Yesenin is uncomfortable liquid. Sergei Yesenin - Uncomfortable liquid moonlight: Verse. Analysis of the poem "Uncomfortable Liquid Moonlight" by Yesenin

Reader N. Pershin

Yesenin S. A. - “Uncomfortable liquid lunar»

Uncomfortable liquid moonlight
And the longing of the endless plains, -
This is what I saw in my frisky youth,
That, loving, cursed more than one.

Dried willows along the roads
And the cart song of the wheels...
I wouldn't want to now,
For me to listen to her.

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

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

Field Russia! Enough
Drag along the fields!
It hurts to see your poverty
And birches and poplars.

I don't know what will happen to me...
Maybe in new life I'm not fit
But still I want steel
To see poor, impoverished Rus'.

And, listening to the engine bark
In the host of blizzards, in the host of storms and thunderstorms,
No way now I don't want
Listen to the song of cartwheels.

Reader N. Pershin

Yesenin Sergey Alexandrovich (1895-1925)
Yesenin was born into a peasant family. From 1904 to 1912 he studied at the Konstantinovsky Zemstvo School and at the Spas-Klepikovskaya School. During this time, he wrote more than 30 poems, compiled a handwritten collection "Sick Thoughts" (1912), which he tried to publish in Ryazan. Russian village, the nature of central Russia, oral folk art, and most importantly - Russian classic literature had a strong influence on the formation of the young poet, directed his natural talent. Yesenin himself different time named various sources that fed his work: songs, ditties, fairy tales, spiritual poems, "The Tale of Igor's Campaign", the poetry of Lermontov, Koltsov, Nikitin and Nadson. Later he was influenced by Blok, Klyuev, Bely, Gogol, Pushkin.
From the letters of Yesenin 1911 - 1913 emerges Difficult life poet. All this was reflected in the poetic world of his lyrics in 1910 - 1913, when he wrote more than 60 poems and poems. Yesenin's most significant works, which brought him fame as one of the best poets, were created in the 1920s.
Like everyone great poet, Yesenin is not a thoughtless singer of his feelings and experiences, but a poet - a philosopher. Like all poetry, his lyrics are philosophical. Philosophical lyrics- these are poems in which the poet speaks about the eternal problems of human existence, conducts a poetic dialogue with man, nature, earth, the universe. An example of the complete interpenetration of nature and man is the poem “Green Hairstyle” (1918). One develops in two plans: a birch is a girl. The reader will never know who this poem is about - about a birch tree or about a girl. Because a person here is likened to a tree - the beauty of the Russian forest, and she - to a person. Birch in Russian poetry is a symbol of beauty, harmony, youth; she is bright and chaste.
The poetry of nature, the mythology of the ancient Slavs are imbued with such poems of 1918 as “Silver Road ...”, “Songs, songs about what are you shouting about?”, “I left my dear home ...”, “Golden foliage spun ...” etc.
Yesenin's poetry of the last, most tragic years (1922 - 1925) is marked by a desire for a harmonious worldview. Most often, in the lyrics one feels a deep understanding of oneself and the Universe (“I don’t regret, I don’t call, I don’t cry ...”, “The golden grove dissuaded ...”, “Now we are leaving a little ...”, etc.)
The poem of values in Yesenin's poetry is one and indivisible; everything is interconnected in it, everything forms a single picture of the “beloved homeland” in all its diversity of shades. This is the highest ideal of the poet.
Having passed away at the age of 30, Yesenin left us a wonderful poetic legacy, and as long as the earth lives, Yesenin, the poet, is destined to live with us and “sing with his whole being in the poet the sixth part of the earth with the short name “Rus”.

The work of Sergei Alexandrovich Yesenin, uniquely bright and deep, is now firmly established in 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 was able to convey so emotionally. main feature Yesenin's creativity - sincerity. The poet pours out his innermost feelings in verse. 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 moonlight ...", written in the twenty-fifth year, the poet deprives nature of any charm. Something frozen, monotonous appears in it. Really lyrical hero here is the opposite of the author? No, most likely, Yesenin's views have changed a lot over such a long period of time. After all, we must not forget about the event that changed the life of the whole people, about the revolution. Yesenin supported the revolution of the seventeenth year, but "he 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 largely predetermined his future path. The seventeenth year did not bring even a hint of the "peasant's 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 Rus'". This explains the inconsistency of Yesenin's poetry, who went from a singer of patriarchal, destitute 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 appears whole line poems in which he glorifies Soviet Russia. Under the influence of these moods, “Uncomfortable liquid lunarness ...” is created. From the very first line, the poet fences himself off from the world of the past, which for him is inextricably linked with nature, which he sang for many years. "Moon" - 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 "moonness" turns into something close, tangible and by no means attractive. The same thing happens with many of Yesenin's "classic" images. For example, "shrunken 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 stone and steel I see the power of my native side

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

“Field Russia! Enough to drag along the fields!”

Yesenin sincerely worried about the fate of Russia, and this became a hallmark of all the works of the poet. 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 passed away, but his poetry continues to live, awakening a feeling of love for his native land, for his fatherland:

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

Reflecting on Yesenin's poem "Uncomfortable liquid moonlight"

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All poems by Sergei Alexandrovich Yesenin have long delighted all readers. This poet impresses with his sincerity, and his works are a deep, vivid and unique phenomenon. He always admired the open spaces native land and in his poems could convey its beauty.

In the work of Sergei Yesenin, the main feature is sincerity. All the most important and hidden feelings of the poet appear before the readers without any masks or guises. He puts his whole soul into each work, which is why he is the favorite writer of our time, and his poems are understandable to everyone.

In his poem "Uncomfortable liquid moonlight ...", which he wrote in the twenty-fifth year, the author also does not disregard nature. He describes it as viscous, unsteady, monotonous. This served as the fact that in those days Yesenin's mood changed due to the revolution, which affected everyone. The poet supported the revolution, but in his own way. He perceived it with a peasant bias, which left a certain imprint in Yesenin's work. From the very first line in the poem, the poet is mentally distracted from the world around him and his past. Rethinking his life, he begins to glorify Soviet Russia.

The word "lunar" is very often used by the author in order to emphasize the special, unusual and little-noticed colors of the night and nature. Yesenin also conveys in a poem that he regrets that the old Rus' is leaving, and does not want to see poor and impoverished Rus' to replace it. At the same time, the verse changes in its melody, in which a chased rhythm appears, with some places of alliteration. Yesenin's life was complex and contradictory, so his thoughts and feelings are between two fires. He remembers former Rus', which was beautiful, and sees the current one in poverty. But the author hopes that everything will change.

This unusual poem of the poet is proof of how much Yesenin loved and worried about his Motherland, and she let him down. His poetry will always remind of itself as a bright and colorful story in Russian poetry.

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

The main feature of Yesenin's creativity is sincerity. The poet pours out his innermost feelings in verse. 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 who discovers a new, wonderful world.

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

Yesenin supported the revolution of the seventeenth year, but "he 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 largely predetermined his future path.

The seventeenth year did not bring even a hint of a "peasant's paradise" - "Inonia", which the poet sang in his poems. Yesenin begins to curse the "iron guest" who brings death to the patriarchal, rural way of life, and mourn the old, outgoing, "wooden Rus'". This explains the inconsistency of Yesenin's poetry, who went from a singer of patriarchal, destitute 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 lunarness ..." is created.

From the very first line, the poet fences himself off from the world of the past, which for him is inextricably linked with nature, which he sang for many years. "Moon" - 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 "moonness" turns into something close, tangible and by no means attractive. The same thing happens with many of Yesenin's "classic" images. For example, "shrunken 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 it differently...

And in the consumptive moonlight

Through stone and steel

I see the power of my native side

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

"Field Russia! Enough

Drag along the fields!"

If the holy army shouts:

"Throw Rus', live in paradise!"

I will say: No need for paradise,

Give me my country."

"Uncomfortable liquid moonlight..." Sergei Yesenin

poetry Uncomfortable liquid lunar
And the longing of the endless plains, -
This is what I saw in my frisky youth,
That, loving, cursed more than one.

Dried willows along the roads
And the cart song of the wheels ...
I wouldn't want to now,
For me to listen to her.

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

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

Field Russia! Enough
Drag along 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
To see poor, impoverished Rus'.

And, listening to the engine bark
In the host of blizzards, in the host of storms and thunderstorms,
No way now I don't want
Listen to the song of cartwheels.

Analysis of Yesenin's poem "Uncomfortable liquid moonlight ..."

Sergei Yesenin is rightfully considered the poet of the Russian village, since he sings of him in many of his works. However, in last years life, his work has 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, the village of Konstantinovo, where he spent his childhood. Later, having already become quite famous, he returned home several times, and all the time he caught himself thinking that a calm and measured rural life had 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 Russian folk songs, learned marches to the verses of newly-minted poets preaching socialist ideas.

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

At the same time, the poet understands that it is precisely the poverty of the peasants that is one of the deterrent factors for the development of not only Agriculture but throughout the country. At this point, Russia is still an agrarian power with a poorly developed industrial production. But in the pursuit of achievements in the industrial sector, no one pays attention to the fact that it is the village that needs modernization in the first place. “Field Russia! It’s enough to drag the plow through the fields! ”The poet calls, believing that only through good harvests can the country 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 creativity that turned him into an outcast; from now on, he is forced to feel like a guest in his homeland. 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 Rus' with steel”, hoping that the revolution, no matter how he personally relates to it, will still allow the peasants to become full-fledged and zealous owners of the land. But the fact that villages are still falling into decay, and hereditary plowmen are leaving for the city in search of a better life, does not add joy to Yesenin. However, he does not blame anyone, because at one time he himself made the journey 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 lies with smart machines, which Yesenin saw in large numbers abroad, secretly jealous of French and American farmers who do not exhaust themselves with hard physical labor. Therefore, the poet ends his poem with the line: “For no reason now do I want to listen to the song of the cart wheels.”

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Analysis of Yesenin's poem "Uncomfortable liquid moonlight ..."

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