Sergei Alexandrovich Yesenin. “Uncomfortable liquid moonliness…. Yesenin sergey - uncomfortable, liquid lunarity Uncomfortable liquid lunarity longing for endless plains

The work of Sergei Alexandrovich Yesenin, uniquely bright and deep, has now firmly entered our literature. The poet's poems are full of heartfelt warmth and sincerity, passionate love for the boundless expanses of his native fields, the "inexhaustible sadness" of which he could convey so emotionally. The main feature of Yesenin's art is sincerity. The poet pours out his innermost feelings in poetry. Each poem is a particle of the poet himself.

A trip abroad becomes a turning point in the life and work of the poet. Returning, he rethinks his attitude to life in general. He has a number of poems in which he glorifies Soviet Russia. Under the influence of these moods, "Uncomfortable liquid moonliness ..." is created. From the very first line, the poet is fenced off from the world of the past, which for him is inextricably linked with nature, which he glorified for many years. "Lunarity" - a neologism often used by Yesenin to highlight the special, supernatural colors of the night - together with such definitions as "uncomfortable", "liquid", create a completely different image. The new "lunarity" turns into something close, tangible and by no means attractive. The same thing happens with many "classical" images of Yesenin. For example, "withered willows", "consumptive light of the moon". In the first half of the poem, a mood of some alienation is created, which is transmitted to the reader. But exactly in the middle there is a quatrain:

Reflecting on Yesenin's poem "Uncomfortable liquid moonliness ..."

The work of Sergei Alexandrovich Yesenin, uniquely bright and deep, has now firmly entered our literature. The poet's poems are full of heartfelt warmth and sincerity, passionate love for the boundless expanses of his native fields, the "inexhaustible sadness" of which he could convey so emotionally.

The main feature of Yesenin's art is sincerity. The poet pours out his innermost feelings in poetry. Each poem is a particle of the poet himself.

Yesenin's early poems are replete with beautiful pictures of Russian nature. They show the genuine joy of a young man discovering a new, wonderful world.

In the poem "Uncomfortable liquid moonliness ...", written in the twenty-fifth year, the poet deprives nature of all charm. Something frozen, monotonous appears in it. Is the lyrical hero really the opposite of the author? No, most likely, Yesenin's views have changed a lot over such a long time. After all, we must not forget about the event that changed the life of the entire people, about the revolution.

Yesenin supported the 1917 revolution, but "perceived it in his own way, with a peasant bias," "more spontaneously than consciously." This left a special imprint on the poet's work and in many ways predetermined his future path.

The seventeenth year did not bring even a hint of "peasant paradise" - "Inonia", which the poet sang in his poems. Yesenin begins to curse the "iron guest" bringing death to the patriarchal, rural way of life, and to mourn the old, outgoing, "wooden Russia". This explains the contradictory nature of Yesenin's poetry, who went from a singer of patriarchal, disadvantaged Russia to a singer of socialist Russia, Lenin's Russia.

A trip abroad becomes a turning point in the life and work of the poet. Returning, he rethinks his attitude to life in general. He has a number of poems in which he glorifies Soviet Russia. Under the influence of these moods "Uncomfortable liquid moonliness ..." is created.

From the very first line, the poet is fenced off from the world of the past, which for him is inextricably linked with nature, which he glorified for many years. "Lunarity" - a neologism often used by Yesenin to highlight the special, supernatural colors of the night - together with such definitions as "uncomfortable", "liquid", create a completely different image. The new "lunarity" turns into something close, tangible, and by no means attractive. The same thing happens with many "classic" images of Yesenin. For example, "withered willows", "consumptive light of the moon". In the first half of the poem, a mood of some alienation is created, which is transmitted to the reader. But exactly in the middle there is a quatrain:

I now like something else ...

And in the consumptive light of the moon

Through stone and steel

I see the power of my native side

With these lines begins a hymn to progress - "new life". The poet no longer regrets the departing "rural Russia", because now he "wants to see poor, impoverished Russia with steel." The melody of the verse changes. A chased rhythm appears in it, highlighted in places by alliteration:

"Field Russia! Enough

Drag a plow through the fields! "

Yesenin sincerely worried about the fate of Russia, and this became a distinctive feature of all the poet's works. His poems became one of the brightest pages in the history of Russian literature at the beginning of the 20th century. Yesenin's era has receded into the past, but his poetry continues to live, awakening a feeling of love for his native land, for his fatherland:

If the saint's host shouts:

"Throw you Rus, live in paradise!"

I will say: No need for paradise

Give me my homeland. "

All of Yesenin's work is characterized by a heightened sense of unity with his country, with its history, with those sources from which any true poet draws inspiration.
Over time, over the course of his career, Yesenin's perception of his country changed. This is not surprising - the country itself was changing beyond recognition. Immediately after the revolution, the rapid growth of industry and the growth of cities began. Patriarchal, ancient Russia began to recede into the past, and was replaced by a completely different country. It is to these changes, the dual attitude of the lyrical hero to what is happening, that the poem "Uncomfortable liquid moonliness" is dedicated.
Uncomfortable liquid moon
And the longing of the endless plains, -
This is what I saw in my frisky youth,
That, loving, not one cursed.
"Longing for the endless plains" is a constant theme of the poem. The nature of Russia is a symbol of the unsettled fate of the poet. Already in the first stanza, the lyrical hero's ambivalent attitude to the landscapes he draws is declared. On the one hand, this is boundless love, and on the other, curses about the eternal disorder, backwardness, and lack of certainty.
In the poem, one can clearly feel a roll call with M. Yu. Lermontov's "Motherland" ("But I love, for what - I don't know myself"). Yesenin, however, interprets his own "strange love" for the motherland in a slightly different way.
The poet fell out of love with the landscapes that earlier aroused admiration in him - "dried willow trees and a carriage song of wheels", "hearth fire", "shacks", "apple trees in a spring blizzard", "poverty of fields", "consumptive light of the moon". Yesenin writes about his new mood: "Now I like something different." The surrounding landscapes do not inspire him, he is delighted with the new, stone, steel, powerful country.
Field Russia! Pretty
Drag the plow through the fields!
It hurts to see your poverty
And birches and poplars.
The poem gives rise to the image of poor, impoverished Russia, which is unbearable for the poet to look at when there is an alternative nearby - "steel" Russia, "motor barking", "storms and thunderstorms."
The poet with all his soul strives to accept the new reality, realizing that the future belongs to it. He is attracted by that audacity, that freedom with which the country rushed upward. However, he perceives his own fate tragically.
I don't know what will happen to me ...
Maybe I'm not fit for a new life,
But still I want steel
To see poor, impoverished Russia.
Somewhere deep inside the poet feels that he is too dear, too close that leaving Russia, the world of the "log hut", the country of "birch calico".
The entire composition of the poem is based on contrasts, antitheses. It should be noted, however, that the very artistic structure of the work refutes its "ideological content". Vivid metaphorical images are associated with the image of "beggar" Russia - "the carriage song of the wheels", "apple trees in the spring blizzard", while the new Russia carries with it only "motor barking". The poet gradually, internally, resists the soulless power of the new country. Thus, Yesenin, contrary to his assertions, did not stop loving that Russia, which he sang in his youth. His desire is only to live a single life with the people, with his country. And if she fell in love with "motor barking", then the poet tries to love him too. This is precisely the tragedy of the outlook of the lyrical hero, this is the basis of the psychologism of the work. In this sense, Yesenin is closely related to Blok, who, while blessing the revolution, regretted the burned down library in Shakhmatovo.
So, the poem "Uncomfortable Liquid Moon" reflected the poet's ambivalent perception of the changes taking place in the country. On the one hand, there is an optimistic outlook into the future, faith in the renewal of the country, on the other, a look full of regret and sincere heartfelt affection, looking into the past. This duality gives the poem psychologism and tragedy - qualities that are in many ways inherent in other works of Yesenin.
Yesenin's work had a colossal impact on Russian poetry, his deep psychologism and extraordinary skill in the use of visual means were the source from which more than one generation of Russian poets drew inspiration.

Sergei Alexandrovich Yesenin

Uncomfortable liquid moon
And the longing of the endless plains, -
This is what I saw in my frisky youth,
That, loving, not one cursed.

On the roads dried willows
And the carriage song of the wheels ...
I would never want now
So that I happened to listen to her.

I became indifferent to the shacks,
And the hearth fire is not sweet to me,
Even apple trees in a spring blizzard
I fell out of love for the poverty of the fields.

I like something else now.
And in the consumptive light of the moon
Through stone and steel
I see the power of my native side.

Field Russia! Pretty
Drag the plow through the fields!
It hurts to see your poverty
And birches and poplars.

I don't know what will happen to me ...
Maybe I'm not fit for a new life,
But still I want steel
See poor, impoverished Russia.

And, listening to the motor barking
In a host of blizzards, in a host of storms and thunderstorms,
No way I now wish
Listen to the song of the cart wheels.

Sergei Yesenin is rightfully considered the poet of the Russian village, since it is he who praises him in many of his works. However, in the last years of his life, his work changed dramatically, and this was due to the fact that Yesenin did not see a place for himself in the new world, which seemed alien and unfriendly to him.

The poet left his small homeland very early, the village of Konstantinovo, in which he spent his childhood. Later, having already become quite famous, he returned home several times, and all the time caught himself thinking that the calm and measured rural life remained in the distant past. And this is not surprising, since after the revolution, collective farms began to be created everywhere, the first equipment appeared in the fields, and the peasants themselves in the evenings, instead of folk Russian songs, learned marches on the verses of the newly-minted poets preaching socialist ideas.

However, the program of rural development, adopted by the party, turned out to be utopian. Strong peasant farms were dispossessed and fell into decay, and the collective farms were unable to provide the country with food in the required amount. Moreover, many fields were simply not cultivated, and this depressed Yesenin so much that he no longer had any desire to praise the beauty of his native land. In 1925 he wrote a poem "Uncomfortable liquid moonliness ...", in which he expressed everything that was painful. However, the poet understood that the "carriage song of the wheels", to which he was accustomed from childhood, is now a relic of the past. As a patriot of his homeland, the poet wanted Russia to become a truly strong and free power. Yesenin notes that “I became indifferent to the shacks, and the hearth fire was dear to me,” thus emphasizing that civilization should come not only to cities, but also to villages, where peasants are still harvesting with a sickle.

At the same time, the poet understands that it is precisely the poverty of the peasants that is one of the restraining factors in the development of not only agriculture, but the entire country. At this point, Russia is still an agrarian power with poorly developed industrial production. But in pursuit of achievements in the industrial sphere, no one pays attention to the fact that it is the village that needs modernization in the first place. “Field Russia! Enough to drag the plow through the fields! ”The poet calls on, believing that only through good harvests the country can get rid of hunger and poverty.

Yesenin himself is convinced that his role in the formation of a new society is insignificant, since even a very bright literary talent, in the absence of a desire to sing the praises of the new government, will never be in demand. Moreover, the poet believes that it was his creativity that turned him into an outcast, that from now on in his homeland he is forced to feel like a guest. But with all this, Yesenin remains a true patriot, for whom the prosperity of Russia is the greatest joy. The poet notes that he wants to "see poor, impoverished Russia with steel," hoping that the revolution, no matter how personally he treats it, will still allow the peasants to become full and zealous owners of the land. But the fact that the villages are still falling into decay, and hereditary plowmen leave for the city in search of a better life, does not add to Yesenin's joy. However, he does not blame anyone, since at one time she herself traveled from Konstantinovo to Moscow only in order to achieve something more in life. However, according to the poet, the relief of peasant labor with the help of modern technology could radically change the state of affairs. The future belongs to smart machines, which Yesenin saw in large numbers abroad, secretly envying French and American farmers who do not exhaust themselves with hard physical labor. Therefore, the poet ends his poem with the line: "For nothing now I do not want to listen to the song of cart wheels."

The creativity of Sergei Alexandrovich Yesenin, uniquely bright and deep, has now firmly entered our literature. The poet's poems are full of heartfelt warmth and sincerity, passionate love for the boundless expanses of his native fields, the "inexhaustible sadness" of which he could convey so emotionally. The main feature of Yesenin's art is sincerity. The poet pours out his innermost feelings in poetry. Each poem is a particle of the poet himself.

Yesenin's early poems are replete with beautiful pictures of Russian nature. They show the genuine joy of a young man discovering a new, wonderful world. In the poem "Uncomfortable liquid moonliness ...", written in the twenty-fifth year, the poet deprives nature of any charm. Something frozen, monotonous appears in it. Is the lyrical hero really the opposite of the author? No, most likely, Yesenin's views have changed a lot over such a long time. After all, we must not forget about the event that changed the life of the entire people, about the revolution. Yesenin supported the 1917 revolution, but "perceived it in his own way, with a peasant bias", "more spontaneously than consciously." This left a special imprint on the poet's work and in many ways predetermined his future path. The seventeenth year did not bring even a hint of a "peasant paradise" - "Inonia", which the poet sang in his poems. Yesenin begins to curse the "iron guest" bringing death to the patriarchal, rural way of life, and mourn the old, outgoing, "wooden Russia". This explains the contradictory nature of Yesenin's poetry, who went from a singer of patriarchal, disadvantaged Russia to a singer of folk Russia.

A trip abroad becomes a turning point in the life and work of the poet. Returning, he rethinks his attitude to life in general. He has a number of poems in which he glorifies Soviet Russia. Under the influence of these moods, "Uncomfortable liquid moonliness ..." is created. From the very first line, the poet is fenced off from the world of the past, which for him is inextricably linked with nature, which he glorified for many years. "Moonness" - a neologism often used by Yesenin to highlight the special, supernatural colors of the night - together with such definitions as "uncomfortable", "liquid", create a completely different image. The new "lunarity" turns into something close, tangible and by no means attractive. The same thing happens with many "classical" images of Yesenin. For example, "withered willows", "consumptive light of the moon". In the first half of the poem, a mood of some alienation is created, which is transmitted to the reader. But exactly in the middle there is a quatrain:

Now I like something else ... And in the consumptive light of the moon Through the stone and steel I see the power of my native side

A hymn to progress - "new life" begins with these lines. The poet no longer regrets the departing "rural Russia", because now he "wants to see poor, impoverished Russia with steel." The melody of the verse changes. A chased rhythm appears in it, highlighted in places by alliteration:

“Field Russia! Enough to drag a plow through the fields! "

Yesenin sincerely worried about the fate of Russia, and this became a distinctive feature of all the poet's works. His poems became one of the brightest pages in the history of Russian literature at the beginning of the 20th century. Yesenin's era has receded into the past, but his poetry continues to live, awakening a feeling of love for his native land, for his fatherland:

If the holy army shouts: "Throw you Rus, live in paradise!" I will say: No need for paradise, Give me my homeland. "

Reflecting on Yesenin's poem "Uncomfortable liquid moon"

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