Folklore images in the lyrics of the block. Folklore motifs in the works of S.A.
Abstract open lesson on literature
Grade: 11
Work : Lyrics. Poems about the Motherland.
View : A lesson in applying the acquired knowledge.
Type : Lesson - seminar.
Subject: “It’s all about Russia” (Blok). The theme of the Motherland in Blok’s works.
Equipment : portrait of A.A. Blok; reproductions from paintings by M. Vrubel “The Swan Princess”, “Pan”, “Lilac”, “Swan”, “Towards Night”; poem analysis plan; texts of poems: “Rus”, “Russia”, “On the Kulikovo Field”.
Epigraph: ...My topic stands before me, the topic of Russia... I consciously and irrevocably devote my life to this topic. I realize more and more clearly that this is the primary question, the most vital, the most real...
A.A.Blok
Lesson objectives:
- Educational: show the place and significance of the image of the Motherland in Blok’s work; identify the connection of this image with the poet’s thoughts about the artist’s duty and the purpose of art; give students the opportunity to demonstrate independence and present the results of long-term creative work.
- Developmental: development of the ability to analyze, synthesize, generalize; develop the skills of independent comprehension and perception of Blok’s lyrics, correlating them with their internal ideas.
- Educational: to promote the development of students’ interest in the work of the poet and his personality; cultivate love for the Motherland, emotional and intellectual responsiveness.
Goals for students:
- Independently analyze Blok’s poems (in groups), see how the theme of the Motherland is revealed in them.
- Be able to find artistic and visual means, determine their role in the text.
- Develop skills in expressive memorization of Blok’s poems.
Lesson plan:
1. Organizational moment.
2. Organization of group work. Correction and deepening of the results of self-awareness and comprehension of the poet’s lyrics.
3. Summing up the seminar.
4. Homework.
Methods and forms of work:
Methods : verbal, visual, reproductive.
Techniques: oral presentations of students (messages, analysis of poetic text, expressive reading by heart).
The main form of work in the lesson is group
Types of reading activities: reading, speaking, listening, writing.
Types of speech activity: monologue, dialogue, text analysis, identification of tropes, expressive reading by heart.
Preparation for the lesson:
Students: are divided into 4 groups and receive an advanced task: to memorize the poems “Rus”, “Russia”, “On the Kulikovo Field” and analyze them according to plan. Prepare tasks No. 1.3 (optional No. 2) from individual tasks for independent work, given before studying Blok’s work.
Teacher : 1. Divides students into groups and gives tasks to each group.
2. Conducts consultations for students, recommends literature.
3. Prepares visual aids: portraits, reproductions from paintings; thinks over the design of the board.
During the classes:
I.Organizational moment.
Motivational start to the lesson. Subject message. Goal setting.
II.Teacher's opening speech.
In 1911–1912, Blok reworked his five collections into the three-volume “Collected Poems.” Since then, Blok’s poetry has existed in the reader’s consciousness as a single “lyrical trilogy”, a unique “novel in verse”, telling about spiritual path poet. Blok called his creativity a process of “incarnation.” The “incarnation” trilogy reflects three stages of this process. The “thesis” of the first with the worship of the ideal is contrasted with the “antithesis” of the second, with the rampant elements of the real world and the loss of the ideal. At the third stage, “synthesis” occurs - the acquisition of new positive values. The Motherland becomes the collective image of all lost values. The poet is overwhelmed with anxiety about her fate and regains his ability to feel. World human life correlates with the world of higher harmony, which is conceived as a kind of musical civilization colliding with a “non-musical” bourgeois civilization. Blok strives to penetrate beyond the outer shell of the visible world and intuitively comprehend its deep essence, its invisible secret.
“Rus” - one of the first poems dedicated to the Motherland - appeared in 1906 and was included in Blok’s second book of lyrics. “I consciously and irrevocably devote my life to this topic. I realize more and more clearly that this is the primary question, the most vital, the most real. I have been approaching it for a long time, from the beginning of my adult life, and I know that my path in my main aspiration is like an arrow, straight...”, the poet wrote.
III. Performance of the first group. Expressive reading by heart and analysis of the poem “Rus”.
Task: to trace how Blok created the image of the Motherland, to identify the main motives, symbols and other images, the peculiarity of the poetic structure of Blok’s lyrics.
Assignment for class students: As you read and analyze the poem, make notes in your notebooks.
Questions and tasks for analysis(written on the board):
- What images did you see in the poem you read?
2. Find figurative and expressive means, determine their role in the creation of these images.
3. What is the motive, the poetic idea of the poem?
4. What feelings did the poem you read give you?
(At home, students analyzed the poem more fully in accordance with the plan).
IV. Teacher's word.
The variable repetition of the first stanza as a chorus at the end of the poem is a stressed note.
I doze - and behind the doze there is a secret,
And Rus' rests in secret,
She is extraordinary in dreams too.
I won't touch her clothes.
The poet insists on an intuitive comprehension of the secrets of the national spirit, the spirit of Rus', by which it lives. M. Vrubel’s paintings “The Swan Princess”, “Pan”, “Lilac”, “Swan”, “Towards Night” are very consonant with Blok’s perception of Rus'.
V. Performance of the second group.
Task: determine what role color plays in Blok’s poetry, which unites the poet’s lyrics with the works of the Russian artist.
Exercise: find symbolic images, a rich associative series, the possibility of a diverse reading of the canvas. Look at the artist’s paintings and answer the question: How are they consonant with Blok’s poetry? Read A.A. Blok’s article “In Memory of Vrubel”, prepare a message on the topic “Blok and Vrubel about the Motherland.”
VI. Teacher's word.
In the third book of lyrics, an entire section “Motherland” (1907 – 1916) is devoted to the theme of Russia. In 2010, our country celebrated 630 years since the Battle of Kulikovo.
The battle on the Kulikovo field, in the area of the Don and Nepryadva rivers, which took place on September 8, 1380 between the army of the Golden Horde Khan Mamai and the army of the Moscow Grand Duke Dmitry Ivanovich, later nicknamed Donskoy, ended in a decisive victory for the Russians and played an important role in the liberation of Rus' from the Mongol-Tatar yoke . According to Blok, the Battle of Kulikovo belonged to the “symbolic events of Russian history” that were “destined to return.” The symbolism of the Battle of Kulikovo occupies a prominent place in Blok’s thoughts about the fate of contemporary Russia - about the overthrow of the “Tatar yoke” of tsarism, about the approaching revolution, about the relationship between the people and the intelligentsia.
VII. Performance of the third group. Expressive reading by heart of the poem “On the Kulikovo Field” and its analysis.
VIII. Teacher's word.
The poem “Russia” also dates back to 1908; it is largely programmatic, both in terms of theme and in terms of the poetics of symbolism. Reading it, we clearly see a similarity with the poem “Rus”, only here the stylization of a folk song and fairy tale gave way to other symbols filled with realistic content.
IX. Performance of the fourth group. Expressive reading by heart and analysis of the poem “Russia”.
X. Summing up the lesson.
Blok created a unique lyrical image of Russia. According to V. Zhirmunsky, “Blok differed from his predecessors in that he approached the fate of Russia not as a thinker - with an abstract idea, but as a poet - with intimate love.” For him, his homeland is hope and consolation. Russia appears as a mysterious element, as a country of enormous, as yet unidentified power and energy. With her “even the impossible is possible”, she leads to “eternal battle”, points the way forward, to the future. Blok returns to the ideal of a poet - a citizen who is aware of his great responsibility for the fate of the Motherland and the people. “I consciously devote my life to this topic... After all, here is life or death, happiness or destruction,” Blok wrote in 1908.
What mark did Blok’s lyrics leave on your soul?
What new did you learn about the poet’s personality and his lyrics?
Was the lesson useful?
How would you like to organize lessons on studying the lyrics of a particular poet? Your wishes.
XI. Assessment.
The students themselves evaluate the work of the groups. Celebrate positive sides work, point out shortcomings and ways to eliminate them.
XII. Homework:
"On railway"(1910)
“To sin shamelessly, endlessly...” (1914)
"Wild Wind..." (1916)
"Kite" (1916) (one optional)
2. Make messages:
"The evolution of the theme of the Motherland in Blok's lyrics."
"Folklore images in Blok's lyrics."
“Features of vocabulary in Blok’s poems dedicated to the Motherland.”
“Russia – East, Russia – West in Blok’s lyrics.” (by groups)
“A poet can only write about what he is organically connected with.” Yesenin was connected with Russian nature, with the village, with the people. He called himself "the poet of the golden log cabin." Therefore, it is natural that folk art influenced Yesenin’s work.
The very theme of Yesenin’s poems suggested this. Most often he wrote about rural nature, which always looked simple and uncomplicated to him. This happened because Yesenin found epithets, comparisons, metaphors in popular speech:
Behind the smooth surface the trembling sky
Leads the cloud out of the stall by the bridle.
Sparrows are playful,
Like lonely children.
Yesenin often used folklore expressions: “silk carpet”, “curly head”, “beautiful maiden”, etc. The plots of Yesenin’s poems are also similar to folk ones: unhappy love, fortune telling, religious rituals (“Easter Annunciation”, “Wake” ), historical events (“Marfa Posadnitsa”).
Just like the people, Yesenin is characterized by animating nature, attributing human feelings to it:
You are my fallen maple, icy maple,
Why are you standing, bent over, under a white snowstorm?
Or what did you see? Or what did you hear?
It’s as if you went out for a walk outside the village.
But in folk works one can feel sincere faith, and Yesenin looks at himself from the outside, that is, he writes about what once happened and what does not exist now: “I seemed to myself to be the same maple tree.”
Yesenin’s moods and feelings, like those of the people, are in tune with nature, the poet seeks salvation and tranquility from her. Nature is compared with human experiences:
My ring was not found.
Out of sadness, I went to the meadow.
The river laughed after me:
"Cutie has a new friend."
Many of Yesenin’s poems are similar to folklore in form. These are poem-songs: “Tanyusha was good”, “Play, play, little girl...”, etc. Such poems are characterized by repetition of the first and last lines. And the very structure of the line is taken from folklore:
It’s not like dawn in the streams of the lake they wove their pattern, Your scarf, decorated with sewing, flashed over the slope.
Sometimes a poem begins like a fairy tale:
On the edge of the village
Old hut
There in front of the icon
An old woman prays.
Yesenin often uses words with diminutive suffixes. He also uses old Russian words, fairy-tale names: howl, gamayun, svey, etc.
Yesenin's poetry is figurative. But his images are also simple: “Autumn is a red mare.” These images are again borrowed from folklore, for example, a lamb is the image of an innocent victim.
Yesenin’s color scheme is also interesting. He most often uses three colors: blue, gold and red. And these colors are also symbolic.
Blue - the desire for the sky, for the impossible, for the beautiful:
In the blue evening, in the moonlit evening
I was once handsome and young.
Gold is the original color from which everything appeared and in which everything disappears: “Ring, ring, golden Rus'.”
Red is the color of love, passion:
Oh, I believe, I believe, there is happiness!
The sun hasn't gone out yet.
Dawn with a red prayer book
Prophesies good news...
Thus, we can say that Yesenin used many features of folklore, which for the poet was a conscious artistic method.
Love for his native peasant land, for the Russian village, for nature with its forests and fields permeates all of Yesenin’s work. For the poet, the image of Russia is inseparable from the national element; big cities with their factories, scientific and technological progress, social and cultural life do not evoke a response in Yesenin’s soul. This, of course, does not mean that the poet was not at all worried about the problems of our time or that he looked at life through “ pink glasses" He sees all the ills of civilization in isolation from the earth, from its origins folk life. “Revived Rus'” is rural Rus'; The attributes of life for Yesenin are the “edge of bread” and the “shepherd’s horn”. It is no coincidence that the author so often turns to the form of folk songs, epics, ditties, riddles, and spells.
It is significant that in Yesenin’s poetry, man is an organic part of nature, he is dissolved in it, he is joyfully and recklessly ready to surrender to the power of the elements: “I would like to get lost in your hundred-ringed greenery,” “the spring dawns entwined me in a rainbow.”
Many images borrowed from Russian folklore begin to live their own lives in his poems. Natural phenomena appear in his images of animals, bearing the features of everyday village life. This animation of nature makes his poetry similar to the pagan worldview of the ancient Slavs. The poet compares autumn with a “red mare” who “scratches her mane”; his month is a sickle; Describing such an ordinary phenomenon as the light of the sun, the poet writes: “the oil of the sun is pouring on the green hills.” The tree, one of the central symbols of pagan mythology, becomes a favorite image of his poetry.
Yesenin's poetry, even clothed in traditional images of the Christian religion, does not cease to be pagan in its essence.
I’ll go in the bench, bright monk,
Steppe path to the monasteries.
This is how the poem begins and ends with the words:
With a smile of joyful happiness
I'm going to other shores,
Having tasted the ethereal sacrament
Praying on the haystacks and haystacks.
Here it is, Yesenin’s religion. Peasant labor and nature replace Christ for the poet:
I pray for the red dawns,
I take communion by the stream.
If the Lord appears in his poem, it is most often as a metaphor for some natural phenomenon (“The schema-monk-wind, with a cautious step/ Crushes leaves along the ledges of the road, / And kisses on the rowan bush/ Red sores of the invisible Christ”) or in the image of a simple man:
The Lord came to torture people in love.
He went out to the village as a beggar,
An old grandfather on a dry stump in an oak grove,
He chewed a stale crumpet with his gums.
The Lord approached, hiding sorrow and torment:
Apparently, they say, you can’t wake up their hearts...
And the old man said, holding out his hand:
“Here, chew it... you’ll be a little stronger.”
If his heroes pray to God, then their requests are quite specific and have a distinctly earthly character:
We also pray, brothers, for faith,
So that God will irrigate our fields.
And here are purely pagan images:
Calving sky
Licks a red chick.
This is a metaphor for the harvest, bread, which is deified by the poet. Yesenin's world is a village, human vocation is peasant labor. The peasant's pantheon is mother earth, cow, harvest. Another contemporary of Yesenin, poet and writer V. Khodasevich, said that Yesenin’s Christianity is “not content, but form, and the use of Christian terminology is approaching a literary device.”
Turning to folklore, Yesenin understands that leaving nature, one’s roots, is tragic. Like a truly Russian poet, he believes in his prophetic mission, in the fact that his “fed mignonette and mint” poems will help modern man return to the Kingdom of the ideal, which for Yesenin is the “peasant paradise”.
"The poetics of early Yesenin is connected, first of all, with traditions folk art. Mine creative path the poet began by imitating folklore. In his autobiography, he recalled: “I began to write poetry, imitating ditties. The poems were accompanied by songs that I heard around me...”?
The poet's deep connection with folklore was uninterrupted throughout his life. He collected ditties, of which he had about four thousand. S. Yesenin’s mother was considered the best songwriter in the village, and his father also sang well. Grandfather Titov, who raised Yesenin, knew many songs by heart. Yesenin was familiar with the work of many Russian poets: Pushkin, Lermontov, Koltsov, Yazykov, Nikitin and others.
From childhood, the poet absorbed the everyday life of his native village: with songs, beliefs, ditties that he heard and which became the source of his creativity.
Already in his early poetry, S. A. Yesenin uses song and chat motifs, images of oral lyrics, which changed somewhat under the pen of the poet: new meaningful details appeared in the text, new depiction techniques appeared. Naturally, in his work, S. Yesenin was able to combine high poetry and living reality, folklore and individuality.
Yesenin usually set himself two tasks: firstly, he sought to preserve its original traditional spirit in the plot, and secondly, he made every effort to make his composition sound more original.
Yesenin uses elements of folk poetics when revealing the characters of the hero, when depicting various moods, external details of the portrait, when describing nature and to convey “color”. His poetry is of a folk song nature. What can the title of the poet’s first collection of poems, “Radunitsa,” indicate? The title and content of the collection are associated with a cycle of spring folk songs, which were called “Radovitsky” or “Radonitsky vesnyaki”. They show the spring mischievous joy of young awakening life.
Studying the work of S. Yesenin, one can notice that the poet was also attracted to various love situations: inviting a bride on a date, betraying a sweetheart and the experiences of a young man caused by this event, thinking about a young girl about her sad fate, which is predicted for her by signs of nature, and so on.
Before all the changes in Yesenin’s creative practice, a method was developed involving the introduction of his own lyrical hero into the traditional plot scheme. This can be seen in the example of the poem “Under the wreath of forest daisies...” (1911). The material for it was a folk song, which talks about a girl who lost her ring and with it the hope of happiness:
I lost my ring
I lost my love.
And along this ring
I will cry day and night.
Yesenin presented this event as follows: he made the main character not a girl dreaming of marriage, but a village carpenter who is repairing a boat on the river bank and accidentally drops “the cutie’s ring into the jets of a foamy wave.” The ring is carried away by a pike, and after this incident it is learned that the girl he loves has found a new friend. The poet, retelling a folklore plot, concretizes it, as a result of which new, original images arise:
My ring was not found
I went out of sadness to the meadow,
The river laughed after me:
The cutie has a new friend.
New images “revitalized” the lyrical action, thereby giving it a “shade of reality.” This corresponded to the poet’s task at the first stage of his work with folklore. Subsequently, Yesenin began to adhere to other rules, creating works with an oral artistic basis. He began to strive to ensure that, without losing touch with the traditional text in its key moments, he “moved away from it” in the selection of poetic images and details. In this case, new poems appeared that only vaguely resembled the original. An example is the poem “The reeds rustled over the backwater...” (1914). It echoes the famous folk song “I remember when I was still young.”
On folklore basis S. Yesenin also created a panoramic lyrical sketch, filling it with various figurative details collected from many folklore texts:
And at our gates
The korogod girls are dancing.
Oh, bathed, oh, bathed,
The korogod girls are dancing.
To whom is grief, to whom is sin,
And we have joy, and we have laughter.
Oh, bathed, oh, bathed,
And we have joy, and we have laughter.
("Lights are burning across the river", 1914-1916)
Enthusiastic intonation is characteristic of many of Yesenin’s works of folklore origin. In such a lyrical manner they wrote “It’s a dark night, I can’t sleep...”, “Play, play, little Talyanochka, raspberry furs...”, “The scarlet color of dawn is woven on the lake...”. The special character of the young poet’s worldview, brought up in a family where fun, jokes, sayings, and ditties were commonplace, played an influential role in his work.
A new round of development in the folklore creativity of S. Yesenin dates back to 1915-1916. The poet turns to new genres in his creative practice: family and everyday, comic, calendar, ritual songs, trying to convey them genre features. S. Yesenin knew ritual poetry well. Both calendar and family rituals. Widely showing folk life, the poet could not ignore this form folk culture existing in Russian society. These are Maslenitsa rituals, St. Thomas Week, the magic of Ivan Kupala - they have firmly entered the poetic world of S. Yesenin:
Mother walked through the forest in Bathing Suit,
Barefoot, with pads, she wandered through the dew
I was born with songs in a grass blanket,
The spring dawns twisted me into a rainbow.
I grew to maturity, grandson of the Kupala night,
The dark witch prophesies happiness for me.
("Mother", 1912)
In 1918, a book was published of Yesenin’s collection of ditties, where he cites several works of his own composition. For example:
I was sitting on the sand
At the high bridge.
There is no better poem
Alexandra Blokova.
Bryusov dances along Tverskaya
Not a mouse, but a rat.
Uncle, uncle, I'm big
Soon I'll be bald.
(“I was sitting on the sand,” 1915-1917)
For some time S. Yesenin does not write to folk genres and only in 1924-1925. in his poetry, song and ditty motifs will “sound” again (“Song”, “Oh you, sleigh ...”, “Talyanka rash rings ...”).
Often Yesenin, using the rich experience of folk poetry, resorts to the technique of personification. The bird cherry "sleeps in a white cape", the willows cry, the poplars whisper, "the blizzard cries like gypsy violin", "the spruce girls were saddened", "it was like a pine tree was tied with a white scarf", etc. But, unlike oral folk art, Yesenin “humanizes” the natural world. Sometimes two descriptions are parallel:
Green hairstyle,
Girlish breasts,
O thin birch tree,
Why did you look into the pond?
(“Green hairstyle…”, 1918)
This poem shows a young slender birch tree, which is so likened to a girl that we involuntarily find ourselves “captured by the feelings” caused by the separation of lovers. Such “humanization” is not typical of folklore.
It is worth noting that S. Yesenin often uses the symbolism of images. Some images are so beloved by the author that they run through all of his lyrics (birch, maple, bird cherry). Colors are also important in the author’s poetry.
The poet's favorite colors are blue and light blue. These colors enhance the feeling of the immensity of the expanses of Russia, creating an atmosphere of the bright joy of existence (“blue falling into the river”, “blue evening, moonlit evening”).
The most important place in Yesenin’s work is occupied by epithets, comparisons and metaphors. They are used as a means of painting, they convey the variety of shades of nature, the richness of its colors, the external portrait features of the heroes (“fragrant bird cherry”, “the red moon was harnessed to our sleigh like a foal”, “in the darkness the damp moon, like a yellow raven... hovering above the ground " and etc.). An important role in Yesenin’s poetry, as well as in folk songs, replays play. They are used to express a person’s state of mind and to create a rhythmic pattern. S. Yesenin uses repetitions with rearrangement of words:
Trouble has befallen my soul,
Trouble befell my soul.
("Flowers", 1924)
The poetry of Sergei Yesenin is full of appeals. And often these are appeals to nature: "Lovely birch thickets!".
In the poem "Rus", in the poems "Patterns", "Mother's Prayer" S. Yesenin spoke with pain about people's grief, about the sadness of the Russian village. And his feelings, his poems were consonant with ditties about the hated soldiery, about the fate of peasant boys in the war:
Take a walk warriors,
Last holidays for you.
The horses are harnessed
The chests are packed.?
Thus, folklore helped S. Yesenin become a deeply folk poet, reflect folk character worldview, convey the way of thinking of the people, their feelings and moods, as well as instill new images of the landscape of Russian nature into literary and song creativity. Folklore for Yesenin was a source of understanding of everyday life, national character, customs and psychology of the Russian people.
1.2 Folklore traditions in the poet's lyrics
“The poetics of early Yesenin is connected, first of all, with the traditions of folk art. The poet began his creative path by imitating folklore. In his autobiography, he recalled: “He began to write poetry, imitating ditties. The poems were accompanied by songs that I heard around me...”?
The poet's deep connection with folklore was uninterrupted throughout his life. He collected ditties, of which he had about four thousand. S. Yesenin’s mother was considered the best songwriter in the village, and his father also sang well. Grandfather Titov, who raised Yesenin, knew many songs by heart. Yesenin was familiar with the work of many Russian poets: Pushkin, Lermontov, Koltsov, Yazykov, Nikitin and others.
From childhood, the poet absorbed the everyday life of his native village: with songs, beliefs, ditties that he heard and which became the source of his creativity.
Already in his early poetry, S. A. Yesenin uses song and chat motifs, images of oral lyrics, which changed somewhat under the pen of the poet: new meaningful details appeared in the text, new depiction techniques appeared. Naturally, in his work, S. Yesenin was able to combine high poetry and living reality, folklore and individuality.
Yesenin usually set himself two tasks: firstly, he sought to preserve its original traditional spirit in the plot, and secondly, he made every effort to make his composition sound more original.
Yesenin uses elements of folk poetics when revealing the characters of the hero, when depicting various moods, external details of the portrait, when describing nature and to convey “color”. His poetry is of a folk song nature. What can the title of the poet’s first collection of poems, “Radunitsa,” indicate? The title and content of the collection are associated with a cycle of spring folk songs, which were called “Radovitsky” or “Radonitsky vesnyaki”. They show the spring mischievous joy of young awakening life.
Studying the work of S. Yesenin, one can notice that the poet was also attracted to various love situations: inviting a bride on a date, betraying a sweetheart and the experiences of a young man caused by this event, thinking about a young girl about her sad fate, which is predicted for her by signs of nature, and so on.
Before all the changes in Yesenin’s creative practice, a method was developed involving the introduction of his own lyrical hero into the traditional plot scheme. This can be seen in the example of the poem “Under the wreath of forest daisies...” (1911). The material for it was a folk song, which talks about a girl who lost her ring and with it the hope of happiness:
I lost my ring
I lost my love.
And along this ring
I will cry day and night.
Yesenin presented this event as follows: he made the main character not a girl dreaming of marriage, but a village carpenter who is repairing a boat on the river bank and accidentally drops “the cutie’s ring into the jets of a foamy wave.” The ring is carried away by a pike, and after this incident it is learned that the girl he loves has found a new friend. The poet, retelling a folklore plot, concretizes it, as a result of which new, original images arise:
My ring was not found
I went out of sadness to the meadow,
The river laughed after me:
The cutie has a new friend.
New images “revitalized” the lyrical action, thereby giving it a “shade of reality.” This corresponded to the poet’s task at the first stage of his work with folklore. Subsequently, Yesenin began to adhere to other rules, creating works with an oral artistic basis. He began to strive to ensure that, without losing touch with the traditional text in its key moments, he “moved away from it” in the selection of poetic images and details. In this case, new poems appeared that only vaguely resembled the original. An example is the poem “The reeds rustled over the backwater...” (1914). It echoes the famous folk song “I remember when I was still young.”
On a folklore basis, S. Yesenin also created a panoramic lyrical sketch, filling it with various figurative details collected from many folklore texts:
And at our gates
The korogod girls are dancing.
Oh, bathed, oh, bathed,
The korogod girls are dancing.
To whom is grief, to whom is sin,
And we have joy, and we have laughter.
Oh, bathed, oh, bathed,
And we have joy, and we have laughter.
("Lights are burning across the river", 1914-1916)
Enthusiastic intonation is characteristic of many of Yesenin’s works of folklore origin. In such a lyrical manner they wrote “It’s a dark night, I can’t sleep...”, “Play, play, little Talyanochka, raspberry furs...”, “The scarlet color of dawn is woven on the lake...”. The special character of the young poet’s worldview, brought up in a family where fun, jokes, sayings, and ditties were commonplace, played an influential role in his work.
A new round of development in the folklore creativity of S. Yesenin dates back to 1915-1916. The poet turns to new genres in his creative practice: family and everyday, comic, calendar, ritual songs, trying to convey their genre characteristics. S. Yesenin knew ritual poetry well. Both calendar and family rituals are reflected in his work. Widely showing folk life, the poet could not ignore this form of folk culture existing in Russian society. These are Maslenitsa rituals, St. Thomas Week, the magic of Ivan Kupala - they have firmly entered the poetic world of S. Yesenin:
Mother walked through the forest in Bathing Suit,
Barefoot, with pads, she wandered through the dew
I was born with songs in a grass blanket,
The spring dawns twisted me into a rainbow.
I grew to maturity, grandson of the Kupala night,
The dark witch prophesies happiness for me.
("Mother", 1912)
In 1918, a book was published of Yesenin’s collection of ditties, where he cites several works of his own composition. For example:
I was sitting on the sand
At the high bridge.
There is no better poem
Alexandra Blokova.
Bryusov dances along Tverskaya
Not a mouse, but a rat.
Uncle, uncle, I'm big
Soon I'll be bald.
(“I was sitting on the sand,” 1915-1917)
For some time S. Yesenin did not write in folk genres and only in 1924-1925. in his poetry, song and ditty motifs will “sound” again (“Song”, “Oh you, sleigh ...”, “Talyanka rash rings ...”).
Often Yesenin, using the rich experience of folk poetry, resorts to the technique of personification. The bird cherry tree is “sleeping in a white cape,” the willows are crying, the poplars are whispering, “the blizzard is crying like a gypsy violin,” “the spruce girls are sad,” “it’s like a pine tree is tied with a white scarf,” etc. But, in contrast from oral folk art, Yesenin “humanizes” the natural world. Sometimes two descriptions are parallel:
Green hairstyle,
Girlish breasts,
O thin birch tree,
Why did you look into the pond?
(“Green hairstyle…”, 1918)
This poem shows a young slender birch tree, which is so likened to a girl that we involuntarily find ourselves “captured by the feelings” caused by the separation of lovers. Such “humanization” is not typical of folklore.
It is worth noting that S. Yesenin often uses the symbolism of images. Some images are so beloved by the author that they run through all of his lyrics (birch, maple, bird cherry). Colors are also important in the author’s poetry.
The poet's favorite colors are blue and light blue. These colors enhance the feeling of the immensity of the expanses of Russia, creating an atmosphere of the bright joy of existence (“blue falling into the river”, “blue evening, moonlit evening”).
The most important place in Yesenin’s work is occupied by epithets, comparisons and metaphors. They are used as a means of painting, they convey the variety of shades of nature, the richness of its colors, the external portrait features of the heroes (“fragrant bird cherry”, “the red moon was harnessed to our sleigh like a foal”, “in the darkness the damp moon, like a yellow raven... hovering above the ground " and etc.). Repetitions play an important role in Yesenin’s poetry, as in folk songs. They are used to express a person’s state of mind and to create a rhythmic pattern. S. Yesenin uses repetitions with rearrangement of words:
Trouble has befallen my soul,
Trouble befell my soul.
("Flowers", 1924)
The poetry of Sergei Yesenin is full of appeals. And often these are appeals to nature: “Lovely birch thickets!”
In the poem “Rus”, in the poems “Patterns”, “Mother’s Prayer” S. Yesenin spoke with pain about the people’s grief, about the sadness of the Russian village. And his feelings, his poems were consonant with ditties about the hated soldiery, about the fate of peasant boys in the war:
Take a walk warriors,
Last holidays for you.
The horses are harnessed
The chests are stacked.?
Thus, folklore helped S. Yesenin become a deeply folk poet, reflect the national character of the worldview, convey the way of thinking of the people, their feelings and moods, as well as instill new images of the landscape of Russian nature into literary and song creativity. Folklore for Yesenin was a source of understanding of life, national character, customs and psychology of the Russian people.
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Nekrasov "Green Noise"(a poem written under the influence of Ukrainian songs. In Ukraine, spring was often bestowed with such a colorful epithet, which brought with it the transformation and renewal of nature. Such a figurative expression struck the poet so much that he made it key in his poem, using it as a kind of refrain. “ The Green Noise goes on and on,
Green Noise, spring noise!”)
Zhukovsky "Svetlana" ( From the very beginning the author immerses us in fairy world fortune telling, divination, and the very rhythm of the poem correspond to the given theme.)
Lermontov "Song... about the merchant Kalashnikov" ( The poet sought to bring it closer to epic folk tales. Guslya, on whose behalf the story is told (there is no author, i.e. close to CNT), i.e. the moral positions from which the heroes of the work are assessed are not the author’s personally, but generally popular ones)
Folk motifs can manifest themselves in the presence of archaisms, repetitions, the use of plots from pagan mythology, song motifs, and melodic turns.
THEME OF LOVE FOR A MOTHER
Yesenin “Letter to Mother”(This is the confession of a prodigal son, full of tenderness and repentance, in which, meanwhile, the author directly states that he does not intend to change his life, which by that time he considers ruined. Despite his fame in literary circles, the poet realizes that he could not live up to the expectations of his mother, who first of all dreamed of seeing her son as a good and decent person. Repenting of his misdeeds to the person closest to him, the poet, however, refuses help and asks his mother only one thing - “don’t wake up.” “The author feels that he is moving away from his family, but is ready to accept this blow of fate with his characteristic fatalism. He worries not so much for himself as for his mother, who is worried about her son, so he asks her: “Don’t be so sad about him.” to me".)
Tvardovsky “In Memory of Mother”(In the fourth part of the work, Tvardovsky turns to his childhood and quotes in full an old song that he heard from his mother. It contains a deep philosophical meaning, which remains unchanged even today: a child who leaves his father’s house is a cut-off piece, and from now on his life has nothing to do with the fate of his parents. The author regrets that he was never able to get to know the one who gave him life better.)
Tsvetaeva “Mama” (“in the old waltz…”)(Tsvetaeva’s childhood passed in a very special atmosphere; she had her own world of fairy tales and illusions, which she had to part with in her youth. Therefore, the poetess, in her address to her mother, emphasizes that “you led your little ones past the bitter life of thoughts and deeds.” Already as a high school student , Tsvetaeva realized how the world can be cruel and merciless. On the one hand, she was shocked by this discovery, and on the other, she was grateful to her mother, who was able, albeit for a short time, to protect her from life’s hardships.)
BIBLE MOTIF
Block "Twelve"(The most obvious example is the image of twelve. It is not for nothing that the poem is called “Twelve”. This number is one of its largest symbols. The poem has 12 chapters, the meaning of this number can include the twelve apostles, and the dashing robber beginning - 12 thieves. For reader of Blok’s time, the very name of the poem “The Twelve” could suggest the presence of the image of Christ. After all, the number 12 is the number of apostles, disciples of Christ.)
Parsnip "Hamlet" (main character poem, addressing the crowded hall, he asks: “If it is possible, Abba Father, carry this cup past.” This means that as an actor, he is afraid of not playing his role well enough and causing condemnation from the public.)
Pushkin "Prophet"(The poem “Prophet” was based on an excerpt from the Bible, from the sixth chapter of the Book of the Prophet Isaiah. According to legend, Seraphim cleanses the prophet from sin and, obeying the will of the Lord, he must fulfill the mission of correcting people. Pushkin’s poem echoes the biblical text. We we see that the poet knew very well the history of Isaiah’s call to the prophetic ministry, Pushkin often turned to the Bible, drawing inspiration and plots from it for his writings. In “The Prophet” we find Pushkin’s interpretation of this biblical legend.)
VILLAGE THEME
Yesenin “Go away, my dear Rus'...”(The poem “Go you, Rus', my dear...” is imbued with precisely these feelings of the author. “The huts are in the vestments of the image...” writes Yesenin. He compares all the houses of the village with something sublime, divine, because the chasuble is a church vestment, beautiful, shimmering gold.)
Pushkin "Village"(in the first part of the work, the poet confesses his love for his homeland, emphasizing that it was in Mikhailovsky that he was once serenely happy: I am yours - I exchanged the vicious court of Circe, / Luxurious feasts, fun, delusions / For the peaceful noise of oak trees, for the silence of the fields, / For free idleness, a friend of reflection.)
Lermontov "Motherland"(The solemn introduction, in which the author declares his love for the Fatherland, is replaced by stanzas that describe the beauty of Russian nature: But I love - for what, I don’t know myself - / Its cold silence of the steppes, / Its boundless swaying forests, / The floods of its rivers , like the seas)
THEME OF LOVE FOR THE MOTHERLAND
1) Patriotism despite difficulties
Akhmatova “I had a voice”(There was a voice for me. He called comfortably,/He said: “Come here,/Leave your deaf and sinful land,/Leave Russia forever./I will wash the blood from your hands,/I will take the black shame out of my heart,/I will cover it with a new name /The pain of defeats and insults.”/But indifferently and calmly/I closed my ears with my hands,/So that with this unworthy speech/The sorrowful spirit would not be defiled.)
Yesenin “Go you, Rus', my dear”(If the holy army shouts: / “Throw away Rus', live in paradise!” / I will say: “There is no need for paradise, / Give me my homeland.”)
Block "Russia"(“poor Russia”, “gray huts”, “beautiful features”)
2) Reflections on the fate of your generation
Lermontov "Duma"(entirely built on the author’s reflections on the characteristics of his contemporary generation. The lost generation, the future of which is “either empty or dark.” He, like Blok, looks at his contemporaries “sadly.” And, if we talk about the historical context, then Lermontov’s generation - a generation of people who were quite noticeably pressed by the regime of Nicholas the First, people who were horrified by the execution of the Decembrists. Like Blok, the poet’s contemporaries are children of rather terrible years in Russia, those years that they did not choose.)
Tyutchev “Our Century”(A little later, F.I. Tyutchev wrote about his generation. In the poem “Our Century,” the reader is again presented with a picture of the unfortunate generation, which “thirsties for faith... but does not ask for it...”. Tyutchev writes about a person who constantly located between shadow and light, finding which he “murmurs and rebels,” which is very similar to a person of Blok’s generation, who is forced to live from war to freedom and from freedom to war. He talks about morality. modern society. A mature 48-year-old man, who has gone through many trials in life, comes to the conclusion that “it is not the flesh, but the spirit that has been corrupted in our days.” Modern man, as the poet believes, “thirsts for faith... but he does not ask for it.” And this is not due to natural stubbornness, but to a lack of understanding of the simple truth that any of us must believe in at least something. Lack of faith, according to Tyutchev, creates chaos in thoughts and souls, makes a person doubt his abilities and often pushes him onto the wrong path, from which it is sometimes impossible to leave. However, in order to avoid such internal contradictions, it is enough just to let God into your heart, to feel his care and love, which, according to the poet, are the guiding stars in the life of every person.)
Block “Born in the Years of Deaf”(Dedicated to the First World War. The author admits that quite recently he himself advocated for a change in the social system by force. But the revolution of 1905 showed how merciless people can be towards each other. Therefore, the author emphasizes that “now in the hearts, enthusiastic when -that is, there is a fatal emptiness.” Blok has not yet forgotten the church tenets, in which killing one’s neighbor is one of the mortal sins.)
WAR THEME
Akhmatova "Courage"(Akhmatova addresses the destitute, hungry and tired people who, nevertheless, did not break under the weight of the military burden. “The hour of courage has struck on our clock, and courage will not leave us,” the poetess asserts.)
Tvardovsky - poem “Vasily Terkin”(“The battle is going on - holy and right, / Mortal combat is not for the sake of glory - / For the sake of life on earth”)
Simonov "Wait for me"(In the poem, he asks Valentina Serova, and with her thousands of other wives and mothers, not to despair and not to lose hope for the return of their loved ones, even when it seems that they will never be destined to meet again)