Term "lyrical hero" introduced by Yu.N. Tynyanov in 1921 1, and by him is meant a psychologically, biographically outlined carrier of the experience expressed in the lyrics: "The lyric hero is the artistic" double "of the author-poet, growing out of the text of lyric compositions (cycle, book of poems, lyric poem, the whole set of lyrics ) as a clearly outlined figure or role in life, as a person endowed with certainty, individuality of fate, psychological clarity of the inner world "2.

The lyric system of Sergei Alexandrovich Yesenin is held together by the image of a lyrical hero. This image is extremely emotional, contradictory, it is also characterized by the subtlest, most tender movements of the soul, and at the same time, the fame of a brawler and a hooligan, as you know, did not bypass him. At the same time, we are firmly convinced that the lyric hero and the author are one and the same person, or at least the lyric hero of Yesenin is close to the author himself. And not without reason. In the work of Yesenin, like many other poets, the lyric hero is not only connected by close ties with the author, his attitude to the world, spiritual and biographical experience, the manner of speech behavior, but very often turns out to be indistinguishable from him. This quality is a generic feature of the lyrics: the lyrics are mostly autopsychological.

This applies to the lyrical hero Yesenin in full measure. The "fate" of the lyric hero Yesenin became a reflection of the fate, thoughts, feelings, moods, expectations of many and many of his contemporaries. And not only contemporaries. Yesenin, despite the apparent simplicity and accessibility, is probably one of the most difficult Russian poets of the twentieth century. Perhaps because he is one of the most "Russian" poets, deeply rooted in national Russian psychology. And it is now, when Yesenin's work is viewed in a broad philosophical, psychological context, that an understanding of the peculiarities of his poetry, the specifics of his lyrical hero comes: "There is no doubt that Yesenin is not just a peasant poet, but also a poet of the national-cosmic level, for poetry leads to the primordial cosmos of the Russian soul ", - Y. Mamleev 3.

Yesenin's poetry is one of the most autobiographical and autopsychological in Russian literature, almost all of the poet's poems are permeated with autobiographical motives. Yesenin said: "As for the" autobiographical information "- they are in my poems." This hero was born and raised in a village, in the natural world, and therefore everything natural is dear to him. Then he breaks away from his "small homeland", goes to the city, which turns out to be a "foreign world" for him. The bright and multicolored world of Yesenin's poetry dims: "Those hairs are golden hay // Turns into gray ..." ("I have never been so tired"). It is characteristic that there are almost no city landscapes in Yesenin's poetry. In the city, the Poet does not find a place for himself, dreams, like a prodigal son, to return: "I will return when the branches spread out // Our white garden is spring-like" ("Letter to the mother"), - to cure the soul by merging with nature. But the village has changed, it has become different. And when he tries to change himself, to adapt to life in a big and alien world for him, he becomes ridiculous, unnecessary and eventually dies, having survived a crisis of faith.

"It is difficult to find in all Russian poetry an example of such immersion in oneself, the concentration of a lyric poet on his inner world. This is the great merit of Yesenin the lyric poet and the source of his weakness and suffering." A great dignity, because the soul, the fate of each person is no less important and instructive than the fate of an entire state. The source of weakness and suffering, because the feelings and experiences of the hero are hypertrophied, as if isolated from the world, and behavioral reactions in many ways cease to be adequate. As a result, the hero is seized by anxiety, melancholy, fraught with psychological breakdown.

All Yesenin's work is, as it were, a lyrical autobiographical novel, the hero of which is the image of the Poet - the poet of the ancient, "wooden", rural world. Yesenin's tragedy is the tragedy of a Russian man who has absorbed and poetically expressed popular ideas about the ideal country of muzhik happiness - "Inonia". When the utopian character of this dream was exposed, a crisis of faith set in, it became meaningless to continue living. The autobiography and autopsychologism of the lyric hero of Yesenin's poetry, in particular, allows one to regard Yesenin's own poetry as "arguments" in resolving a dispute about the murder or suicide of the poet. And in poetry, his motive of death sounds constantly, and it intensifies as the poet approaches the tragic finale of his life. The very word "death" occurs in his poetry about 400 times. It can be argued that Yesenin foresaw his "black doom" (like M.Yu. Lermontov). And it can also be argued that the source of the lyrical hero's drama lies not in the social and ideological sphere, but in the psychological, "mythological" sphere, that ideal for Yesenin's image of Russia, which did not stand the test of reality.

The autobiography of Yesenin's lyrics is of a special kind. Yesenin's poetry confessional , naked (completely Russian phenomenon); Yesenin "spilled his whole soul into words", trying to heal the suffering soul with painful introspection and deep sincerity: "From a host of feelings // My head was spinning. // And I said: // If this itch woke up, // I will splash my whole soul into words"(" My Way "). Yesenin strengthened the" epistolary "genre in literature - the genre of lyric writing:" Letter to the Mother "," Letter to a Woman "," Letter to Grandfather "," Letter from Mother "," Letter to Sister ".. In general, Yesenin does not have so many names of poems in which the word "letter" would be present. However, all his poems are a kind of "message from Yesenin", they are so confidential, intimate, personal and at the same time universal. Yesenin needed to be heard, understood, felt. Without this, communication, creativity for him would be meaningless. This manifested itself at the level of biography, communication with other people, even with loved ones. G. Ivanov quotes Yesenin's words about his wife Isadora Duncan: "She is angry me. Wonderful, celebrity, clever, but something is missing, the most important thing. What we Russians call our souls "6.

It is this fantastic sincerity, nakedness of feelings that is characteristic of all Russian literature, Dostoevsky and Yesenin in particular. It would seem that this is a purely psychological trait, but in fact it has a clearly ontological, existential meaning, for such "sincerity", "nakedness" establishes a deeply real contact between the microcosms of each of the individual Russian souls, as well as between the book, its images and subtext, and readers. "Sincerity, nakedness are also present in the world-famous phenomenon of Russian communication - without them this communication would lose its meaning, it would turn into a banal and ordinary communication characteristic of modern post-industrial society."

Yesenin's lyrical hero is different inconsistency and spontaneity in the manifestation of feelings. He aroused conflicting feelings in others as well, and was himself torn apart by conflicting passions. Yesenin is a poet of recklessness and daring, uncompromising and maximalism: "Hello, you, my black doom, I'm going out to meet you!" It is characterized by extremes, unconstrained judgments, assessments and images. If melancholy, then "riotous", if feelings, then "violent", heart - "crazy". The poet speaks of his soul as a "boundless field": "Ineffable, blue, gentle ..." insecurity. Spilling his whole soul into words, exposing his bleeding heart, the poet seems to be confessing from verse to verse. In lyric confession, he purifies and purifies his readers. This sincerity and tenderness, inconsistency and instability, vulnerability of the lyric hero evokes a special feeling of involvement in his fate in the Russian reader. Yesenin treated the deepest emotional crisis with poetry. The poet's lyrics of the last three to four years of his life are an example of colossal creative efforts, tragic in nature, aimed at overcoming spiritual drama.

The feelings of the lyrical hero Yesenin are often polarized, conflicting principles are fighting in the hero's soul, there is no middle, there are extremes:

These endless contradictions reflect the contradictory essence of the Russian character: "The Russians are characterized by a combination of ... polar opposite principles. Russia and the Russian people can only be characterized by contradictions. The Russian people with the same basis can be characterized as a people ... cruel and unusually humane, inclined to inflict suffering and compassionate to the point of pain "8 (Berdyaev N.A.). It was in this way that it was possible to highlight the unconsciousness and insight of the Russian person, the special (with extremes) harmony of the Russian soul and the Russian way of life.

It is significant that Yesenin understands history as a derivative of the actions of elemental forces. It is he who owns the famous formula of the historical element-revolution:

Feeling the spontaneity, the bewitching influence of Yesenin's poetry, critics and literary critics resort to original definitions corresponding to Yesenin's poetics. For example, Yuri Mamleev defines Yesenin's poetry "as an elusive gentle movement of a knife through his own heart, causing only a whirlwind of uncontrollable emotions that you can revel in, but which still do not answer the questions" who are we "and" what is Russia? "9 ...

It happens that a seemingly insignificant episode highlights a lot in a person. Such episodes include Yesenin's first meeting with Isadora Duncan. According to eyewitnesses, their acquaintance was dramatic. After her dance evening in Moscow, excited by the success, Isadora drew attention to Yesenin, “came up and kissed him on the lips. Not understanding, she kissed Yesenin even harder. Then, swinging, he gave the world celebrity a resounding slap in the face ... Immediately sober Yesenin rushed to kiss her hands, console, ask for forgiveness. So their love began. Isadora forgave. With a diamond ring she is right there on the window scratched out the glass: "Esenin is a huligan, Esenin is an angel!" (“Yesenin is a bully, Yesenin is an angel!”) "10. This phrase became, in a certain sense, historical and symptomatic for Yesenin. The episode highlighted in Yesenin's character what generally distinguishes a Russian person.

A distinctive feature of Yesenin's worldview, poetic thinking was the nature of his poetic creativity. In the world of nature, natural images, the soul of Yesenin's lyrical hero dissolves, finds harmony. It is impossible to imagine the lyrical hero Yesenin outside the natural world, in which case his blood connection with the world will be broken, he will be uncomfortable and cold in the world. Therefore, in Yesenin's lyrics, such a large place is occupied by natural, especially woody images: maple, birch, etc. These are very important images for the national picture of the world, for creating a natural landscape and a landscape of the soul of the lyrical hero Yesenin - the landscape of the Russian soul as a whole. But the mythologism of Yesenin's poetry is from living life, from the real life of the Russian village. From folklore Yesenin took what was close to his worldview, his lyrical gift. A distinctive feature of Yesenin's poetry is its "earthly", pagan principle, close attention to subtle changes in nature, and therefore in human life. And figuratively, Yesenin's poetry is a poetic expression of the Russian national mentality, the Russian figurative picture of the world.

Yesenin's poetry is based on Slavic mythology: the central concept of the poetic views of the Slavs (according to A.N. Afanasyev) is the image of a tree - it personifies world harmony, the unity of all things. The tree is a mythological symbol denoting the universe, world harmony. But the tree is also a sign of a person who is merged with the world. Just as in the tree-universe, the top is the sky, the sun; the bottom is the roots, a parallel with a standing person is born: his head is a top that goes into the sky; legs - roots, feeling the strength of the earth, outstretched arms, like branches, embrace the world around sup 11.

And this special closeness of the spiritual landscape and the natural landscape can also be called a distinctive national feature. Poetic Slavic mythology (in particular, the image of the world tree as a symbol of harmony and harmony of the "wooden-village" world) was assimilated by Yesenin not from books, but from living life, from the nature around him. Natural cycles, flowering, wilting and a new rebirth of all living things in the natural world are a constant theme of Yesenin's poetry. And in his poetry itself, it is customary to distinguish "natural" cycles: spring, summer, autumn, winter with the corresponding color scheme. Yesenin's poetry of 1913-1914 is basically devoid of dramatic conflicts, hidden tragedy, Yesenin's poetic world of this period is bright, colorful, and it was called the "blue" period in the poet's work. The year 1916 is called the "pink" period in Yesenin's poetry. At this time, a feeling of an impending catastrophe, an explosion of elemental forces is brewing (for example, in the poem "The sky is smeared with sour cream ...": "Desires multiply burning desires // My sick soul, // But they will also put me on the coffin // With kvass, a cool booze. .. "). 1923-1924 - the "yellow" period in Yesenin's poetry, corresponding to autumn, the time of withering:

And finally, Yesenin's black-and-white "winter" - the second half of 1925.

"My poems are my biography," Yesenin wrote about himself. This feeling of the indissoluble unity of being and creativity accompanied the poet throughout his entire journey - both in life and in literature. Indeed, Yesenin's lyric hero is very close to the author's worldview and, like any creation into which life has been breathed, changes, acquires new features as the poet himself grows up spiritually.

The lyrical hero of his early poetry is a cheerful and reckless guy, joyfully and without fear looking into the future. Directly and simply, he expresses his feelings. Yesenin's poems of this period are replete with pictures of the nature of native Russia. It is through them that the poet reveals the world of his feelings; his lyrical hero seems to be dissolved in his beloved nature:

I was born with songs in a grass blanket,

The spring dawns twisted me into a rainbow.

The favorite image of the poet is the image of a shepherd who feels at home among forests and fields:

I am a shepherd - my chambers

Between the rippling fields.

The theme of vagrancy, wandering also attracts the poet during this period of creativity. His hero seeks to bypass the universe in order to nourish the soul with the "birch milk" of mother earth, singing it in heartfelt prayer verses:

Like a passer-by, a pilgrim

I watch your fields.

The early love poetry of the poet is distinguished by an openly pagan sensuality, for which there are no prohibitions. Later, as the poet grows up spiritually, notes of sadness are heard in her, and in the mature period of creativity, love appears before him as an inexorable, fatal and formidable force ("Persian motives").

The turning point in Yesenin's poetry was 1916, when the poet, naive and inexperienced, plunged into the atmosphere of a big city with its dizzying contrasts, the temptations of fame and power, the intoxication of pre-revolutionary fermentation of minds. The poet feels like a prophet of a new religion:

I will not be afraid of death

No spears, no arrows of rain, -

This is what the Bible says

Prophet Yesenin Sergei.

In his poems, more and more often there are pictures of the dawn - a symbol of renewal:

I believe it's early tomorrow

A little light will dawn

New over the fog

Nazareth will flare up.

Yesenin endows his hero with titanic strength and power, he is stern, active and active in contrast to the darling of his native nature in the poet's early poems. Yesenin takes the revolution with enthusiasm:

Oh, Russia, flap your wings,

Put on a different support!

Enough to rot and whine

And I will glorify with takeoff -

Already washed away, erased the tar

Revived Russia.

The revolution for him is a renewing, liberating, creative element:

They came into the world not to destroy,

And love and believe.

The country is undergoing dramatic changes, but, alas, this is not the light, azure world, not the "muzhik paradise" to which Yesenin was drawn so much from childhood. Disappointment in the ideals of the revolution comes to the poet, he feels that he ceases to understand his people, and the people cease to understand him: "Without me the young men will sing, / The elders will not listen to me."

Yesenin feels that he is alien to the new Russia. It was during this period that he wrote his famous cycle of poems "Moscow tavern". The lyrical hero is a reveler and a hooligan, hiding growing melancholy and despair behind carelessness and daring. In wine, revelry, he seeks oblivion, in his poems there is more and more a presentiment of an untimely death, motives of nostalgia appear. The change of seasons symbolizes for him the tragic path of a lonely lost wanderer in a world that has ceased to be familiar and understandable.

The lyrical hero is painfully experiencing this discord, his soul is "covered in blood." The old theme of vagrancy is filled with other, tragic motives - alienation and restlessness. He has nowhere to go, he no longer has a home, no homeland:

Yes, it's decided now. No return

I left my native fields.

The discord in his soul is aggravated. A critical attitude towards himself, despair and dissatisfaction with himself lead to the fact that in his poems a feeling of detachment appears in relation to himself and his work. The theme of duality appears, which reaches its climax in the poem "The Black Man", written at the end of his life:

Black man

Looks at me point-blank.

And the eyes are covered

Blue vomit

Like he wants to tell me

That I am a crook and a thief

So shameless and insolent

Who robbed someone.

At the end of his life, the lyrical hero merges with the author. The poet has a presentiment of his death. The result of his work is such

poems like “I don’t regret, I don’t call, I don’t cry”, “Goodbye, my friend, goodbye”. In this parting of the poet, one can hear complete resignation to fate. The former rebel is humbled and embraces death. She does not frighten him, for this is a welcome rest from painful thoughts, doubts and inevitable mistakes that accompany life.

"My poems are my biography," Yesenin wrote about himself. This feeling of the indissoluble unity of being and creativity accompanied the poet throughout his entire journey - both in life and in literature. Indeed, Yesenin's lyric hero is very close to the author's worldview and, like any creation into which life has been breathed, changes, acquires new features as the poet himself grows up spiritually. The lyrical hero of his early poetry is a cheerful and reckless guy, joyfully and without fear looking into the future. Directly and simply, he expresses his feelings. Yesenin's poems of this period are replete with pictures of the nature of native Russia. It is through them that the poet reveals the world of his feelings; his lyrical hero seems to be dissolved in his beloved nature:

I was born with songs in a grass blanket, The spring dawns twisted me into a rainbow.

The poet's favorite image is the image of a shepherd who feels at home among forests and fields: I am a shepherd - my chambers Between rippling fields. The theme of vagrancy, wandering also attracts the poet during this period of creativity. His hero seeks to bypass the universe in order to nourish the soul with "birch milk" of mother earth, singing her in heartfelt prayer verses: As a passer-by, I watch your fields. The early love poetry of the poet is distinguished by an openly pagan sensuality, for which there are no prohibitions. Later, as the poet grows up spiritually, notes of sadness are heard in her, and in the mature period of creativity, love appears before him as an inexorable, fatal and formidable force ("Persian motives"). The turning point in Yesenin's poetry was 1916, when the poet, naive and inexperienced, plunged into the atmosphere of a big city with its dizzying contrasts, the temptations of fame and power, the intoxication of pre-revolutionary fermentation of minds. The poet feels like a prophet of a new religion:

I will not be afraid of death, No spears, no arrows of rain, This is what the Prophet Sergei Yesenin says in the Bible. In his verses, pictures of the dawn, a symbol of renewal, are increasingly common: I believe, early tomorrow A new light will dawn over the fog Nazareth will flare up. Yesenin endows his hero with titanic strength and power, he is stern, active and active in contrast to the darling of his native nature in the poet's early poems. Yesenin perceives the revolution with enthusiasm: Oh, Russia, flap your wings, Put another support! Enough to rot and whine, And to glorify the rise of the gnu Already washed away, erased the tar Revived Russia, The Revolution for him is a renewing, liberating, creative element: They did not come into the world to destroy, But to love and believe.

The country is undergoing dramatic changes, but, alas, this is not the light, azure world, not the "muzhik paradise" to which Yesenin was drawn so much from childhood. The poet is disappointed in the ideals of the revolution, he feels that he ceases to understand his people, and the people ceases to understand him: "Without me the young men will sing, the elders will not listen to me." Yesenin feels that he is alien to the new Russia. It was during this period that he wrote his famous cycle of poems "Moscow tavern".

The lyrical hero is a reveler and a hooligan, hiding growing melancholy and despair behind carelessness and daring. “In wine, revelry, he seeks oblivion, in his poems there is more and more a premonition of an untimely death, motives of nostalgia appear. The change of seasons symbolizes for him the tragic path of a lonely lost wanderer in a world that has ceased to be familiar and understandable. The lyrical hero is painfully experiencing this discord, his soul is "covered in blood." The old theme of vagrancy is filled with other, tragic motives - alienation and restlessness. He has nowhere to go, he no longer has a home, no homeland: Yes, now it is decided. No return I left my native fields. The discord in his soul is aggravated.

A critical attitude towards himself, despair and dissatisfaction with himself lead to the fact that in his poems a feeling of detachment appears in relation to himself and his work. The theme of duality appears, which reaches its climax in the poem "The Black Man", written at the end of his life:

The black man is staring at me. And his eyes are covered with Blue vomit, As if he wants to tell me that I am a swindler and a thief, So shamelessly and brazenly robbed someone.

At the end of his life, the lyrical hero merges with the author. The poet has a presentiment of his death. The result of his work is such poems as “I don’t regret, I don’t call, I don’t cry”, “Goodbye, my friend, goodbye”. In this parting of the poet, one can hear complete resignation to fate. The former rebel is humbled and embraces death. She does not frighten him, for this is a welcome rest from painful thoughts, doubts and inevitable mistakes that accompany life.

Whatever he writes about, the image of his native land is invisibly present in his poems. Even in his early youthful poems (in the collection "Radunitsa"), the author appears before us as an ardent patriot. So, in the poem "Goy you, Russia, my dear!" I will say: "No need for paradise, Give my Motherland." His ideas about his native land at that time were still very childish. Homeland for Yesenin is the village of Konstantinove, where he was born, the immediate vicinity of the village. “Ryazan Fields was my country,” he later recalled.

In his soul there is still no idea of ​​his homeland as a social, political, cultural environment. The feeling of homeland finds expression in him so far only in love for his native nature.

On the pages of the early Yesenin lyric poetry, a modest, but beautiful, majestic and dear to the poet's heart, a landscape of the Central Russian strip appears before us: compressed fields, a red-yellow bonfire of an autumn grove, a mirror-like surface of lakes. The poet feels like a part of his native nature and is ready to merge with it forever: “I would like to get lost in the greens of your hundred-ringers”. But even then he sees his homeland as not an idyllic “transcendental paradise”. The poet loves real peasant Russia on the eve of October. In his poems, we find such expressive details that speak of a heavy peasant life, such as "bored huts", "lean fields", "black, then smelling like howling" and others. Elements of sociality are increasingly manifested in the poet's lyrics during the First World War: his heroes are a child asking for a piece of bread, plowmen leaving for the war, a girl waiting from the front of her beloved. "Sad song, you are Russian pain!" - the poet exclaims. The poet greeted the October Revolution with enthusiasm.

“I rejoice in the song of your death,” he throws to the old world. However, the poet did not immediately understand the new world. Yesenin expected an idyllic "earthly paradise" for the peasants from the revolution (the poem "The Jordanian Dove"). Needless to say, these hopes of the poet did not come true? And Yesenin is going through a period of spiritual crisis, but he cannot understand “where the fate of events is taking us”. It is also incomprehensible to him the change in the face of Russia, which the Soviet regime brought with it. The poet sees the renewal of the village as an invasion of a hostile "bad", "iron guest", before whom the nature opposed to him is defenseless. And Yesenin feels himself "the last poet of the village." He believes that a person, transforming the earth, necessarily destroys its beauty.

A peculiar expression of this outlook on a new life was a foal trying in vain to overtake a steam locomotive: “Dear, dear, funny fool, Well, where is he, where is he chasing? Doesn't he know that the live horses were defeated by the steel cavalry? " Over time, Yesenin's outlook on life became broader. Yesenin's view of the world has become wider. If before his homeland was one village, now he is becoming a citizen of the world, alien to any national narrow-mindedness. “I am your brother by blood,” Yesenin addresses Georgian poets. He dreams of those times when "tribal enmity will take place all over the planet", "when there will be one language on earth, and only" the historian, writing a work, remembering our discord, will smile. " But having become a fiery internationalist, Yesenin did not lose his natural feeling for every "the place where he was born."

He claims: "No other homeland will pour my warmth into my chest." Admiring the "blue homeland of Ferdowsi", he does not forget for a minute that "no matter how handsome Shiraz is, he is no better than Ryazan's expanses." Admiration for the beauty of the native land, the image of the hard life of the people, the dream of a "peasant paradise", rejection of urban civilization and the desire to comprehend "Soviet Russia", the feeling of internationalist unity with every inhabitant of the planet and the "love for the native land" that remained in the heart - this is the evolution of the native theme lands in Yesenin's lyrics. Great Russia, one sixth of the earth, he sang joyfully, selflessly, sublimely and purely:

I will sing with my whole being in a poet Sixth part of the earth With a short title “Rus

Features of the lyric hero of Yesenin's poetry

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Esenin S.A.

An essay based on a work on the topic: Yesenin's lyrical hero

Yesenin's lyrical hero is merged with nature, in it he feels his roots, the roots of the human race. Nature, according to Yesenin, is full of mythological symbols, both pagan and Christian. Yesenin's mythological characters live in the real world.
"In my poems, - wrote Yesenin in 1924, - the reader should mainly pay attention to the lyrical feeling." This "lyrical feeling" permeates the entire work of the poet.
Shemnik-wind with a careful step
Crumples foliage over road ledges
And kisses on a rowan bush
Red ulcers to the invisible Christ.
("Autumn")
In Yesenin's poetry, the pagan is intertwined with the Christian, thus linking entire epochs. Any universal object, becoming a symbol, reaches a universal human scale. So, for example, Yesenin's maple is not just a tree, but a "tree of life". The poet writes about this in the article "The Keys of Mary". The hero, perceiving the world through symbols, feels himself in unity with it. The hero's "I" dissolves in nature, merges with it.
Beloved land! The heart is dreaming
Skirts of the sun in the waters of the pubic.
I would like to get lost
In the greens of your hundred-bells.
Probably, in every poem by Yesenin, a see-through motive is the motive of the homeland, Russia. The hero reflects on the fate of Russia, sailing in the world like a large ship. Russia is presented as a mother and often not just a mother, but the Mother of God.
Mother's beloved is coming
With a pure face in his hands.
"Letter to Mother" is a letter to the motherland, which the hero leaves behind. Yesenin conveys feelings, thoughts of the lyrical hero through metaphor, color, smell, sound. Yeseninskaya khata is the image of the village, the horse on the roof "is a sign of aspiration." Hata, however, is likened to a chariot, movement, development appears.
The Yesenin colors are mainly red, blue, gold and their shades, that is, the colors of the icon. The lyrical hero feels eternity through the Christian. The sound of the bell also brings the hero closer to the eternal. Church holidays are often mentioned, even the smells indicate the approach of the holiday ("It smells of apple and honey."). This line clearly says that the Apple Savior is coming, and the reader is in a festive mood.
The attitude of the lyrical hero to reality is also expressed through the personification of nature: "The girls who ate were disgusted," "a blizzard is crying like a gypsy violin," the bird cherry "is sleeping in a white cape." The lyrical hero has a subtle sense of the village nature. It is no accident that it is said: "I am the last poet of the village."
But with Yesenin, Russia is not determined only by the village. Gradually Russia becomes iron, urban. The lyrical hero finds himself between town and country. The motive of leaving, fatigue appears.
Yes, it's now decided no return,
I left my native fields.
And now the "poet of the village" becomes only a "visiting pilgrim". The hero leaves, although he wants to return again. But a full return is not possible. The Lost Son returns to the ashes. The hero is going through a painful discord with the world, which is exacerbated by the coming revolution. The conflict between the living and the “iron” is deepening. The hero is trying to accept a new homeland, to rethink the meaning of the revolution for himself.
I will accept everything. As it is, I accept everything.
I am ready to follow the beaten tracks.
I will give my whole soul to October and May,
But I will not give up the sweet lyre.
The poet cannot accept the revolution, cannot give it the most intimate. On the one hand, the revolution carries an iron, rough beginning, on the other hand, freshness. The image of Lenin is associated with the image of the revolution, and, naturally, the Yesenin hero turns to him. The image of the Savior, the Savior, appears.
The people groaned.
And into this horror
The country was waiting for someone.
And he came.
Reasonably, the lyrical hero understands that Russia needs renewal, but internally he cannot agree with the changes. The hero's "I" kind of splits in two, collapses. "The steel horse defeated the living horse." This is the tragedy - the tragedy of disharmony with the world.
The path of the lyric hero is in many ways the path of the author. Poetic lines often coincide with lines from Yesenin's diaries. The world of the hero and the world of the poet are merged into a single synthesis, in which we feel the contradictory, dramatic era of the first quarter of the 20th century.

Composition

The poetry of Sergei Yesenin has absorbed all the signs of a complex and contradictory time in which the poet fell to live. She reflected the experiences of the artist, his feelings, thoughts, soul. We can say that the tragic fate of Yesenin was fully reflected in the poet's work.

The lyrical hero of S. Yesenin's poetry is contradictory and ambiguous. He changed, grew up, became disillusioned and revived together with the poet. Therefore, we can say that the lyric hero of Yesenin's poetry is largely autobiographical.

What features, striking features attract our attention in the hero of Yesenin's poems? First of all, in my opinion, an immense love for the Motherland, for your land. Starting from the earliest works, Yesenin's lyric hero confesses his love for the "Ryazan expanses". He feels like a part of his native nature, his particle, without which he cannot imagine life for himself:

Good and warm

Like the stove in winter.

And the birches stand

Like big candles.

Moreover, for the lyrical hero Yesenin, the beauty of native nature merges with the beauty of measured village life. For him, all this is one, all this is his homeland, his roots. It is impossible to lose contact with the native land. It's like forgetting your family, your parents. This entails inevitable death, the death of the soul.

Yesenin's lyric hero is very emotional. He is a spiritually rich person, capable of deep and strong feelings. Love plays a huge role in his life. We can say that it gives the hero the strength to live and create. But often the joy of love merges in him with bitterness, longing, anxiety (And let the wood grouses cry with bells.

It is surprising that even the feeling of love for a woman is intertwined in the lyrical hero with a feeling of love for the motherland. And in moments of supreme happiness, homesickness does not leave him:

Shagane you are mine, Shagane!

There, in the north, the girl too,

She looks terribly like you

Maybe he is thinking about me ...

Yesenin's hero is not always happy in love. Often this feeling brings him pain, disappointment, resentment. Not always the hero can put everything in its place, ask for forgiveness from his beloved. Heaviness and remorse oppress his soul. In this state, he often pours his melancholy in taverns, in the company of random companions:

Rash, harmonica. Boredom ... Boredom ...

The accordion player pours his fingers in a wave.

Drink with me you lousy bitch

Drink with me.

The hero's mental pain often turns into scandals, fights, and fights. He has a bad reputation and is shunned by "decent" people. But the hero himself is not worried about this for long. With age, over time, he realizes that there is no need to "scatter", waste himself on all sorts of trifles that many people consider important things. The lyrical hero is sure that at last "the whirlpool in the misty heart has cleared up."

More and more often the hero begins to think about his life, begins to look back. His thoughts and feelings are contradictory. It is sad that there are much more negative among them than positive ones. The hero cannot find and understand his place in life. His vulnerable soul has no happiness in the city, but his native village no longer pleases him, does not bring peace. The events of the 1917 revolution turned everything upside down, turned it upside down. "Wooden Rus" is irrevocably becoming a thing of the past. Industrialization is advancing on the village with an iron step, destroying the very foundations of the Russian village, changing the outlook of the peasants, their soul. All this leads the lyrical hero to sad reflections:

There is no love for the village or the city,

How could I convey it?

I give up everything. Let go of my beard

And I will go as a tramp across Russia.

But still, despite all the contradictions and emotional throwing, the lyric hero comes to a certain harmony. He manages to cope with all the contradictions, comprehend the higher laws, understand the meaning of human life.

We can say that Yesenin's hero is always young at heart, therefore he perceives growing up, maturity very painfully. Age makes him look back, take some conclusions. Not right away, but he still manages to accept and understand the laws of the Universe, evaluate himself and his life, find, albeit with an admixture of sadness, his reassurance:

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

Copper is quietly pouring from the maple leaves ...

May you be blessed forever

That came to flourish and die.

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