The theme of nature and homeland in Yesenin’s lyrics. The theme of the motherland and nature in the lyrics of S. A. The theme of the native nature in the lyrics of S. Yesenin

One of the main themes in the work of Sergei Yesenin is the theme of the Motherland, therefore the works of this poet are inextricably linked, first of all, with the village, with his native Ryazan region. The poet left his native village of Konstantinovo quite young, then lived in Moscow, St. Petersburg and even abroad. But it was precisely the separation from his beloved Motherland that gave his poems a special warmth of memories of her that distinguished him from others. Declarations of love for Russia can be heard even in the early poems of S. Yesenin.

A wonderful, beautiful, unique world - Yesenin’s poetry! The world is close and understandable to everyone. Yesenin is a true poet of Russia; a poet who rose to the heights of his skill from the depths of folk life. His homeland - the Ryazan land - nurtured and nourished him, taught him to love and understand the environment around us all. Here, on Ryazan soil, Sergei Yesenin saw for the first time all the beauty of the discreet Russian nature, glorified in his poems. From the first days of his life, the poet was surrounded by the world of folk songs and tales.

Suffice it to recall one of his most famous works - “Go away, my dear Rus'...”. This is the poet’s key poem, from which many of his other poems will later be born, filled with tenderness and great love for the Motherland. At the same time, in Yesenin’s early poems, which were written against the backdrop of the World War, there is a lot of melancholy and sadness. The poet perceived the war as a great disaster. People were dying, cities and villages were burning, moral foundations were collapsing:

And my beloved friend

He sharpens the knife by the boot.

Yesenin's talent was established as a peasant and Russian talent. The homeland in his poems acts as a measure of everything. Yesenin recognized Koltsov and Klyuev as his teachers. Later, the names of Blok and Bryusov were added to them, from whom the Ryazan poet, by his own admission, studied lyricism.

S. Yesenin lived in a turning point, full of dramatic and even tragic events. In the memory of his generation - the First World War, revolution, again war - now civil. The poet greeted 1917 with hope for renewal, for a happy turn in the peasant lot. A new sense of Russia appears in his work:

Already washed it off, erased the tar

Resurgent Rus'.

The feelings and moods of the poet of this time are very complex and contradictory - there is hope, and anxiety for the fate of his native land, and philosophical thoughts on eternal topics. One of them - the theme of the collision of nature and the human mind, invading it and destroying its harmony - sounds in the poem "Sorokoust".

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.

Yesenin deeply understood nature and penetrated into its innermost secrets. His poetry included practical knowledge. It is known, for example, that when preparing a garden for winter, a person generously waters the soil around the trees in order to subsequently protect the roots from freezing with an ice shell. And in the poem “Spring” we read about the maple:

And the girl will come to you,

Water will pour from the well,

So that in harsh October

You could fight snowstorms.

S. Yesenin’s understanding of his poetic mission, his position as “the last singer of the village,” the keeper of its covenants, its memory, is closely connected with the theme of the Motherland and nature. One of the poems important for understanding this topic in the poet’s work is “The feather grass is sleeping. The dear plain...”

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!..

Yesenin with amazing skill reveals to us pictures of his native nature. An unusually rich palette of colors, such precise, sometimes unexpected comparisons, such a feeling of unity with nature! A. Tolstoy wrote that in his poetry one can hear “the melodious gift of the Slavic soul, dreamy, carefree, mysteriously excited by the voices of nature.” In Yesenin everything is multicolored and multicolored. He eagerly peers and absorbs in the spring the pictures of the renewed world and feels like a part of it. He spends a long time looking at the iridescent colors of the morning and evening dawn, with the thrill of the appearance of the rising sun, admiring the stormy sky covered with black clouds, the old forests flaunting flowers and greenery, the fields turning yellow at the horizon.

He was a bright individual personality. According to R. Rozhdestvensky, Yesenin 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.” .

So many people warmed their souls around the miraculous fire of Yesenin’s poetry, so many people enjoyed the sounds of his lyre. And often they were inattentive to Yesenin the man, which most likely ruined him. Shocked by the tragic news, M. Gorky wrote: “We have lost the great Russian poet...”

The theme of the Motherland is one of the main ones in S. Yesenin’s work. It is customary to associate this poet primarily with the village, with his native Ryazan region. But the poet left the village of Konstantinov very young, and then lived in Moscow, and in St. Petersburg, and abroad. In my opinion, it was precisely the separation from his homeland that gave his poems the warmth of memories of her that distinguishes them.

Already in the early poems of S. Yesenin there are declarations of love for Russia.

It is enough to recall one of his most famous works - “Go away, my dear Rus'...”. This is the poet’s key poem, from which many of his other poems will later be born, filled with tenderness and great love for the Motherland.

At the same time, in Yesenin’s early poems, which were written against the backdrop of the World War, there is a lot of melancholy and sadness. The poet perceived the war as a great disaster. People were dying, cities and villages were burning, moral foundations were collapsing:

And my beloved friend

He sharpens the knife by the boot.

S. Yesenin lived in a turning point, full of dramatic and even tragic events. In the memory of his generation - World War I, revolution, war again - now civil. The poet greeted 1917 with hopes for renewal, for a happy turn in the peasant lot. A new sense of Russia appears in his work:

Already washed it off, erased the tar

Resurgent Rus'.

Have you seen

How he runs across the steppes,

Hiding in the lake mists.

Snoring with an iron nostril,

A train on cast iron legs?

Through the big grass

Like at a festival of desperate racing,

Throwing thin legs to the head,

Red-maned colt galloping?

Here the foal embodies all the beauty of nature, its touching defenselessness. The train takes on the features of an ominous monster. In Yesenin’s “Sorokoust” the eternal theme of the confrontation between nature and technological progress merges with reflections on the fate of Russia.

And the girl will come to you,

Water will pour from the well,

So that in harsh October

You could fight snowstorms.

S. Yesenin’s understanding of his poetic mission, his position as “the last singer of the village,” the keeper of its covenants, its memory, is closely connected with the theme of the Motherland and nature. One of the important poems for understanding this topic in the poet’s work was the poem “The feather grass is sleeping. Dear plain...”:

The feather grass is sleeping. Plain dear,

And the leaden freshness of wormwood.

No other homeland

It will not pour my warmth into my chest.

Know that we all have such a fate,

And, perhaps, ask everyone -

Rejoicing, raging and suffering,

Life is good in Rus'.

The light of the moon, mysterious and long,

The willows are crying, the poplars are whispering.

But no one listens to the crane's cry

He will not stop loving his father's fields.

And now, when the new light

And my life was touched by fate,

I still remain a poet

Golden log hut.

At night, huddled against the headboard,

I see him as a strong enemy

How someone else's youth splashes with newness

To my glades and meadows.

But still, pressed by that newness,

I can sing with feeling:

Give me in my beloved homeland,

Loving everything, die in peace!

Sergei Yesenin’s boundless love for Russian nature, for the Motherland gave him the right to say:

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”

THE THEME OF HOMELAND AND NATURE IN S.A.ESENIN’S LYRICS
The theme of the homeland is one of the main themes in the work of S. Yesenin. This
It is customary to associate a poet primarily with the village, with his native
Ryazan region. But the poet left the Ryazan village of Konstantinovo
very young, then lived in Moscow, and in St. Petersburg, and abroad,
came to his native village from time to time as a guest. It is important
know to understand S. Yesenin’s position. It is separation from family
the earth gave his poems about her that warmth of memories that
distinguishes. In the very descriptions of nature the poet has that measure
detachment, which allows you to see this beauty more sharply,
feel.
Already in S. Yesenin’s early poems there are declarations of love for Russia.
Thus, one of his most famous works is “Go you, my Rus'.”
dear..." From the very beginning, Rus' appears here as something sacred,
the key image of the poem is a comparison of peasant huts with
icons, images in vestments, and behind this comparison there is a whole philosophy,
system of values. The world of the village is like a temple with its harmony
earth and sky, man and nature. The World of Rus' for S. Yesenin is
a world of wretched, poor, bitter peasant houses, a deserted land,
“a village in potholes”, where joy is short and sadness is endless:
"Sad song, you are Russian pain." This feeling is especially intensified
in the poet's poems after 1914 - the beginning of the war: the village seems to him
a bride abandoned by her beloved and awaiting news from him from the battlefield.
For a poet, his native village in Russia is something united, a homeland for
for him, especially in his early work, is first of all his native land,
native village, that later, already at the end of the 20th century, literary
critics defined it as the concept of a “small homeland”. With inherent
S. Yesenin-lyricist with a tendency to animate all living things, everything around him
him, he also addresses Russia as a person close to him: “Oh,
Rus', my meek homeland, / I cherish my love only for you." Sometimes poems
the poet acquires a note of aching sadness, a feeling arises in them
restlessness, their lyrical hero is a wanderer who left his native
hut, rejected and forgotten by everyone. And the only thing that remains
unchanged, which retains eternal value - this is nature and Russia:
"And the month will float and float,
Dropping oars across the lakes...
And Rus' will still live,
Dancing and crying at the fence."
S. Yesenin lived in a turning point era, full of dramatic and
even tragic events. In the memory of his generation there is a war,
revolution, war again - now civil. A turning point for
The poet met the year of Russia - 1917, like many artists of his circle, with
hopes for renewal, for a happy turn in the peasant lot.
The poets of S. Yesenin’s circle of that time were N. Klyuev, P. Oreshin,
S. Klychkov. These hopes are expressed in the words of N. Klyuev, a close
friend and poetic mentor S. Yesenin: “Now it’s a peasant’s land,
/And the church will not hire a government official." In Yesenin’s poetry in 1917
a new feeling of Russia appears: “It has already washed away, wiped away the tar/
Resurgent Rus'." The feelings and moods of the poet of this time are very
complex and contradictory - these are both hopes and expectations of the bright and
new, but this is also anxiety for the fate of the native land, philosophical thoughts
on eternal topics. One of them is the theme of the collision of nature and
human mind invading it and destroying it
harmony - sounds in S. Yesenin's poem "Sorokoust". In him
something that acquires a deeply symbolic meaning becomes central
competition between a foal and a train. At the same time, the foal seems to
embodies all the beauty of nature, its touching defenselessness.
The locomotive takes on the features of an ominous monster. In Yeseninsky
"Sorokoust" is an eternal theme of the confrontation between nature and reason,
technical progress merges with thoughts about the fate of Russia.
In the post-revolutionary poetry of S. Yesenin, the theme of the homeland is saturated
with difficult thoughts about the poet’s place in the new life, he painfully
experiences alienation from his native land, it is difficult for him to find a common language
with the new generation, for whom the calendar Lenin is on the wall
replaces the icon, and the "pot-bellied Capital" replaces the Bible. Particularly bitter
the poet is aware that a new generation is singing new songs: “They sing
propaganda of Poor Demyan." This is all the more sad that S. Yesenin
rightly notes: “I am a poet! And no match for some Demyan.”
That is why his lines sound so sad: “My poetry is no longer here.
needed, /And, perhaps, I myself am not needed here either." But even the desire
merging with the new life does not force S. Yesenin to abandon his
vocations of the Russian poet; he writes: “I will give my whole soul to October and
May, /But I won’t give away my dear lyre.” And that’s why it’s so deep
His confession is filled with pathos:
"I will chant
With the whole being in the poet
Sixth of the land
With a short name "Rus".
Today, for us living in Russia, it is difficult to fully understand the meaning of these
lines, but they were written in 1924, when the name itself -
Rus' was almost forbidden, and citizens were supposed to live in
"Recefesere". S. Yesenin’s understanding of his homeland is connected with the theme of his homeland.
poetic mission, his position as “the last singer of the village”,
the keeper of her covenants, her memory. One of the software important for
understanding the theme of the homeland, the poet came up with the poem “The feather grass is sleeping”:
"The feather grass is sleeping.
Plain dear
And the leaden freshness of wormwood!
No other Rodana
It will not pour my warmth into my chest.
Know that we all have such a fate,
And, perhaps, ask everyone -
Rejoicing, raging and suffering,
Life is good in Rus'.
The light of the moon, mysterious and long,
The willows are crying, the poplars are whispering,
But no one under the crane's call
He will not stop loving his father's fields.
And now, when the new light
And my life was touched by fate,
I still remain a poet
Golden log hut.
At night, huddled against the headboard,
I see him as a strong enemy
How someone else's youth splashes with newness
To my glades and meadows.
But still pressed by that newness,
I can sing with feeling:
Give me in my beloved homeland,
Loving everything, die in peace."
This poem is dated 1925 and belongs to mature lyricism
poet. It expresses his innermost thoughts. In the line "rejoicing,
raging and tormented" - a difficult historical experience that befell
share of the Yesenin generation. The poem is based on
traditionally poetic images: feather grass as a symbol of the Russian landscape
and at the same time a symbol of melancholy, wormwood with its rich symbolism and
crane cry as a sign of separation. Traditional landscape, in
in which the personification of poetry is the no less traditional “light”
moon", is opposed to the "new light", rather abstract, inanimate,
devoid of poetry. And in contrast to it sounds recognition
lyrical hero of Yesenin's poem in devotion
age-old village way of life. The poet’s epithet is especially significant
“golden”: “I will still remain a poet / of the Golden log hut.”
He is one of the most frequently encountered in S. Yesenin’s lyrics, but
usually it is associated with a color concept: gold - that is, yellow, but
certainly and with a connotation of the highest value: “golden grove”, “golden
the moon is a frog." In this poem, the connotation of value predominates:
gold is not only the color of the hut, but also a symbol of its enduring
values as a symbol of the way of village life with its inherent
beauty, harmony. A village hut is a whole world, its destruction
is not redeemed for the poet by any tempting news. The final
the poem sounds somewhat rhetorical, but in the general context
S. Yesenin's poetry is perceived as deep and sincere
author's confession. Thus, the theme of the homeland in the poetry of S. Yesenin
develops from an unconscious, almost childishly natural
attachment to the native land to a conscious, withstood the test
difficult time of change and turning point in the author's position.

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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 blue of the sky, 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:

O Rus' - the raspberry field And the blue that fell into the river - I love Your lake melancholy to the point of joy and pain...

“My lyrics are alive with one great love,” said Yesenin, “love for the Motherland. The feeling of homeland is fundamental in my work.” In Yesenin’s poems, not only “Rus' shines,” 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 and the spring blizzard I stopped loving because of the poverty of the fields. 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.

Yesenin’s homeland is the village of Konstantinovo, where he was born, in the immediate vicinity of the village. “The Ryazan fields were my country,” he later recalled. In his soul there is still no idea of his homeland as a social, political, cultural environment. His sense of homeland finds expression in him so far only in love for his native nature. On the pages of Yesenin’s early lyrics we see a modest, but beautiful, majestic and dear to the poet’s heart landscape of the Central Russian strip: compressed fields, a red-yellow fire of an autumn grove, the mirror surface of lakes. The poet feels like a part of his native nature and is ready to merge with it forever: “I would like to get lost in the greenery of your hundred-bellied greenery.” But even then his homeland does not seem to him like an idyllic “transcendental paradise.” The poet loves the real peasant Rus' on the eve of October. In his poems we find such expressive details that speak of the hard life of the peasants, such as “caring huts”, “lean fields”, “black, then smelling howl” and others.

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 lands of the shafts... We will give you the rainbow as an arc, the Arctic Circle as your harness. Oh, take our globe onto a different track.

S. Yesenin lived in a turning point, full of dramatic and even tragic events. In the memory of his generation - war, revolution, war again - now civil. The poet, like many artists of his circle, met the turning point year for Russia - 1917 - with hopes for renewal, for a happy turn in the peasant lot. The poets of S. Yesenin's circle of that time were N. Klyuev, P. Oreshin, S. Klychkov. The feelings and moods of the poet of this time are very complex and contradictory - these are hopes and expectations of the bright and new, but this is also anxiety for the fate of his native land, philosophical thoughts on eternal topics. One of them - 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. In the post-revolutionary poetry of S. Yesenin, the theme of the homeland is filled with difficult thoughts about the poet’s place in the new life, he painfully experiences alienation from his native land, it is difficult for him to find a common language with the new generation, for whom the calendar Lenin on the wall replaces the icon, and the “pot-bellied “Capital” - The Bible. It is especially bitter for the poet to realize that the new generation is singing new songs: “The propaganda of Poor Demyan is being sung.” This is all the more sad since S. Yesenin rightly notes: “I am a poet! And no match for some Demyans.” That’s why his lines sound so sad: “My poetry is no longer needed here, / And, perhaps, I myself am not needed here either.” But even the desire to merge with a new life does not force S. Yesenin to abandon his calling as a Russian poet; he writes: “I will give my whole soul to October and May, / But I will not give up my sweet lyre.”

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 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, and suffers from the consciousness of spiritual duality:

Russia! Dear land to the heart! The soul shrinks from pain. For many years now the field has not heard the crowing of roosters or the barking of dogs. For how many years our quiet life has lost its peaceful verbs. Like smallpox, the pastures and valleys are pitted with hoof pits.

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 for me, as a psalm-reader, should I sing Hallelujah over my native land.

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 songs. At the farewell mass of the birch trees burning with leaves.

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 endless plains”, familiar to him from his youth, but now, however, he is no longer pleased with the “cart song of wheels”:

I became indifferent to the shacks, And the hearth fire is not dear to me, Even the apple trees and the spring blizzard I stopped loving because of the poverty of the fields.

Pictures of the past evoke a passionate thirst for the renewal of one’s native village:

Field Russia! Enough of dragging the plow across the fields! It hurts both birches and poplars to see your poverty. I don’t know what will happen to me... Maybe I’m not fit for a new life, But still I want to see with steel the 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. For him, his homeland is something bright 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 the enmity of tribes passes throughout the entire planet, Lies and sadness disappear, - I will sing with all my being in the poet The sixth part of the earth With the 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 have given not what I gave, what was given to me for the sake of a joke.

One of the poet’s programmatic poems, important for understanding the theme of his homeland, was “The Feather Grass Is Sleeping.” This poem is dated 1925 and belongs to the poet’s mature lyricism. It expresses his innermost thoughts. In the line “rejoicing, raging and suffering” - the difficult historical experience that befell the Yesenin generation. The poem is built on traditionally poetic images: feather grass as a symbol of the Russian landscape and at the same time a symbol of melancholy, wormwood with its rich symbolism and the cry of a crane as a sign of separation. The traditional landscape, in which the personification of poetry is the no less traditional “light of the moon,” is opposed by the “new light,” which is rather abstract, inanimate, and devoid of poetry. And in contrast to this, the lyrical hero of Yesenin’s poem recognizes his commitment to the age-old village way of life.

The poet’s epithet “golden” is especially significant:

I will still remain a poet

Golden log hut.

It is one of the most frequently encountered in S. Yesenin’s lyrics, but it is usually associated with a color concept: golden - that is, yellow, but certainly with a connotation of the highest value: “golden grove”, “golden frog moon”. In this poem, the shade of value predominates: gold is not only the color of the hut, but a symbol of its enduring value as a symbol of the way of village life with its inherent beauty and harmony. A village hut is a whole world; its destruction is not redeemed for the poet by any tempting new thing. The ending of the poem sounds somewhat rhetorical, but in the general context of S. Yesenin’s poetry it is perceived as a deep and sincere recognition of the author.

Thus, the theme of the homeland in S. Yesenin’s poetry develops from an unconscious, almost child-like natural attachment to the native land to a conscious, one that has withstood the test of difficult times of change and turning points of the author’s position.

The name Sergei Yesenin... How poetic it is! The nature of his native country is no less poetic, glorified by a talented writer! Yesenin, like no one else, was able to create a beautiful image of the painfully familiar nature of Russia. There is so much love, tenderness and kindness in his poetic words. The author did not hide his love for the Fatherland and its nature. For him she is perfect - “made of chintz”, she pleases his eye. Yesenin's poems are filled with epithets, comparisons, metaphors and other artistic devices. With their help, he was able to express his feelings.

Once you pick up a volume of this poet’s poems, you will fall in love with him forever. And the secret lies in his sincerity, love, and devotion to his native land. The theme of love for the Fatherland is one of the main ones in his work. He praises her as she is, as she is for him.

Yesenin was born in a village, so nature was very close to him. Despite the fact that he did not live long in the countryside, she remained forever in his memory, in his heart. Nothing can erase a child's memory. Rural nature, peasants, wonderful nature - all this is described in his work. Yesenin was a connoisseur of true natural beauty. He believed that man dissolves in nature. They are one. Nature helps the village man in his hard work.

Yesenin’s lyrics contain notes of sadness due to the fact that he had to leave his native country for some time. The longing for her was so strong that it could be embodied in poetry.

In the poet's poems, nature comes to life. For Yesenin, she is alive, like a person. She sings and rejoices, but sometimes she is sad and even cries. He could live in another country, glorify a different nature, but Sergei Alexandrovich is a true patriot of his Fatherland. He never for a moment forgot about his father's home.

It is the native rural nature that is the main theme of the author’s early works. For the poet, his native village came first. She was inextricably linked with the whole country. For Yesenin, the country and the village are a single whole. Repeatedly the poet turns to the Motherland as to his own blood, a dear person. In the poet's poems we see a simple peasant worker, Ryazan fields. Everything is painfully familiar.

Yesenin's poetry not only expresses love for the Motherland - it is deeply patriotic. This patriotism was sung by the author already in his early poems, and it continued to be sung further. At first it was born in affection and respect for her native village - her small homeland. Then it grew into something more - into a deep feeling for my native country.

Yesenin also had a chance to see the misfortune of his people: the First World War and the Civil War. The poet did not despair. He sincerely believed that his Motherland would be able to survive everything and would again become as before - powerful and beautiful. Although change frightens the poet.

Sergei Yesenin's poems about nature and the Motherland are simple, but at the same time filled with deep meaning. This unsurpassed artist of literature was able to convey to any reader all the love and bitterness that he experienced. Critics often call this deep feeling Yesenin’s poetic world. And they are indeed right.