becomes the cause of a catastrophe on a universal scale: “The eyes of a dog rolled // With golden tears into the snow”, “Into the blue heights loudly // She looked, whining, // And the moon slid, thin, // And disappeared behind the hill in the fields. It is impossible to interfere in the given course of life, changing its pace, this will then be poured out to humanity with the tears of animals. Therefore, the lines from the poem “Now we are leaving little by little” sound in a special way: “And the animals, like our smaller brothers, / Never hit on the head.” This is how you need to live, understanding that you are not the master of nature, the world, but part of them. You need to enjoy the opportunity to contemplate the beauties of the earth, you just need to live: “I am happy that I breathed and lived. // I am happy that I kissed women, // I crumpled flowers, rolled on the grass. We need to appreciate what life has given us, to enjoy every day, to love the living.
It is very difficult to choose Yesenin's poems related to philosophical lyrics, because all his work is like that. Thinking about nature, about the Motherland, about his personal destiny, the poet inevitably comes to the idea that life must be accepted as it is: “How beautiful//Earth //And a man on it!”
Reflections on the inevitable, eternal change of generations, on the inexorable course of life, in which one must take one’s place, fulfill one’s destiny, feeling oneself an essential, irreplaceable link in a long chain linking the Past and the Future, has always sounded in Russian literature. “I visited again ..” A.S. Pushkin, “I go out alone on the road ...” M.Yu. Lermontov and many other poems of Russian classics of the 19th century are full of these experiences. Now we are also thinking about these problems. Probably because they are eternal, and it is unlikely that humanity will ever find exhaustive answers to philosophical questions. Therefore, Yesenin's work is priceless and immortal.

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

Already in the earliest poems of Yesenin, a special understanding of nature by the poet is felt. It appears not as a static background, but as a living world in which every blade of grass and every petal is able to be sad and happy, to think and love. This is a green temple, in which willows ("meek nuns") prayerfully touch the rosary, and birches stand "like big candles." In the images of nature, the poet often sees his own reflection. His soul is a blossoming apple tree, love is a fragrant linden, separation is a scarlet and bitter mountain ash. In one of the later poems, the poet likens himself to a tree: just like the “old maple tree on one leg”, he protects the “blue Russia” dear to him from hardship, protects its purity.

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

Yesenin's mature poems are characterized by a shade 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 his own path. He feels that the former life, which was so sweet to him, is leaving without a trace. In the poem "I am the last poet of the village" almost hopeless tragedy is heard. Here the images of nature appear as harbingers of imminent disaster. Birch trees, censing with foliage, are celebrating a farewell memorial service; "moon wooden clock" tapping out the last minutes; the wind dances a farewell dance. It is bitter for the poet to realize that “oatmeal spilled at dawn” will be collected by the 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”, the motive of sadness about the bygone youth sounds. The poet understands that he is “covered with withering gold”; the former unsophisticated joys are lost. Summing up his reflections, he says:

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

Quietly flows from apple leaves copper.

May you be blessed forever

What has come to bloom and die.

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

This is how we bloom

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

If there are no flowers in the middle of winter,

So there is no need to worry about them.

Or:

Peace be with you, noisy life,

Peace be with you, blue cool.

The love lyrics of Sergei Yesenin are also filled with a philosophical sound. Rethinking his life, the poet understands that what he really needs is bright and sincere love.

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

In the later works of Yesenin, one can feel the motive of the loss of true love and disappointment in the feeling that is given out and taken for it, which is only “snow” and “hoarfrost” instead of white lime color.

In the poem "Flowers", the poet's philosophical mood is manifested in the images of the flowers themselves - in each of them some kind of feeling or character trait is revealed. Flowers are people who "both in the sun and in the cold are able to crawl and walk."

Throughout his creative life, Yesenin tried to comprehend the relationship between the eternal and the transient, the repetitive and the unique. Each new generation, entering the world, asks these questions. Therefore, Yesenin's poems, filled with a variety of feelings, do not cease to excite us.

The life path of a person 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 such person who has never thought about death. These thoughts, as they 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 one way or another reveals this topic.
Yesenin did not bypass this direction in his work. But what were his thoughts about life and death, about being and not 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 his creative piggy bank of Yesenin, which deserves special attention. In it, the poet tells that his life is inexorably moving forward, he is changing both externally and internally, and only a black shadow has remained from the past, but it has also separated from him and gone somewhere. The first lines in this work are especially poetic; they sound like the beginning of Yesenin's later thoughtful reflection on life:
The day is gone. The feature has been removed.
I again moved to the care
With a light wave of a white finger ...
Already in 1924, in the poet's poems, a lot of questions suddenly appear, addressed, first of all, to himself: what did I live for? what did I do?
Who am I? What am I? Only a dreamer
The blue of the 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. Such a heavy state of mind was filled with the last masterpieces of his philosophical lyrics, which include the poem "We are now leaving a little." I especially like this poem.
The poem “Now we are leaving a little ...” was written in 1924 on the death of Alexander Vasilyevich Shiryaev, the “new peasant” poet, with whom Yesenin had a strong friendship for many years. Here is a summing up of a violent and restless life, a reflection on the transient nature of our being:
We are now leaving little by little
In the country where peace and grace.
Very cautiously, “that country”, the country of the dead, is mentioned. “Peace and grace” reigning there is a reward sent down by the Lord for earthly life. Thus begins the first stanza, permeated with a prophetic foreboding of the near end. Death is veiled:
Maybe soon I will be on my way
To collect mortal belongings.
The epithet "mortal" gives the stanza an almost tragic sound, but the colloquial word "belongings" at the same time fills it with light irony. The idea is expressed with an affirmative intonation. There is no doubt that this is exactly what will happen.
However, the second stanza is quite different in mood. She convinces that the lyrical hero is not yet ready to go down this mournful road. Vivid personifications, a touching epithet, exclamatory intonation, appeals and the use of personal pronouns indicate a love of life, a reverent attitude towards Russian nature:
Lovely birch thickets!
You earth! And you, plains sands!
It is to nature that the lyrical hero appeals, it is with her that it is most bitter to say goodbye, standing at the fatal line.
But people are dying… “A host of people who are leaving” - how sad and depressing this combination sounds! The impression is enhanced by its belonging to a high style.
The next three stanzas are a reflection on the meaning of existence in this world, because before death, according to Christian traditions, one must confess. Isn't this a confession? All verbs in these stanzas are used in the past tense, this creates a feeling of hopelessness, irrevocable.
A frank confession of excessive love for the earthly, for “that which clothes the soul in flesh,” that is, for a 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 calm a wounded heart! As a prayer, the wish sounds: “Peace to aspens.”
But life was filled not only with carnal passions: “I thought through many thoughts in silence. I composed many songs to myself.” On this contradictory path, on this “gloomy land”, there were moments painted in light colors. The feeling of complete satisfaction is not alien to the hero, so the lines sound again:
Happy that I breathed and lived.
Happy that I kissed women
He crushed flowers, rolled on the grass.
The last two stanzas are united by a common 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 that can amuse the eye in this world: “thickets do not bloom there”, “there will not be ... these fields, golden in the darkness”, “rye does not ring with a swan's neck”. Epithets and metaphors help to recreate a truly magical picture.
The last lines of the poem are a kind of conclusion, the result of deep reflections, but it is also a hidden appeal to the reader:
That's why people are dear to me
that 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 it to them more often, otherwise we may not have time ...
In this poem, the whole soul of the Russian poet, full of painful torments, is revealed to us ... And we understand Yesenin, because in our life there is a lot of high, bordering on low.

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