Essay on the topic: Philosophical motives in the works of S. Philosophical motives of the lyrics of S.A.

The phenomenon of S.A. Yesenin’s poetry lies primarily in the fact that he united, according to Georgy Ivanov, “two poles of Russian consciousness distorted and fragmented by the revolution, between which, it would seem, there is nothing in common.” Yesenin's lyrical hero reflects philosophically on what is happening in Russia, tries to determine the place of man, his spiritual and moral guidelines in difficult times for the Motherland, turning now to the temporary, now to the eternal. With amazing sincerity and confession, the poet repentantly brings his spiritual struggle and his delusions to the reader’s attention. In this one can discern the spiritual courage of Yesenin, who put critical issues human existence in the utmost frankness. Featurephilosophical lyricsThe poet is also the fact that it captures the poet’s spiritual path with mistakes and insights characteristic of a person of his generation. The poet philosophically comprehends the path of a person only in an unshakable connection with the Motherland, and calls only the one who has a feeling of the Motherland a poet.

The lyrical hero of S.A. Yesenin’s poetry goes through a difficult spiritual evolution, which we will consider in the logic of the conditional division of his work into stages: 1) pre-October lyrics (before 1917), 2) post-October lyrics (1st level (1918-1919, 2nd level (1920-1921, 3rd level (1922-1925)). The questions that the poet solves in his work are varied:

the role of the poet and the purpose of art,

life and death,

love and friendship,

the problem of spiritual choice,

But the main thing for him still remains

the task of the relationship between man and God, that is, the question of faith.

Yesenin's early lyrics are collected in the collection "Radunitsa", which means the day of remembrance of the dead, usually the first Monday of the week after Easter. The word itself means “brilliant”, “enlightened”. This is how the first people were called in Rus' spring days. In the name itself we see a metaphor: belief in the eternal resurrection of all living things, association with spring, the time of love and flowering. In creativity of this period Christian symbolism is widely represented (birch trees - “big candles”, spruce trees - nuns, wind - schema-monk) and connections with folklore. In the collection of poems “Radunitsa”, the poet reflects on the beauty of his native land, on the harmony that reigns in nature (Poems: “Hey, you, my dear Rus' ...”, “Beloved land. The heart dreams ...”, “The bird cherry is pouring snow ...”). Reading these poems, we see that the poet is attracted to themes and images associated with Christian life. Yesenin conveys in an artistic image the main component of the Russian mentality - conciliarity. For Yesenin, the entire created world is a temple, like nature itself. All this is the creation of the Lord:

My golden land // autumn light TEMPLE…

The early poems are permeated with quiet and bright joy; the meekness and humility of the lyrical hero before the beauty of God's world permeates his worldview.

In the poem “Flight” (1915) we observe the motive of spiritual temptation, which the lyrical hero:

Keeping the covenant of native beliefs -

To harbor a shameful fear of sin,

I wandered in a stone cave,

Like a tempted monk.

...Like knives on a steel road

Boots were torn on the stones,

And I heard a voice from God:

“Forget what you saw and run!”

Arrival in St. Petersburg became a spiritual crossroads for young Yesenin. During the St. Petersburg period of the life of the young poet, who found himself in the thick of events Silver Age, the temptation of religious mysticism in the spirit of the symbolists Merezhkovsky, Gippius, A. Bely was quite a serious temptation. Neo-Christian ideas permeated the consciousness of the creative intelligentsia, with whom the poet enters into communication. The poem “Flight” shows the precarious state of the lyrical hero, who needs to do right choice. The lyrical hero decides to be with God. The influence of Orthodoxy on the early period of Yesenin’s work is undeniable, just as the bright positive energy of his poetry of this period is undeniable:

I smell God's rainbow -

It's not in vain that I live

I bow to the roadside

I fall down on the grass.

Between the pines. Between the trees

Between birch trees and curly beads,

Under the wreath in the ring of needles

I imagine Jesus.

On the eve of the revolution, the poet’s worldview is connected with Orthodoxy.
The next stage in Yesenin’s lyrics clearly demonstrates to us the spiritual schism and the ways of overcoming it by the poet and his lyrical hero.

2. Post-October lyrics.

The laws of spiritual life, guiding the fate of every person, create solutions to many philosophical problems and determine the main motives of his creativity. In 1917, a spiritual revolution took place in the consciousness of the poet, who

“accepts the revolution with a peasant bias.” Russia is engulfed in spiritual darkness, which the monks of Optina Pustyn defined as mass demonization. Spiritual darkness also enters the consciousness of the poet, affecting his work. In the poem “Inonia,” for example, the poet writes lines that shock us: “Body, body of christ// spitting it out of my mouth.” The blasphemy of this phrase is undeniable, but what so dramatically changes the lyrical hero’s perception of the world? What is the reason for such a metamorphosis in his mind? The cycle of events, the spiritual darkness that has gripped the country, penetrate like a virus into the poet’s soul, giving rise to doubt in his heart. But doubt often visits even believers, and a person’s worldview is often strengthened in the process of spiritual torment. However, doubt does not always lead to truth. We observe these spiritual struggles in Yesenin’s poetry of this period. His lyrical hero absorbs the atheistic motives characteristic of the living reality that split society after the 1917 revolution. Yesenin’s scandalous act, such as painting an exteriorwalls of the Passionate Monastery with a line from his poem “Transfiguration”: “Lord, calve!” This line was perceived as blasphemy, but the poet put into it a completely different meaning than the one that was taken literally. With the word “calved,” Yesenin called on the Lord to “enter the body,” that is, to become incarnate. This is exactly how the poet himself interpreted this line to his friend the poet Oreshin. And yet this situation cannot be perceived positively, since any content of the line on the wall of the monastery is blasphemy. The lyrical hero enters a time of spiritual schism. The deepest crisis can be noted in the poems of 1920–1921 “Confession of a Hooligan”, the cycle “Moscow Tavern” and other poems of the 1920s. they talk about the painful spiritual breakdown that happened to Yesenin then. In the lyrics of this period, motifs of farewell to youth, premonitions of death, mental fatigue and fate begin to sound (“withering away in gold, I will no longer be young,” “where the fate of events is taking us,” “the perilous horn is blowing, blowing”). But since 1922, the motif of repentance appears in Yesenin’s work. Conscience prompted the poet to confess for the mistakes of previous years, which he himself admitted to the poet Vsevolod Rozhdestvensky: “I am not writing to invent something. But because the soul asks. I’m not teaching anyone anything, I’m simply confessing to the whole world what I’m right about and what I’m wrong about.”

Reflections on one’s own imperfection, feelings of guilt, repentance for being too easy on life and one’s mission on earth are the motives that form the core of Sergei Yesenin’s philosophical lyrics of 1922-1925. His lyrical hero approaches a mature understanding of his spiritual path. This is reflected in his poems: “The golden grove dissuaded me,” “You are my fallen maple,” “I don’t regret, I don’t call, I don’t cry,” “Shine, my star.” Don’t fall,” “We’re leaving little by little now.” The mood of the lyrical hero of that period is well conveyed by the lines from the poem “Life is a deception with enchanting melancholy..”:

Life is a deception with enchanting melancholy.

That's why she's so strong

That with your rough hand

Fatal writes letters...

But still, oppressed and persecuted,

I, looking at the dawn with a smile,

On earth, close and beloved to me,

I thank this life for everything.

In 1923, in a letter to the poet Kusikov, Sergei Alexandrovich wrote: “I cease to understand which revolution I belonged to. I see only one thing, that neither to the February nor to the October…” Understanding of historical realities results in the poem “Country of Scoundrels,” brought by Yesenin from abroad. Civil and spiritual courage in a country of great terror is to understand the meaning of what is happening. Line: “My friend. My friend, the eyes that have seen the light // are closed only by death” - becomes prophetic in the fate of the poet.

A special place in Yesenin’s philosophical lyrics is occupied by the poem “The Black Man,” where the motif of death dominates. A conversation with a black person is a dialogue with yourself, with your reflection in the mirror. The black man is a reminiscence from Pushkin’s tragedy “Mozart and Salieri”. Traditionally this image is perceived as a harbinger of death. The doom and feeling of fear of the lyrical hero in the poem are completely justified, since Russia in the 20s. The twentieth century was gripped by a wave of “Great Terror”. In Mandelstam’s poem about a later historical period in the life of the country it will be said: “... I am waiting for dear guests, moving the shackles of the door chains.” The black guest is artistic image, which combines both the internal split of the hero and circumstances (the country is engulfed in arrests, mass terror), allowing the hero to feel the possibility of an invasion into his life from the outside. The hero's state goes beyond the limits of mental balance. He experiences fear and irritation at the same time. The confessional nature of the poem is obvious: built in the form of a dialogue, the work recreates the complexity of spiritual insights and the depth of suffering of the lyrical hero when he realizes the mistakes of his life and the true meaning of fate against the background tragic story Motherland. Presenting a cruel account of his life, the black man is ironic, but he interferes with the true repentance of the hero, drives him into rage, causing the cane to fly into the mirror and break it. At the end of the poem, the mirage dissipates, fear and irritation go away, but loneliness takes over: “I I'm standing in a cylinder. There is no one with me. I'm alone... And broken mirror... " What philosophical conclusions does Yesenin lead us to in his poem “The Black Man”?

It is important to recall that Yesenin read the first version of the poem to his friends already in 1923 upon returning from abroad, where he was struck by the cynicism and spiritual desolation of people. The poet brings us to the idea of ​​a person’s insecurity from the dark, both within himself and without, when he is abandoned by God. His lyrical hero is still only a hero, reflecting the poet’s thought, and it is hardly possible to equate him with the author, even with the deep confessional nature of Yesenin’s lyrics.

We have traced the evolution of the lyrical hero of Yesenin’s poetry in solving complex philosophical issues. There is no need to talk about the life of a poet with passions, mistakes, sins, falls, and delusions. Yesenin’s philosophical maturity grew in the crucible of doubts. But we can draw the main conclusion about the poet. Overcoming oneself, one's soul in words and finding one's spirit through words is the most mysterious and powerful thing in his work.

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

Copper quietly pours from the maple leaves...

May you be blessed forever,

What has come to flourish and die.

A person’s awareness of his place in the world, leaving the vain for eternal truths - this is the path of Yesenin’s lyrical hero, so precisely indicated in the last quote from the poem “I don’t regret, I don’t call. I'm not crying.."

Philosophical motives of S. A. Yesenin’s lyrics. In his poems, there are details that speak of the hard life of the peasants - “caring huts”, “lean fields”, “black, then smelling howl”. Yesenin creates a poetic image of the Ryazan region, his homeland, glorifying peasant labor, which he knows well. For him, the peasantry is the main bearer of “Russianness.” “I still remained a poet / of the golden log hut,” he wrote in one of his poems. This life position the poet determined the features of his poems about his homeland.

Yesenin’s nature is all about endless development and change, the landscape is psychologized. In depicting nature, Yesenin uses the rich experience of folklore. He often uses personification. Nature sings and whispers, is sad and happy, like a person. The color scheme of Yesenin’s homeland is peculiar and unique. Favorite colors are white, blue, gold and light blue. Animals, plants, and natural phenomena are humanized, forming a harmonious world together with people and nature. The poet writes about animals with great tenderness. Christian imagery, pagan symbolism and folklore stylistics form the basis of the poems. The theme of the homeland takes on dramatic shades, nature is shown defenseless.

The harmonious world of Yesenin’s Rus' bifurcates: “Soviet Russia”, “Leaving Russia”.

The lyrical hero's feelings are contradictory, his character is dramatic. Yesenin feels like “the last poet of the village.” The poet’s tragic worldview is expressed in the cycles “Mare’s Ships” (1920), “Moscow Tavern” (1924), the poem “The Black Man” (1925), etc. Yesenin tries to correspond to the times, writes about changes. Reflecting on “where the fate of events is taking us,” he turns to history and creates the dramatic poem “Pugachev” (1921).

Wonderful lines appear, full of sadness about lost youth, thoughts about the transience of time, deep philosophical thoughts about the meaning of life. He's trying to come to terms with new life and by 1924 he already sees Soviet reality differently.

I will chant with all my being in the poet

A sixth of the land with the short name “Rus”.

If earlier the homeland for the lyrical hero was one village, now he becomes a citizen of the world.

The lyrical hero of the work “To Pushkin” stands on Tverskoy Boulevard. He admits that he “dreams about the powerful gift” of the great poet, who “became Russian destiny.” The author says that Alexander “was a rake,” just like the author himself. But “cute amusements” could not “darken” the image of the great poet; his glory was forged in bronze.

And I stand as if before communion,

And I say in response to you:

I would die now from happiness

Yesenin's poems are simple in form and continue folklore and classical traditions. If early lyrics were replete with fanciful metaphors, now they are gone. The poet's figurative structure is characterized by reality, concreteness, and tangibility.

“In my poems, the reader should mainly pay attention to the lyrical feeling and the imagery that showed the path to many, many young poets and fiction writers. I didn’t invent this image, it was and is the basis of the Russian spirit and eye, but I was the first to develop it and put it as the main stone in my poems. He lives in me organically, just like my passions and feelings.”

It poses many questions, addressed primarily to myself: how did I live, what did I manage, why did I come to this world?

Yesenin always felt like a part of this world. He often found a response to his thoughts in the natural world, so his philosophical lyrics are darkly intertwined with landscape ones and filled with analogies between laws human life and the laws of nature.

A striking example of this is the elegy “The Golden Grove Dissuaded” (1924).

“Golden Grove” is a concrete natural image, but it is also a metaphor - the life of a poet, human existence at all. The philosophical content is revealed through landscape sketches.

Theme of fading, sensations last days comes through in the image of autumn. Autumn is a time of silence, bright colors, but at the same time, it’s time to say goodbye. This is the contradictory nature of our earthly existence. Cranes are the leitmotif of the poem, a farewell song to everything young, fresh, to the “lilac blossom” of nature and, most importantly, to the human soul. The man is lonely, however, this homelessness is adjacent to a warm memory:

I stand alone among the naked plain,

And the wind carries the cranes into the distance,

I'm full of thoughts about my cheerful youth,

But I don’t regret anything in the past

Life path passed, nature has completed its circle...

The relationship between human spring and the burning fire of life is expressed through a visible object image: “In the garden a fire of red rowan berries is burning, // But it cannot warm anyone.” Despite this, the lyrical hero is not sorry past life, since being is perceived by him as transitory. “Whom should I feel sorry for? After all, everyone in the world is a wanderer…” – these words contain 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 the fall of autumn leaves: “This is how I drop sad words.”

Despite the tragic sound of the poem, memories of a noisy life cause the lyrical hero to accept death as a given. In general, this elegy is very similar to the confession of a lyrical hero - Yesenin rose above his personal tragedy to universal heights.

Similar thoughts are heard in the poem “I don’t regret, I don’t call, I don’t cry...”

Withered in gold,

I won’t be young anymore” – these lines reflect on the impossibility of turning back time. “Spring echoing early” is 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 “flourish” in the last stanza:

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

Copper quietly pours from the maple leaves...

May you be blessed forever,

What has come to flourish and die

It is to nature that the lyrical hero appeals, it is to her that it is most bitter to say goodbye when standing at the fatal line. The human soul and the World are united, however, sometimes this unity is broken, tragic disharmony destroys the idyllic existence. This can manifest itself in everyday, everyday situations. Thus, in “The Song of the Dog,” a man cruelly violates the laws of nature by taking away newborn puppies from the mother. This not only causes maternal grief and personal tragedy, but also becomes the cause of a disaster of universal proportions: “The dog’s eyes rolled into the snow with Golden tears,” “She looked loudly into the blue heights, whining, And the month slid, thin, And disappeared behind the hill in the fields »

Yesenin is convinced that one cannot interfere with the given course of life, change its pace. The lines from the poem “We are now leaving little by little” sound special: “And the beast, like our smaller brothers, Never hit us on the head.” This is how you need to live, understanding that you are not the master of nature and the world, but a part of them. You need to enjoy the opportunity to contemplate the beauty of the earth, you just need to live, taking from it everything you can. This, according to the poet, is the meaning of life: “Happy that I breathed and lived. Happy that I kissed women, crushed flowers, lay on the grass.”

Seeing people close to him leaving for another world, the lyrical hero himself feels the approach of death. He understands that this can happen at any moment. Such a thought makes you feel creepy and sad, because life is so beautiful and you don’t want to say goodbye to it. Moreover, the lyrical hero is sure that the world of the dead has nothing in common with our world:

I know that the thickets do not bloom there,

The rye does not ring with the swan's neck.

Therefore, before the host of departing

I always get the shivers.

But the poem ends life-affirmingly, like almost all of Yesenin’s philosophical lyrics. While there is still time, you need to appreciate and cherish what you live, love people, admire nature, live in harmony with yourself and the world around you.

Reflecting on nature, on the Motherland, on his personal destiny, the poet inevitably comes to the thought that life must be accepted as it is: “How beautiful the Earth is and the people on it!”

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Homework on the topic: Philosophical questions of existence in the lyrics of S.A. Yesenina.

Composition

The works of Sergei Yesenin are extremely piercingly sincere. The Russian soul itself rings in them, rejoices, yearns, rushes, and “goes through torment.” The confessional, “discouraging” frankness of Yesenin’s lyrics allows us to call the work of this poet a single novel - a lyrical autobiographical novel in verse, a confessional novel.

Starting from his early poems, Yesenin’s poetic worldview is characterized by artistic parallelism, which determined the originality of metaphors in his lyrics. For the poet, the world is animated by a single concept, and correspondences are easily visible between the phenomena of the human and natural, animal and plant, earthly and heavenly, living and inorganic world, giving rise to unusual images:

Little maple baby to the uterus

The green udder sucks.

The main motives and themes of the poet’s lyrics are the theme of the Motherland and nature, the theme of revolution, the motive of the poet’s tragic reflection on life and some others. At the same time, Yesenin’s lyrics are distinguished by the unity of their problematics. It focuses on the portrayal of a dramatic personality at a turning point. The poet conveys his idea of ​​revolution with the image of a red horse (“Come down, appear to us, red horse!”) - a romantic, fantastic image, but akin to the world of birch trees, bird cherry trees and maples, the world of Russian nature. All this formed the basis of Yesenin’s poetry, embodying his ideas about beauty, his desire for a harmonious life.

When Yesenin became convinced that the revolution would accelerate Russia’s transition from the semi-patriarchal rut to the highway of modern machine technology, he took it very painfully. Real revolutionary events, drastic changes in the village - all this in Yesenin’s vision spoke of the death of a meek, patriarchal, secluded Russia, created mainly by the poet’s imagination, with closed customs and interests. The collapse of this illusory idea of ​​rural Russia was natural, but at the same time it seemed to Yesenin that the area of ​​life close to nature and deeply poetic, and therefore the area of ​​feelings, had disappeared. And the poet associated with her an unattainable ideal of spiritual peace, clarity, something welcoming and calm.

The poet opposes technological progress, which destroys the ancient poetic world, associated with patriarchal antiquity, with harmony between man and nature. With his poetry, Yesenin contrasted “Blue Rus'” with the world of people building plants and factories, the “natural” world of the village - with the mechanical civilization of the city.

The collision of the poetic and anti-aesthetic plays out, according to the poet, not only in the outside world. The soul of the poet also becomes its arena. But Yesenin’s position on this problem did not remain constant. This evolution can be traced by referring to the poems “Soviet Rus'”, “Letter to Mother”, “Uncomfortable liquid moonlight...”, “Luck bless every work...”, etc. Gradually, the poet overcomes his utopian ideas about the special peasant path of development of Russia, in his the lyricist became aware of the grandiose meaning of the events taking place.

Poems acquire philosophical overtones, dedicated to the topic tragic thoughts about the end of life. The poem “I don’t regret, I don’t call, I don’t cry...” (1921) is one of the first in Yesenin’s lyrics, which traces the closeness of his position with Pushkin’s perception of the movement of life as a “general law” of existence (“Again I visited...” , 1835).

The lyrical hero of Yesenin’s poem perceives the turning point of his life (“...I won’t be young anymore”) as a change of season, sunrise and sunset. Youth is associated with the “noisy army”, the “pink horse” of dawn, the awakening of the “flame”, the beating of life. At the same time, this is spring blossoming, “freshness”, “wildness”, “high water”, giving way to “withering”, “chill”, refusal of “desires”, a feeling of “perishability”, losses and the expectation of death. The charm of life is smoke, a dream that the lyrical hero perceives as having already “dreamed.” Awakening from it marks the time of maturity, the time of taking stock.

Parallelism between human and natural worlds unusual. Yesenin's metaphors are built on their interpenetration. The confession of the lyrical hero (“I don’t regret, I don’t call, I don’t cry...”) is made not only on his behalf. Nature speaks through his lips, not regretting the white color of the apple trees, the summer “riot” of the birch grove, the leaves falling from the maples, not calling to return what “passes”, not crying about the decay of the world. " General law“is the same for everything and everyone, it is fulfilled quietly, inexorably, “forever” invariably.

And if for nature the change of seasons is hope for the next spring, then for the lyrical hero, who compares himself with a flower, a leaf, and not with the entire universe, each season is unique.

That is why the conclusion of the poem is especially deep and significant for characterizing his inner world:

May you be blessed forever,

What has come to flourish and die.

Spirituality, the rarest gift of life, consciousness that made it possible to comprehend its movement, diversity and unity, which forms the basis of eternity, “came” to the lyrical hero.

Yesenin’s lyrics are significant because the poet is not afraid to reveal complex, contradictory feelings, to touch upon dark sides human soul. It embraces life in all its intensity and concreteness, expresses the Russian spiritual need to “grab over the edge.”

S. A. Yesenin is not a thoughtless singer of his feelings and experiences, but a poet-philosopher. Like all high poetry, his lyrics are philosophical. The poems talk about the enduring problems of human existence, in them the poet’s inner “I” 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 manage, why did I come into this world? The poet's amazing talent was capable of capturing the deepest and most intimate human experiences. Some poems are a “flood of feelings,” bright, joyful, others are full of hopelessness and despair.
Yesenin always felt himself a part of this world, 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, in it one can hear “the chime of the central nature and the essence of man.”
These motives 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 fading, 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 - a time of farewell. This is the contradictory nature of our earthly existence. Cranes are the leitmotif of the poem, a farewell song to everything young, fresh, to the “lilac blossom” of nature and, most importantly, to the human soul. The man is lonely, however, this homelessness is adjacent to a warm memory: “I stand alone in 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 completed, nature has completed its circle...
The relationship between a person’s spring and the burning fire of life is expressed through a visible object image: “In the garden a fire of red mountain ash is burning, // But it cannot warm anyone.” Despite this, the lyrical hero is not sorry for his past life, since existence is perceived by him as transitory. “Whom should I feel sorry for? After all, everyone in the world is a wanderer...” - these words contain 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 the fall of autumn leaves: “This is how I drop sad words.”
Despite the tragic sound of the poem, memories of a noisy life 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 are heard in the poem “I don’t regret, I don’t call, I don’t cry...” “Fading with gold, //I won’t be young anymore” - in these poems there is a reflection on the impossibility of turning back time. “Spring resounding early” is the personification of the youth of nature and the youth of life. The feeling of inescapable sadness, the motive of the lyrical hero’s inevitable misfortune in the face of all-consuming time and eternal nature is removed by the word “flourish” in the last stanza: “We are all, we are all perishable in this world, // Copper is quietly pouring from the maple leaves... // Be but you are forever blessed, // That came to flourish and die.” It is to nature that the lyrical hero appeals, it is to 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. Thus, in “The Song of the Dog,” a man cruelly violates the laws of nature, taking away newborn puppies from the mother. This not only causes maternal grief and personal tragedy, but also becomes the cause of a disaster of universal proportions: “The dog’s eyes rolled // Like golden tears into the snow,” “Into the blue heights, loudly // She looked, whining, // And the month slid, thin, // And disappeared behind a hill in the fields.” You cannot interfere with the given course of life by changing its pace; this will then be poured out to humanity in the tears of animals. Therefore, the lines from the poem “Now we are leaving little by little” sound special: “And the beast, like our smaller brothers, // Never hit you on the head.” This is how you need to live, understanding that you are not the master of nature and the world, but a part of them. You need to enjoy the opportunity to contemplate the beauty of the earth, you just need to live: “Happy that I breathed and lived. // Happy that I kissed women, // Crushed flowers, lay on the grass.” We need to appreciate what life has given us, enjoy every day, love the living.
It is very difficult to choose Yesenin’s poems that relate to philosophical lyrics, because all of his work is like that. Reflecting on nature, on the Motherland, on his personal destiny, the poet inevitably comes to the idea that life must be accepted as it is: “How beautiful // the Earth // And there is a person on it!”
Thoughts about the inevitable, eternal change of generations, about the inexorable rush of life in which one must take one’s place, fulfill one’s destiny, feeling oneself as an essential, irreplaceable link in a long chain connecting the Past and the Future, have always been heard 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 comprehensive answers to philosophical questions. Therefore, Yesenin’s creativity is priceless and immortal.