Research on literature "house as an artistic image in the work of Sergei Yesenin". Open lesson on Russian literature "Theme of the House in the lyrics of S. Yesenin" Native house in Yesenin's lyrics
Lesson-reflection on the lyrics of Sergei Yesenin.
Theme "The theme of the House in the lyrics of S. Yesenin"
Lesson Objectives: 1) to show in development the artistic image of the House in the work of S. Yesenin, its philosophical depth, capacity.
2) to teach to analyze a lyrical work.
3) to cultivate love for the Fatherland, moral ideals; to awaken in children aesthetic experiences associated with the perception of poetry, music, painting.
Equipment: photos of Yesenin's mother. Tatyana Fedorovna, and at home in Konstantinov: texts of poems for each student; recording of a musical composition performed by an orchestra of folk instruments; reproduction of K. Petrov-Vodkin's painting "Mother".
DURING THE CLASSES
Introduction. Very soon you will have to write an exam essay. One of the topics offered at the exam is the so-called "cross-cutting", that is, traditional for Russian literature. We are talking about spiritual, moral categories: a person in search of a sisel of life, the theme of the Motherland, nature, love, mercy, honor and duty, etc. Today I propose to reflect on the theme of the house, which sounds especially alarming in XX century. Consider how the image of the House, the family hearth, develops in Yesenin's lyrics.
“Goy you, my dear Russia ...” (1914). Against the background of music, an orchestra of folk instruments) I read a poem by heart.
- What is the mood of the poem? It sparkles with happiness, joy, permeated with love for the native land.
- Why does the lyrical hero compare himself with a passing pilgrim?
Wanderers-pilgrims went to holy places, monasteries, prayed to miraculous icons. And the lyrical hero worships fields, poplars, huts.
- Thanks to what is the characteristic image of a peasant hut born in the first stanza? (Due to the fact that the main thing is highlighted: “huts are in the robes of the image.”) What is an image? (Icons.) And the riza? (Gilded frame, icon salary.)
- What color image is adjacent to the metaphor of "hut-image"? "Only the blue sucks the eyes." Let's listen to the line. (I read, highlighting consonant sounds.) What did you notice in the sound of the line? Sound writing, alliteration for whistling consonants is used by the poet. And for what? What picture is being born? Blinding, corroding blue eyes. Do you know the feeling of a piercing blue expanse when you involuntarily squint your eyes?
- But Yesenin's color painting is symbolic. What does blue meanblue in early lyrics? It is heavenly, mountainous, exalted. “Something blue” Yesenin even heard in the word “Russia”: “It contains dew, strength, and something blue ...” It turns out that an elegant peasant hut is not just a dwelling, it is something sacred. Home is the embodiment of love.
- Let's see what sounds the poem is filled with.
Girlish laughter, dancing in the meadow - major sounds. And although there are no people in the poem, they are invisibly present in the sounds of folk festivals. The poet is not alone, he feels himself a part of his people.
- What smells does the poet convey? With which Orthodox holiday are they related? The smell of apples and honey is associated with the Savior.
It is a wonderful tradition to bring the first harvest of apples and the first harvest of honey to the temple. Our ancestors subtly felt their connection with nature; not masters, not conquerors, but children of nature, they felt themselves and "meekly" thanked the Creator for his generosity - maybe that's why Yesenin Spas called "meek."
So, all the images of the poem, color painting and even the old Russian word "Rus" instead of "Russia" affirm the inextricable link between times, man and nature. Such depth is revealed to us in 20 lines of a youthful poem! .. Researchers say that Yesenin had practically no student period - he immediately declared himself as a great original poet.
- Let's summarize. I will start the sentence and you will finish. The image of a peasant hut in Yesenin's early lyrics is the personification of ... (Motherland, nature, home, continuity of generations, historical traditions of the people).
the image of the hut, home found in many poems of the poet.
Hut-old woman jaw threshold
Chews the odorous crumb of silence...
Where are you. where are you, father's house.
Warming his back under the hillock? ..
I left dear house.
Blue left Russia ...
Hear what notes creep into these verses?.. In the 1920s, the mood of the verses changed dramatically, and romantic image the hut came a terrible image of "skeletons of houses." In the 1920s, the motif of returning to one's native home sounds more and more insistently ("Soviet Russia", "Departing Russia"). In the poem “Return to the Motherland”, Yesenin does not recognize his native home, in which on the wall instead of an icon there is “calendar Lenin”, “exactly like in the city”. The city is advancing on the village, strangling it with the "stone hands of the highway." And Yesenin's city is not only the embodiment of technical civilization, it is a new ideology hostile to man. Yesenin felt the death of the village earlier than others. And yet, although the icon was replaced by the “calendar Lenin”, and instead of the Bible in the hut “Capital” by Marx, Yesenin admits:
But somehow still with a bow
I sit down on a wooden bench.
- Why do you think...
And in another poem, “The feather grass is sleeping, dear plain ...” the poet admits:
I still remain a poet
Golden log cabin.
Yesenin was very homesick, for his mother, often visited Konstantinovo. In 1925, in the last year of his life, Yesenin was at home five times. During this period, he writes poems-messages to his grandfather, sister. Three poems are dedicated by the poet to his mother, Tatyana Fedorovna.
We listen to the poem "Letter to Mother" (music enters along with the theme of the house).
- Such a simple poem about yourself, about your love for your mother. And it seems to apply to all of us. Why is this happening? We all feel guilty about our mother. We offend, excite mothers, and they forgive because they love, because they regret. Tender tender words were found by the poet for his mother. What kind?..
- Let's try to unravel the secret of the emotional impact of the poem. What style of words predominate here? colloquial, colloquial(very much, bitter drunkard, sadanet). it native language understandable to her. But in simple words can be expressed and high meaning. Twice Yesenin resorts to high style. Have you already found this expression? Of course, this is the image of "evening unspeakable light." What does "unspoken" mean? (Unspeakable, which cannot be expressed in words.)
Evening light - how do you visualize it?
Blue, starry, lunar - coming from heavenly bodies. The pronoun "that" also indicates the higher origin of this light (not of this world). Like a halo, a radiance over the hut (for this is not just a hut, but a father's house), over a simple woman in an "old-fashioned dilapidated shushun" (for she is the Mother, the guardian angel).
It seemed to me that the poem and the painting by K. Petrov-Vodkin, a contemporary of Yesenin, are very consonant. And what do you think?
Both the poet and the artist sing of maternal love. We see both women in the hut. The same log walls, a wooden table, a glass of milk. But in simplicity lies the poetry of life.
Pay attention to the fact that the kiot is a goddess, the place for icons is ruined. And Yesenin: “And don’t teach to pray, don’t need to ...” But the Mother of God did not leave her mothers: neither old nor young. She always protects their children too... The same blue light as in the poem streams through the window into the upper room. The window occupies an important place in the composition of the picture, it connects the world of the house with the vast world. As if the artist wants to say that only a mother with her all-forgiving love will save the world. mired in endless wars, enmity.
- Let's get back to the poem. Finish the phrase: Yesenin's house in his later poems is the embodiment of ... (warmth, comfort, holy maternal love).
After the children's answers, we turn to the board, open the record, compare the students' conclusions with the thesis they were supposed to come to.
Board writing: The house in Yesenin's lyrics is the personification of the Motherland; a family hearth warmed by maternal love; The house is a historical memory, a spiritual cradle.
This is the concept of Yesenin's House.
In the following lessons, you can conduct a seminar “The theme of the House in prose XX century", students will independently prepare reports on the novel by E. Zamyatin "-We", the story by A. Platonov "The Pit", the novels by M. Bulgakov "The White Guard". * Master and Margarita, M. Sholokhova Quiet Flows the Don.
"WHERE ARE YOU, WHERE ARE YOU, FATHER'S HOUSE?" THE IMAGE OF THE HUT / HOUSE IN YESENIN'S WORKS.
Annotation. The article deals with the images of the hut / house in the lyrics of S. Yesenin at various stages of his work.
Initially, the hut (hut) in Yesenin's poetry has a specific meaning and denotes a peasant dwelling and the main attributes
peasant life. So, in the poem “In the hut”, Yesenin dwells in detail on individual loci of the hut (hut). But it is not
static paintings and sketches. Yesenin's hut is endowed with its own smells (wasting away with loose drachens, kvass), sounds (rustle
cockroaches, clucking chickens), its own life unfolds in it. All this allows the poet to present the hut voluminously and holistically.
The reader seems to be in the hut himself, sees it from the inside in real time:
It smells of loose drachens,
At the threshold in a bowl of kvass,
Over turned stoves
Cockroaches climb into the groove.
Soot curls over the damper,
In the oven, the threads of popelits,
And on the bench behind the salt shaker -
Husks of raw eggs.
Mother with grips will not cope,
bending low,
The old cat sneaks up to the shawl
For fresh milk.
The young poet managed to poeticize the prose of peasant life. Under his pen are ordinary paintings that acquire a high poetic content and, most importantly, convey the poetry of a thousand-year-old peasant culture.
In the world of Yesenin, this poetic model of the “hutted space” did not receive sufficient development, although in his early work he would repeatedly sing the Russian hut or hut as the main symbol of peasant life, his homeland, “blue Russia”, such as, for example,
in the poem "Goy you, Russia, my dear ...".
It not only recreates the image of a peasant paradise, but also the huts (huts) themselves appear in the form of icons in salaries (robes):
Goy you, Russia, my dear,
Huts - in the robes of the image ...
See no end and end -
Only blue sucks eyes.
But by about 1917, the key image of the hut in Yesenin's lyrics expands, growing into a house-hut, a house-family, a house-Temple, a house-Russia. There is a change of the lexeme "hut" to the lexeme "house". If the hut determines the chronotope of peasant life, then the house means the father's house, family, small homeland, Russia. This is both a concrete Konstantinovsky house, and a native village, a family and intimate world of a person:
Where are you, where are you, father's house,
Warming his back under the hillock?
Blue, blue is my flower
Rough sand.
Where are you, where are you, father's house?
The native house firmly holds a person on the ground, helps to withstand the hardships of life. F. Abramov spoke well about such a house in a novel of the same name: “A person builds the main house in his soul. And that house does not burn in fire, nor does it sink in water.
Yesenin's image of the House incorporates both the mythopoetic representations of the Russian people and the sacred, symbolic meaning of the house, characteristic of the Russian national literary tradition. AT modern research many meanings of the semantics of the house are distinguished, which are also characteristic of Yesenin's lyrics. A house is also housing, a building, a place where a person is expected, loved, where
certain relationships with other people, where there is a family, a certain way of life, a connection between generations, where you can hide, retire, a place that a person feels like his own "I". But the house is also a spiritual house, the Temple, the place where the Motherland begins.
The motive of his lyrics is the motive of parting and meeting with his native home. But at the same time, parting with his native home for the poet is at the same time a farewell to "blue Russia". This "low house with blue shutters" is a symbol of the motherland, it is inseparable from the natural world. Therefore, the sadness of the mother, from whom the son leaves, is transmitted to nature itself:
I left my home
Blue left Russia.
Three-star birch forest over the pond
The mother's old sadness warms.
The native home is always present in the mind, in the heart of the poet, and meetings with him, real and imaginary, support in the most difficult moments of life, resurrect tender feelings and memories:
This street is familiar to me
And this low house is familiar.
wire blue straw
Dropped over the window.
There were years of severe disasters,
Years of violent, insane forces.
I remember my village childhood
I remembered the rustic blue.
I did not seek glory or peace,
I am familiar with the vanity of this glory.
And now, when I close my eyes,
All I see is my parents' house.
I see a garden covered in blue
Quietly August lay down on the wattle fence.
They hold lindens in green paws
Bird chirping and chirping.
Yesenin's theme of an abandoned and newly found home, departure and return, includes the motif of the prodigal son, who
sounds particularly poignant in the lyrics and lyrical epic of the 1920s:
Again I returned to my native land.
Who remembers me? Who forgot?
I stand sadly, like a persecuted wanderer,
The old owner of his hut.
The image of the house in Yesenin's lyrics is associated with the house-Russia. But in the tragic period of post-revolutionary reality collapses
a traditional peasant house, they are trying to replace it with a “general propetarian house” (Platonov. “Kotpovan”). The traditional Russian village is dying out, peasant culture is losing its spiritual mycelium, and the parental home is burned down by fire. “Blue Russia” is being replaced by “Soviet Russia”, and there is no place for its recent singer in it:
I don't know anyone here
And those that remember, have long since forgotten.
And where there was once a father's house,
Now lies the ashes yes layer
road dust.
Yesenin's work of the 1920s is all imbued with the motif of homelessness, wandering, homelessness. Homelessness of the lyrical hero in the all-Russian home, native country:
and in my head a swarm of thoughts pass:
What is homeland?
Are these dreams?
After all, I'm a pilgrim for almost everyone here
sullen
God knows how far
The construction of a new, Soviet house in the revolutionary and post-revolutionary years turned into general homelessness and homelessness. At a time when proletarian poets sang of the "commune reared Russia", Yesenin is one of the first in our literature with pain in his heart to write about homeless Russia, the fate of thousands and thousands of Soviet Oliver Twists. There is no future for a country whose homeless children are left to fend for themselves:
But there is on this
sad earth,
That all the good
And the evil ones are forgotten.
Boys seven or eight years old
They scurry among the states without a prize,
Incorporeal gnarled bones
They are a sign to us
Heavy reproach.
In the Soviet years, the hut with its age-old traditions leaves Russian poetry. For the last time, the poet will sing a song to her in the famous poem “The feather grass is sleeping. The plain is dear ... ", although the "golden log hut" here has already remained all in the past, along with its "blue Russia".
In the last years of Yesenin's life, the system of key images of his artistic work is changing. The poet makes a difficult path from a peasant poet to a poet of all-Russian and world scale, from singing the house-hut to the house in the human soul. A house that presupposes the inherent value of individual human existence in the most diverse forms of being, what his favorite poet Pushkin artistically succinctly formulated: "Man's self-reliance is a guarantee of his greatness."
Yesenin's hooliganism and his "Moscow tavern" is not so much an escape from the soulless world as a challenge to it with their disobedience, marginal behavior. Unfortunately, some researchers like to savor the facts of Yesenin's biography related to his hooliganism. Significantly "went too far" in this regard and the creators of the television series "Yesenin" with Sergei Bezrukov in the title role.
Yes, Yesenin is the singer of the "golden log hut", "raspberry field", "blue Russia". And this is how many of his readers and researchers of creativity wanted to see him and see him. But Yesenin is irreducible only to this topic.
His all-Russianness and universality primarily lies in the fact that he is the spokesman of the human soul with its joys and pains, mood swings, sadness and sadness, faith and unbelief, hope and despair, what is revealed to us in high, decisive moments of our existence. Unfortunately, for a long time we didn’t know and didn’t understand such a poet, and we considered poems about the drama of a person in a “life torn apart by a storm” as “decadent”.
Nature lives its deep, integral life: it rejoices, shines at the moments of sunrise, sad and sad at the hours of evening sunset. Yesenin's lyrical hero seems to respond to all this, feels and experiences, but these are all feelings caused by contemplation, they are secondary. His immortal soul experiences an unquenchable longing because her stay on earth is short, instantaneous, but she fell in love with this land so much that every day of her stay on it is perceived as another day of parting with her fields, fields, meadows and thickets:
Lovely birch thickets!
You earth! And you, plains sands!
Before this host of departing
I can't hide my anguish.
I know that in that country there will be no
These fields, golden in the mist.
That's why people are dear to me
that live with me on earth.
But despite the growing tragedy of the poet's perception of being, "his sadness is bright", there is no hopelessness in it. His lyrical hero seeks and finds harmony in life itself, its fleeting joys and various manifestations. In communion with the people with whom I had a chance to live, immortal nature with its imperishable beauty. And the "low house with blue shutters," which more and more often
appears in the poems of the poet recent years life, is no longer only a stepfather's house, a symbol of the Motherland, but also a saving house-Temple:
Yesenin briefly described the creative path that he had traveled - for him the main thing was always the feeling of the Motherland. First of all, it was the Motherland that was the native home for the poet. His work is associated with the expression "Rural Russia", and with boundless love for the countryside, open spaces, nature, Russian life. According to Yesenin, this love originated in the native village of Sergei Yesenin Konstantinovo, with which the poet always felt a close connection, even if he was very far from these places.
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The image of the native home is given a significant role in Yesenin's lyrical poems.
The short poem "Rus" was the most significant work. S. Yesenin creates an image of the native land as a whole in it. He is puzzled by the question concerning her fate, describes the suffering and hopes of his own people, and makes an attempt to find the answer to the question why he experiences a feeling of love for his homeland.
The poet endlessly cherishes all the signs of his native land. Most of all, he cherishes her great people, who cope with great troubles and suffering without complaint, and live by faith in the bright future of the Fatherland. The poet called one of his nostalgic poems "Letter to Mother". On the part of S. Yesenin, an appeal sounds to the beloved and dearest woman, as an attempt to hide from longing. The hero was flooded with memories of his old mother and his home. The main joy for his soul is love for his mother and the house in which he lived. Two inseparable images, personifying the peace and tranquility that the poet seeks to regain.
Almost all his life, S. Yesenin was preoccupied with the fate of the Russian village. The poet in his early poems depicts the Russian village, first of all, showing the beauty of nature. But having reached adulthood, S. Yesenin begins to think about what future awaits Russia and the Russian village. Of course, faith in the renewal of Russia lives in him, but he bitterly admits the fact that: “there is not the socialism” on which he had pinned his hopes. The poet begins to feel sad "for the departing, ... dear", to be afraid that the old Russian village will be crushed by the power of a dead mechanical city. Yesenin, as a patriot, wanted to see the Motherland strong. Though he always remembered log cabin”, as a symbol of a small homeland for him.
Updated: 2017-01-08
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How often people, speaking the word "home", do not separate it from the perception of their native village, small homeland. Daughters and sons who have left him come to the parental home to rest here with a tormented soul. So it was with the great poet S.A. Yesenin.
Yesenin's homeland is women and men working on currents, "crimson field", "spirited oak forests", "birch thickets", "scarlet dawns", "yellow nettle", "old mill - nurse", and, of course, the poet's house , which was for Yesenin a support and support in life. In one of the poems, the author says: "We are all homeless, how much do we need ...". It turns out that there is not much: so that there is somewhere a father's house, an "old mother", a "parents' dinner" and "the warmth of the family." In difficult moments of trials, it was enough for the poet to "close his eyes" to see his parents' house, "the native outskirts, through a snowstorm a light at the window."
Bit by bit from the many poems of the poet, you can collect and imagine what it was like, Yesenin's home. Undoubtedly, this is a “low house with blue shutters”, next to it is a “dry wattle fence”, a little further away is an “old maple tree on one leg”. And you open the door to the hut and you will see a modest peasant dwelling. In the corner is an icon of the Mother of God with a towel embroidered with "red threads"; a little further away - a cradle, with a "child" lying in it and a stove!
What Russian hut could do without a huge, cleanly whitewashed stove, which “howled wildly and strangely on a rainy night.” What did a Russian stove mean for a person of that era? This is an opportunity to keep warm on frosty days, and "to expel the illness, pretty sweating." And what could be more fragrant and tastier than pies with a slightly burnt crust, which were prepared with love by an old mother! How many fairy tales were told, how many songs were sung on a hot couch! It is no coincidence that, being separated from his native home, Yesenin asks his sister Shura:
You sing me that song that before
Our old mother sang to us.
No regrets for the lost hope
I can sing along to you...
You sing to me. After all, my consolation -
That I have never loved alone
And the gate of the autumn garden,
And fallen leaves of mountain ash ...
"Autumn garden gate", "rowan leaves" - this is also Yesenin's birthplace. The house, the garden, the "old cat", "restless squawking chickens", "curly puppies", "decrepit cow" and even the smell of "fresh milk" in the hut - all this is so close, dear to the poet's heart. Yesenin does not need another side:
Oh, and I know these countries -
He himself went a long way there,
Only closer to home
I would like to turn around now.
But that gentle slumber faded away,
Everything rotted in blue smoke.
Peace to you - field straw!
Peace to you - wooden house!
LOVE
"I love and, therefore, I live!" (V.S. Vysotsky)
I love and therefore I live!
I will lay the fields for lovers,
Let them sing in a dream and in reality!
I breathe - and that means I love!
I love - and, therefore, I live!
V. S. Vysotsky
L.N. Tolstoy has a story “What makes people alive”. Thoughts run through the entire work of the great humanist that people live not by taking care of themselves, but “by love alone. Whoever is in love is in God and God is in him, because God is love.” What did the author mean by repeating this phrase? I think, not only about love for God, for the Motherland, for my family, I thought. L.N. Tolstoy, but also about the love of a man for a woman ...
Vivid examples of true love, without which life is impossible, were drawn in their works by Russian classics. Let's remember the desperate Katerina Kabanova, married woman, who dared to fall in love with Andrei Bolkonsky and Pierre Bezukhov, who idolized Natasha Rostova, the little official Zheltkov, as an oath, reciting the hymn to the beloved woman: your name!»
The hero of I. Turgenev, the rebellious Bazarov, also loves, who, before meeting with A.S. Odintsova, cynically reasoned that love does not exist at all, did not take women for equals, believed that only freaks think freely between them. And here is the meeting with Anna Sergeevna, whom he also initially looks at as some kind of category of mammals. But these are all words! From the first minute, noting her amazing shoulders and the fact that she doesn’t look like other women, the nihilist felt the eccentricity of this woman. Having met her at the hotel, Bazarov is embarrassed, embarrassed, for which he is annoyed with himself that "he was afraid of the women!" During the day, he repeatedly surprised Arkady with verbosity, so uncharacteristic of him, the topic of a chosen conversation, by the fact that he clearly tried to occupy his interlocutor ... Everything indicated that Bazarov was fascinated by the provincial landowner. His assessment of this woman sounds rude - "first class ”, but frank admiration is heard in it.
I love to read and reread the chapter in which I.S. Turgenev describes how Bazarov’s great true love is born. He, who was not afraid of anything or anyone, is shy in the living room of Odintsova’s house, laughs at himself that he has become meek, tries to be near her more often, is amazed at how much this “woman with a brain” wants to know. When visiting Odintsova, Bazarov is constantly irritated, grumbling about the measured solemn correctness of daily life. Indignant at life on schedule, which is rolling along like rails, he did not yet realize that his dissatisfaction had another reason. The hero was irritated by the anxiety that appeared in the soul, which "tormented and infuriated him." As soon as he remembered Odintsov, his blood caught fire. But Bazarov, a strong man, could easily cope with his blood. Irritation appeared because, left alone, he indignantly recognized the romance in himself. Loving romance! What Bazarov doesn’t do to suppress his love for this woman: he walks with long steps through the forest, breaks branches, scolds in an undertone, climbs into the hayloft, stubbornly closing his eyes, forces himself to sleep ... But through his closed eyelids he sees her, feels how these chaste hands someday wrap around his neck, that these proud lips will answer his kisses ... And how sincere our hero is in the moments of explanation with Odintsova: “So know that I love you, stupidly, madly ...” Here it is, love, without which man cannot live! Love given to an atheist by God!
Thus, most people cannot live without love, this wonderful feeling that gives lovers not only happiness, but also life!
“Love is a lightning bolt, it flared up and went out.” (I. Bunin.)
M. Lermontov has wonderful lines:
I can't define love
But this passion is the strongest! - be in love
The need for me...
Could not define what love is, many famous philosophers, writers, poets. They could not because “love, according to K. Paustovsky, has thousands of aspects, and each of them has its own light, its own sadness, its own happiness and its own fragrance.”
A peculiar look at this most beautiful feeling in the Russian writer I. Bunin. In the collection "Dark Alleys" he talks about love, bright and unusual, inflamed and extinguished. It is no coincidence that the author of these short stories owns the words: "Love is a lightning bolt, it flared up and went out." I don’t think that by the word “extinguished” Bunin meant the episodic feeling, its inconstancy. No, it's something else. "Got out", which means that it did not illuminate the beloved with happiness, but only illuminated with memory ... Let's take any Bunin's story and make sure that at least one of the heroes continues to love and remember after the break.
Here is Nadezhda, the heroine of the short story "Dark Alleys", for thirty years she has been faithful to the man who left her. Verna, because she loves and ... cannot forgive. Here it is, a lightning bolt that flared up instantly and lit up, if not with happiness, but with sadness, the whole life of this strong woman.
The heroes of the story "Natalie", who have been walking towards happiness, happiness together for decades, having conquered separation, distance and even time. But, alas, you can’t escape fate ... Finding each other, choking with happiness, they lose it: death destroys their union ...
Or the hero of the story "Clean Monday", madly in love with a beautiful, mysterious Muscovite. In his eyes, the beloved is perfect, and not only in his! The famous actor-womanizer Kachalov, and he, admiring the charming girl, calls her "Tsar Maiden, Queen of Shamakhan... "Not only for the beauty of the young man loves his chosen one, but also for the mind, erudition, decency, honesty. He loves, but does not find happiness. The girl chooses a different path for herself: refusing worldly life, she, without saying a word to him, goes to the monastery for a great tonsure. And a man rushes around Moscow in anguish, trying to drown his grief, his unrequited feeling in wine ...
All the examples I have given show that I. Bunin believed in love, bowed before it, sang about it! But, alas, he sang unrequited, unhappy, lost love ... (329 words)
How often people, speaking the word “home”, do not separate it from the perception of their native village, their small Motherland. Daughters and sons who have left him come to the parental home to rest here with a tormented soul. So it was with the great poet S. A. Yesenin.
Yesenin’s homeland is women and men working on currents, “crimson field”, “spirited oak forests”, “birch thickets”, “scarlet dawns”, “yellow nettle”, “old mill - nurse”, and, of course, the poet's house , which was for Yesenin a support and support in life. In one of the poems
the author says: “We are all homeless, how much do we need.” It turns out that there is not much: so that there is somewhere a father's house, an “old mother”, “parents' dinner” and “family warmth”. In difficult moments of trials, it was enough for the poet to “close his eyes” to see the parental house, “the native outskirts, through a snowstorm a light at the window.”
Bit by bit from the many poems of the poet, you can collect and imagine what it was like, Yesenin's home. Undoubtedly, this is a “low house with blue shutters”, next to it is a “dry wattle fence”, a little further away is an “old maple tree on one leg”. And you open the door to the hut and you will see a modest
peasant housing. In the corner is an icon of the Mother of God with a towel embroidered with “red threads”; a little further away - a cradle, with a "child" lying in it and a stove!
What Russian izba could do without a huge, cleanly whitewashed stove, which “howled wildly and strangely on a rainy night.” What did a Russian stove mean for a person of that era? This is both an opportunity to keep warm on frosty days, and “to expel an ailment by sweating pretty much”. And what could be more fragrant and tastier than pies with a slightly burnt crust, which were prepared with love by an old mother! How many fairy tales were told, how many songs were sung on a hot couch! It is no coincidence that, being separated from his native home, Yesenin asks his sister Shura:
You sing me that song that before
Our old mother sang to us.
No regrets for the lost hope
I can sing along to you.
You sing to me. After all, my consolation -
That I have never loved alone
And the gate of the autumn garden,
And fallen rowan leaves.
"Autumn garden gate", "rowan leaves" - this is also Yesenin's birthplace. The house, the garden, the “old cat”, “restless squawking chickens”, “curly puppies”, “decrepit cow” and even the smell of “fresh milk” in the hut - all this is so close, dear to the poet's heart. Yesenin does not need another side:
Oh, and I know these countries -
He himself went a long way there,
Only closer to home
I would like to turn around now.
But that gentle slumber faded away,
Everything rotted in blue smoke.
Peace to you - field straw!
Peace to you - a wooden house!
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