Yesenin's life and work message. Yesenin's biography: interesting facts from life

“It’s so easy to leave this life,
Burn mindlessly and painlessly.
But not given to the Russian poet
Such a bright death to die.

Just lead lead to the winged soul
Heaven will open the frontiers,
Or hoarse horror with a shaggy paw
From the heart, like from a sponge, life will be squeezed out.
Anna Akhmatova's poem "In Memory of Sergei Yesenin"

Biography

The biography of Sergei Yesenin is a controversial life story of the great Russian poet. It is difficult to find another person who would write about Russia with such love and at the same time pain. The difficult nature of the poet, his rebelliousness, restlessness, propensity for outrageousness and conflict created considerable difficulties in Yesenin's life. But even after his tragic departure, the “street rake”, “mischievous reveler” and “scandalist” Yesenin, as he called himself, could forever remain in the hearts of those who once heard his poetry and fell in love with it.

Sergei Yesenin was born in the Ryazan region in a simple peasant family. As a child, he loved to read, having special feelings for Russian folklore, fairy tales, epics, ditties and Russian poetry. Pushkin, Lermontov, Koltsov were Esenin's favorite writers. As a young man, he moved to Moscow, where he worked in a printing house, and was soon accepted into the literary and musical circles of the capital and began to publish his poems. First, Moscow, and then Petrograd met Yesenin with open arms, he was considered "the messenger of the Russian village." Yesenin's personality also played a big role - he read his poems with such ardor, with such expression and sincerity that everything - from ordinary people to eminent writers - they fell in love with a golden-haired peasant poet.

Yesenin met the coming of power of workers and peasants with enthusiasm. But over time, delight was replaced by disappointment, fear, indignation. Because of his directness, the poet often became the object of observation by the authorities, especially during the relationship of Sergei Yesenin with Isadora Duncan, an American dancer. When, finally, Yesenin openly expressed his sharp condemnation of the actions of the Soviet authorities in the poem "Country of Scoundrels", a real persecution of the poet began. The poet, already quick-tempered and addicted to alcohol, was often provoked. Each scandalous episode of his biography was described in the newspapers. Yesenin was forced to hide - he lived in the Caucasus, in Leningrad, in Konstantinovo, where he was born. Yesenin's last wife, Sofya Tolstaya, in an attempt to save her husband from alcohol addiction and persecution, hospitalized him in a neurological clinic. Which Yesenin secretly left, allegedly in an attempt to escape from the authorities, and went to Leningrad, where he stayed at the Angleterre Hotel. Five days later, his body was found in the room of the Angleterre. The cause of Yesenin's death was suicide - the poet committed suicide by hanging himself on a pipe. His last words were a poem written in blood instead of ink:

"Goodbye, my friend, goodbye,
My dear, you are in my chest.
Destined parting
Promises to meet in the future.

Goodbye, my friend, without a hand and without a word,
Do not be sad and do not sadness of the eyebrows, -
In this life, dying is not new,
But to live, of course, is not newer.

Yesenin's funeral took place on the last day of 1925 - December 31. Not a single Russian poet was seen off with such honors and scope - about two hundred thousand people came to Yesenin's funeral. Yesenin's death was a huge loss and shock for Russia.

life line

October 3, 1895 Date of birth of Sergei Alexandrovich Yesenin.
1904 Admission to the zemstvo school in Konstantinovo.
1909 Graduation from college, admission to the church teacher's school.
1912 Finishing school with a diploma of a literacy teacher, moving to Moscow.
1913 Marriage with Anna Izryadnova.
1914 The birth of the son of Sergei Yesenin, Yuri.
1915 Acquaintance with Alexander Blok, admission to the service in the hospital train.
1916 Release of the first collection of poems "Radunitsa".
1917 Marriage with Zinaida Reich.
1918 Birth of daughter Tatyana.
1920 Birth of son Constantine.
1921 Divorce from Zinaida Reich, acquaintance with Isadora Duncan, release of the collections "Treryadnitsa", "Confessions of a Hooligan".
May 2, 1922 Marriage to Isadora Duncan.
1923 Release of the collection "Poems of a Brawler".
1924 Divorce from Isadora Duncan, the release of the poem "Pugachev", the collection "Moscow Tavern", the birth of an illegitimate son from the translator and poetess Nadezhda Volpin.
September 18, 1925 Marriage with Sophia Tolstoy.
December 28, 1925 Date of Yesenin's death.
December 31, 1925 Yesenin's funeral.

Memorable places

1. The village of Konstantinovo, where Yesenin was born and where the Yesenin Museum-Reserve is located today.
2. Yesenin Museum (former church teacher's school, which Yesenin graduated from) in Spas-Klepiki.
3. Tsarskoye Selo, where Yesenin's regiment was quartered and where the poet spoke to Empress Alexandra.
4. Yesenin and Duncan's house in Moscow, where the couple lived and where Isadora's dance school was located.
5. Moscow State Museum of S. A. Yesenin.
6. Yesenin's house in Mardakan (now a memorial house-museum on the territory of the arboretum), where the poet lived in 1924-1925.
7. House-Museum of Sergei Yesenin in Tashkent, where he stayed in 1921.
8. Monument to Yesenin in Moscow on Yeseninsky Boulevard.
9. Monument to Yesenin in Moscow on Tverskoy Boulevard.
10. Angleterre Hotel, where Yesenin's body was found.
11. Vagankovsky cemetery, where Yesenin is buried.

Episodes of life

Despite the fact that the last years of his life Yesenin abused alcohol, he did not write poetry while drunk. The poet's memoirists also talk about this. Once Yesenin confessed to his friend: “The desperate fame of a drunkard and a bully follows me, but these are just words, and not such a terrible reality.”

Dancer Duncan fell in love with Yesenin almost at first sight. He, too, was very interested in her, despite the tangible difference in age. Isadora dreamed of glorifying her Russian husband and took him with her on a tour - through Europe and America. Yesenin explained his scandalous behavior during the trip in his usual manner: “Yes, I made a row. I needed them to know me, so they would remember me. What, I'm going to read poetry to them? Poems for Americans? I would only become ridiculous in their eyes. But to drag the tablecloth with all the dishes from the table, to whistle in the theater, to disturb the order traffic- it is clear to them. If I do this, I am a millionaire. I mean, I can. So respect is ready, and glory and honor! Oh, they remember me better than Duncan!” In fact, Yesenin quickly realized that abroad he was only "Duncan's husband" for everyone, broke off relations with the dancer and returned home.

Assumptions that the death of Sergei Yesenin was violent appeared many years after the death of the poet. The author of the version of the murder and its popularization was the Moscow investigator Eduard Khlystalov - his point of view on what happened to the poet is shown in the serial film Yesenin. Other researchers found it unconvincing.

Covenant

"In thunderstorms, in storms, in the coldness of life,
With heavy losses and when you are sad,
To seem smiling and simple -
The highest art in the world."

A plot from the cycle "Historical Chronicles" dedicated to Sergei Yesenin

condolences

“Let's not blame him alone. All of us - his contemporaries - are more or less to blame. This was a precious person. I should have fought harder for him. We should have helped him more brotherly.”
Anatoly Lunacharsky, revolutionary, statesman

“The end of Yesenin upset, upset usually, humanly. But immediately this end seemed completely natural and logical. I found out about this at night, grief, it must have remained grief, it must have dissipated by morning, but in the morning the newspapers brought dying lines: “In this life, dying is not new, but living, of course, is not newer” . After these lines, Yesenin's death became a literary fact.
Vladimir Mayakovsky, poet

"He lived terribly and died terribly."
Anna Akhmatova, poetess

Yesenin Sergei Alexandrovich (1895 - 1925) - Russian poet, representative of the new peasant poetry and lyrics. Among the biographies of poets, a special place is occupied by the biographies of those geniuses whose death was tragic. Short biography of Yesenin belongs to this category.

Short biography of Yesenin

Yesenin is rightly placed on the same pedestal with the greatest poets Russia: Pushkin, Lermontov, Blok and Akhmatova. After reading summary you will understand why this is so.

Childhood and youth

Sergey Yesenin was born in the village of Konstantinovo, Ryazan province, into a peasant family. From childhood he was brought up by his maternal grandfather, an enterprising and prosperous man, an expert in church books.

He graduated from a four-year rural school, then a church teacher's school in Spas-Klepiki. In 1912, Yesenin moved to Moscow, where his father served as a merchant.

He worked in a printing house, joined the literary and musical circle named after Surikov, attended lectures at the Shanyavsky People's University. Surikov's circle seriously influenced Yesenin's biography, shaping many of the views of the future poet.

Yesenin's poems first appeared in Moscow magazines in 1914.

In 1915 he traveled to Petrograd, where he met prominent literary figures: A. Blok, S. Gorodetsky, N. Klyuev and others.

Years of creativity

Some time later, the first collection of his poems, entitled "Radunitsa", was published. An interesting fact is that Sergei Yesenin collaborated with Socialist-Revolutionary magazines. They published such poems as "Transfiguration", "Oktoih" and "Inonia".

Portrait of Yesenin

In March 1918, the poet again settled in Moscow, where he acted as one of the founders of the Imagist group. Imagism is a literary trend in Russian poetry of the 20th century, whose representatives stated that the purpose of creativity is to create an image.

In 1919 - 1921 he traveled a lot. He traveled to Solovki, to Murmansk, enthusiastically visited the Caucasus (which at one time played a big role in) and the Crimea. In parallel, Yesenin worked on the dramatic poem "Pugachev". In the spring of 1921 he went to the Orenburg steppes and reached Tashkent.

In 1922 - 1923, together with the American dancer Isadora Duncan, who lived in Moscow, who became Yesenin's wife, he traveled to Europe: he visited Germany and France, Italy and Belgium, Canada and the USA.

In 1924 - 1925 he visited Georgia and Azerbaijan three times, where he worked with particular zeal and created "The Poem of Twenty-Six", "Anna Snegin" and "Persian Motifs".

The October Revolution seriously influenced Yesenin, subsequently playing, perhaps, a fatal role in his biography. In his work, he expressed his attitude towards it both the spring joy of liberation, and the impulse towards the future, and the tragic collisions of a turning point.

The best works of Yesenin vividly captured the spiritual beauty of the Russian people. Yesenin is recognized as the finest lyricist, the wizard of the Russian landscape. Tragically died in 1925 in Leningrad.

The tragic death of Yesenin

According to the version accepted by most of the poet's biographers, Yesenin, in a state of depression (a month after treatment in a psychoneurological hospital), committed suicide (hanged himself).

For a long time, other versions of the event were not expressed, but at the end of the 20th century, versions began to arise about the murder of the poet, followed by the staging of his suicide, and possible reasons both the personal life of the poet and his work were called.

Probably, we will never know the exact cause of death of an outstanding Russian poet. However, his work is still alive, and has a huge impact on the formation of the personality of a Russian person.

His poems are simple and elegant, like all genius.

Yesenin's last verse

Goodbye my friend, goodbye.
My dear, you are in my chest.
Destined parting
Promises to meet in the future.

Goodbye, my friend, without a hand, without a word,
Do not be sad and do not sadness of the eyebrows, -
In this life, dying is not new,
But to live, of course, is not newer.

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Sergei Alexandrovich Yesenin was born September 21 (October 3), 1895 in with. Konstantinovo of the Ryazan district of the Ryazan province in the family of a peasant woman and a clerk. The mother of the future poet, Tatyana Titova, was married against her will, and soon, together with her three-year-old son, she went to her parents. Then she went to work in Ryazan, and Yesenin remained in the care of his grandparents, a connoisseur of church books. Yesenin's grandmother knew many songs, fairy tales and ditties, and, according to the poet himself, it was she who gave the "impulses" to write his first poems.

He began to write poetry at a second-class teacher's school in Spas-Klepiki, where he entered after graduating from a four-year school in Konstantinov in September 1909. The first poetic experiments are colored by the influence of S.Ya. Nadson. From the end of July 1912 to March 1915. lived in Moscow, where from September 1913 to the beginning of 1915 was a student of the historical and philosophical cycle of the academic department of the Moscow City People's University. A.L. Shanyavsky. Having tried many stylistic manners, by the end of the Moscow period he acquired his own poetic style, combining folk “peasant” imagery in the spirit of A.V. Koltsov with the achievements of Russian symbolism (primarily A.A. Blok). Also experienced a significant influence of A.A. Fet, tangible in the first published poem "Birch" (in the January issue of the Moscow children's magazine "Mirok" for 1914 , under the pseudonym Ariston).

At the beginning of March 1915 Yesenin arrived in Petrograd. Communication with A. Blok, S.M. Gorodetsky, Z.N. Gippius, D.S. Merezhkovsky, D.V. Filosofov convinced Yesenin of the need to enrich his lyrics with religious motifs demanded by Russian modernism. In the verses of his first book "Radunitsa" ( 1916 ) a kind of pantheism prevails (parallels between nature and the temple gracefully and unobtrusively introduced into the text), the style is distinguished by sparingly selected dialectisms. The very name of the book Radunitsa is often associated with the song warehouse of Yesenin's poems. On the one hand, Radunitsa is the day of commemoration of the dead; on the other hand, this word is associated with a cycle of spring folk songs, which have long been called Radovitsky or Radonitsky stoneflies.

An important milestone in Yesenin's poetic biography was his correspondence, and then the meeting ( in October 1915) with N.A. Klyuev, who took on the role of teacher and guardian of the young poet: in 1915-1917. his influence was manifested both in poetry and in appearance Yesenin, stylized as the fabulous Ivan Tsarevich.

February and October revolution 1917 Yesenin took it with enthusiasm. In the infamous poem "Transfiguration" ( December 1917) he, drastically changing his manner, voluntarily or involuntarily translated the slogans of the International into the language of Old Testament legends. Yesenin loudly announced a change in his worldview priorities in the poem "Inonia" ( 1918 ) with its key image of the rejected Communion. In 1917-1918. Yesenin was closely associated with the Scythians group R.V. Ivanov-Razumnik, Andrey Bely became the main poetic authority for Yesenin. Yesenin's poetic achievements of this period were reflected not so much in his second book, Dove, published in Petrograd ( 1918 ), where verses were included 1916-1917., how many series of Moscow collections published in 1918-1920. (“Transfiguration”, “Country Book of Hours”, the second edition of “Radunitsa”, all 1918, and etc.).

Late 1918 - early 1919. Yesenin, together with A.B. Mariengof, V.G. Shershenevich and others created a group of Imagists. Not only the tactics of winning a resounding pop success with the help of scandals, but the very poetics of Imagism inherited Russian futurism. The synthesis of pop, designed for the indispensable pronunciation of the word, spectacular futuristic metaphors with "bottomless soil" (according to B. Pasternak's formula), provided Yesenin with unprecedented success with readers, especially with a very large stratum of yesterday's natives of the village. The most significant achievements of the Imagist period of Yesenin were his poem "Sorokoust" ( 1920 ), a book of poems "Confession of a Hooligan", as well as a dramatic poem "Pugachev" (both 1921 ). In the spirit of the ideas of Imagism, the most famous literary and critical work of Yesenin, the poetological treatise "Keys of Mary" ( 1919 ).

In October 1921 Yesenin met the American dancer A. Duncan; May 2, 1922 they officially registered their marriage (with July 1917 to October 1921 Yesenin was married to Z.N. Reich; from September 1925- on S.A. Tolstoy). Trips with Duncan in Europe and America ( May 1922 - August 1923) Yesenin undertook not least in the hope of world fame. The disappointment that befell the poet in these aspirations was reflected in his essay on America "Iron Mirgorod", published shortly after his return to Russia ( 1923 ). In the last years of his life, Yesenin leaned towards an alliance with the Soviet authorities, problematized by longing for the “outgoing Russia”. In the works of this period, there is a noticeable tendency to reproduce and rethink the key images of A.S. Pushkin. In Yesenin's late lyrics, the collection Persian Motives (1925) stands out. The final poem for the writer was the poem "The Black Man", which played on Pushkin's themes ( 1925 ) is an uncompromising author's confession, the poet's confession that he wore precisely calculated masks all his life. This state of mental discord, coupled with persecution mania, pushed Yesenin to suicide (none of the versions about his murder is based on serious factual grounds).

Sergei Yesenin is one of the most beloved and famous poets of Russia. His poems still make people's hearts feel, believe and empathize. To many readers, the domestic poet is known as a rebel, but his antics pursued only one goal - to nourish the soul with new experiences in order to reflect them on paper in the future. That is why the short fate of Sergei Yesenin is so bright and unusual.

Sergei Alexandrovich Yesenin was born in 1895 in the village of Konstantinovo (Ryazan Region). The poet's mother and father were ordinary peasants who spent all their time at work, so the boy lived with his maternal grandparents. Even then, according to the memoirs of the writer himself, talent began to awaken in him: “I began to compose poetry early. Grandma gave pushes. She told stories. I didn’t like some fairy tales with bad endings, and I remade them in my own way. Yesenin also loved his mother's songs, which left a strong imprint on the works of an outstanding author: Sergei Alexandrovich's poems, like songs, are melodic, rhythmically organized.

At the age of nine, Yesenin entered the Konstantinovsky Zemstvo four-year school, and then transferred to a church teacher's school in the village of Spas-Klepiki. It was then that Sergei Alexandrovich wrote his first poems: “Memories”, “Stars”, “My Life”. But the poet began to print a little later, in 1914: Yesenin's first published work was the poem "Birch" in the children's magazine "Mirok". Having moved to the capital and realizing his uniqueness, he began to call himself a peasant poet. In his lyrics, people found sincerity, natural harmony, folk language, which was so lacking in the city. Having joined the Imagists, the author began to experiment with the form and rhythm of verse, diversified the subject matter of his works, but soon ceased to associate himself with any current, turning onto his own path. So, Yesenin became one of the most prominent, outrageous and successful people of his time.

Lifestyle

With the name of Sergei Yesenin, many of us associate the image of a rebel poet, an ingenuous and sincere guy from the village. But in real life only thoughtfulness and prudence helped Sergei Alexandrovich, with the help of influential writers, to achieve such fame. In addition, the poet was very sensitive to criticism, collected reviews of his works and knew more than half of them by heart.

An integral part of Yesenin's life was also constant scandals and drinking bouts. Sergei Alexandrovich was afraid of the police, but at the same time he was a frequenter. The poet was under special control in Moscow, so in all the places he visited, one could meet employees in civilian clothes. At the same time, Yesenin's robbery never reached the court - useful contacts helped out.

Yesenin's qualities

Yesenin's character can be described in two words: a dreamer and a romantic. Sergei Alexandrovich plunged headlong into fantasies and fictions of a romantic nature - it was from there that he took positive emotions that filled his life with meaning. By nature, the poet was not a leader, which is why he preferred stronger persons, but if the friend chosen by Yesenin moved in the wrong direction, Sergei Alexandrovich left him without a drop of doubt.

The boundless love for the Motherland made the poet vulnerable, and eternal worries about the fate of Russia caused unbearable pain in Yesenin's soul, which he drowned out with alcohol. When reading his poems, the poet clenched his fists so tightly that many wounds remained on his palms, which testifies to the strength that Sergei Alexandrovich put into reading lyrical works.

outlook

The worldview of Sergei Yesenin is a combination of two principles: peasant and Christian (even the Russian hut in the work of Sergei Alexandrovich was awarded with biblical meaning). It was peasant life that was an earthly paradise for the poet: “If the holy army shouts: /“ Throw you Russia, live in paradise!

Sergei Yesenin often systematized his images, dividing them into soul, mind and flesh: they all reflect a different degree of interpenetration of the phenomenon, worlds and concepts into each other. Sergei Alexandrovich perceived the word mystically: for him it was something meaningless, a mixture of the earthly and ordinary with the universe and the unexplored.

Women and children

There are still legends about the personal life of Sergei Yesenin: his friends said that the poet had only to smile, and all the women became his fans. But only a few of Yesenin's novels are known for certain.

Sergey Alexandrovich “spun” his first novel while still very young - the poet was 17 years old. The beloved of the poet was a fairly adult woman - Anna Izryadnova. The young lived together in Anna's apartment, but after she became pregnant, Yesenin left for the Crimea and never took part in raising his son.

The next "victim of love" of the poet was Zinaida Reich. Yesenin fell in love with a girl at first sight, but in this relationship, as in the previous ones, pregnancy changed everything. Sergei Yesenin seemed to have been replaced: he began to suspect his wife of treason, beat her and only ask for forgiveness in the morning. Zinaida could not live like this and, having learned about the second pregnancy, almost immediately severed all ties with her husband.

But the main woman in the life of Sergei Alexandrovich was the famous dancer - Isadora Duncan. Two talented people met at a creative evening and realized that they cannot imagine life without each other. The couple left for America, but after a while Yesenin was overcome by boredom for his homeland, and he returned back to Russia. Later, Duncan went to perform in the Crimea, and Sergei Alexandrovich promised her to come later, but he deceived: Yesenin sent Isadora a letter in which he announced that he was going to marry another.

In his short life, Sergei Yesenin never found family happiness.

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Yesenin - Sergei Alexandrovich (1895-1925), Russian poet. From the first collections ("Radunitsa", 1916; "Rural Book of Hours", 1918) acted as subtle lyricist, a master of a deeply psychologized landscape, a singer of peasant Russia, a connoisseur of the folk language and the folk soul. In 1919-23 he was a member of a group of Imagists. Tragic attitude, spiritual confusion are expressed in the cycles "Mare's Ships" (1920), "Moscow Tavern" (1924), the poem "The Black Man" (1925). In the poem "The Ballad of Twenty-Six" (1924), dedicated to the Baku commissars, the collection "Soviet Russia" (1925), the poem "Anna Snegina" (1925), Yesenin sought to comprehend the "commune rearing Russia", although he continued to feel like a poet of "Russia leaving ”, “golden log hut”. Dramatic poem "Pugachev" (1921).

Childhood and youth

Born into a peasant family, as a child he lived in the family of his grandfather. Among Yesenin's first impressions are spiritual poems sung by wandering blind men and grandmother's tales. After graduating with honors from the Konstantinovsky four-year school (1909), he continued his studies at the Spas-Klepikovskaya teacher's school (1909-12), from which he emerged as a "teacher of the literacy school." In the summer of 1912, Yesenin moved to Moscow, for some time he served in a butcher's shop, where his father worked as a clerk. After a conflict with his father, he left the shop, worked in a book publishing house, then in the printing house of I. D. Sytin; during this period he joined the revolutionary workers and was under police surveillance. At the same time, Yesenin was studying at the historical and philosophical department of Shanyavsky University (1913-15).

Literary debut and success

Composing poetry from childhood (mainly in imitation of A. V. Koltsov, I. S. Nikitin, S. D. Drozhzhin), Yesenin finds like-minded people in the Surikov Literary and Musical Circle, of which he becomes a member in 1912. He begins to print in 1914 in Moscow children's magazines (the debut of the poem "Birch"). In the spring of 1915, Yesenin arrived in Petrograd, where he met A. A. Blok, S. M. Gorodetsky, A. M. Remizov, N. S. Gumilyov and others, became close to N. A. Klyuev, who had a significant influence on him . Their joint performances with poems and ditties, stylized as a "peasant", "folk" manner (Yesenin appeared to the public as a golden-haired young man in an embroidered shirt and morocco boots), were a great success.

Military service

In the first half of 1916, Yesenin was drafted into the army, but thanks to the efforts of his friends, he was appointed (“with the highest permission”) as an orderly to the Tsarskoye Selo military hospital train No. 143 of Her Imperial Majesty Empress Alexandra Feodorovna, which allows him to freely visit literary salons, visit at receptions with patrons, to perform at concerts. At one of the concerts in the infirmary, to which he was seconded (here the sisters of mercy, the empress and princesses served), he meets with royal family. At the same time, together with N. Klyuev, they perform, dressed in ancient Russian costumes, sewn according to the sketches of V. Vasnetsov, at the evenings of the Society for the Revival of Artistic Russia at Feodorovsky Town in Tsarskoye Selo, and are also invited to Moscow to Grand Duchess Elizabeth. Together with the royal couple in May 1916, Yesenin visited Evpatoria as a train attendant. This was the last trip of Nicholas II to the Crimea.

"Radunitsa"

Yesenin's first collection of poems "Radunitsa" (1916) is enthusiastically welcomed by critics, who found a fresh stream in it, noting the author's youthful spontaneity and natural taste. In the poems of "Radunitsa" and subsequent collections ("Dove", "Transfiguration", "Country Book of Hours", all 1918, etc.), Yesenin's special "anthropomorphism" is formed: animals, plants, natural phenomena, etc. are humanized by the poet, forming together with people connected by roots and all their nature with nature, a harmonious, holistic, beautiful world. At the junction of Christian imagery, pagan symbolism and folklore stylistics, paintings of Yesenin's Russia, painted with a subtle perception of nature, are born, where everything: a heating stove and a dog's shelter, unmowed hayfields and marshy swamps, the hubbub of mowers and the snoring of a herd becomes the object of the poet's reverent, almost religious feeling ("I I pray for scarlet dawns, I take communion by the stream").

Revolution

In early 1918 Yesenin moved to Moscow. Encouraged by the revolution, he writes several short poems (The Jordanian Dove, Inonia, The Heavenly Drummer, all 1918, etc.), imbued with a joyful foreboding of the "transformation" of life. God-fighting moods are combined in them with biblical imagery to indicate the scale and significance of the events taking place. Yesenin, singing the new reality and its heroes, tried to match the time (Cantata, 1919). In later years, he wrote "Song of the Great Campaign", 1924, "Captain of the Earth", 1925, etc.). Reflecting on “where the fate of events is taking us,” the poet turns to history (dramatic poem Pugachev, 1921).

Imagism

Searches in the field of imagery bring Yesenin closer to A. B. Mariengof, V. G. Shershenevich, R. Ivnev, at the beginning of 1919 they united in a group of imagists; Yesenin becomes a regular at the Pegasus Stable, a literary cafe of the Imagists at the Nikitsky Gates in Moscow. However, the poet only partly shared their platform - the desire to clear the form from the "dust of content". His aesthetic interests are turned to the patriarchal rural way of life, folk art, the spiritual fundamental principle artistic image(treatise "Keys of Mary", 1919). Already in 1921, Yesenin appeared in the press criticizing the "clown's antics for the sake of the antics" of the "brothers"-Imagists. Gradually artsy metaphors leave his lyrics.

"Moscow tavern"

In the early 1920s in Yesenin's poems, motifs of “life torn apart by a storm” appear (in 1920, a marriage with Z.N. Reich, which lasted about three years, broke up), drunken prowess, replaced by anguished melancholy. The poet appears as a hooligan, a brawler, a drunkard with a bloodied soul, hobbling "from brothel to brothel", where he is surrounded by "alien and laughing rabble" (collections "Confessions of a Hooligan", 1921; "Moscow Tavern", 1924).

Isadora

An event in Yesenin's life was a meeting with the American dancer Isadora Duncan (autumn 1921), who six months later became his wife. A joint trip to Europe (Germany, Belgium, France, Italy) and America (May 1922 August 1923), accompanied by noisy scandals, shocking antics of Isadora and Yesenin, exposed their "mutual misunderstanding", aggravated by the literal absence common language(Yesenin did not own foreign languages, Isadora learned several dozen Russian words). Upon returning to Russia, they parted.

Poems of recent years

Yesenin returned to his homeland with joy, a sense of renewal, a desire "to be a singer and a citizen ... in the great states of the USSR." During this period (1923-25) his best lines are created: the poems “The golden grove dissuaded ...”, “Letter to mother”, “We are now leaving little by little ...”, the cycle “Persian motives”, the poem “Anna Snegina” and others. The main place in his poems still belongs to the theme of the motherland, which is now acquiring dramatic shades. The once united harmonious world of Yesenin's Russia splits into two: "Soviet Russia", "Russia leaving". The motif of the competition between the old and the new, outlined in the poem "Sorokoust" (1920) ("red-maned foal" and "on the paws of a cast-iron train"), is developed in verse recent years: fixing the signs of a new life, welcoming "stone and steel", Yesenin increasingly feels like a singer of a "golden log hut", whose poetry "is no longer needed here" (collections "Soviet Russia", "Soviet Country", both 1925). The emotional dominant of the lyrics of this period are autumn landscapes, motives for summing up, farewell.

tragic ending

One of his last works was the poem "Country of Scoundrels" in which he denounced the Soviet regime. After that, persecution began in the newspapers, accusing him of drunkenness, fights, etc. The last two years of Yesenin's life were spent in constant traveling: hiding from prosecution he travels three times to the Caucasus, travels several times to Leningrad, seven times to Konstantinovo. At the same time, he is once again trying to start a family life, but his union with S.A. Tolstoy (the granddaughter of Leo Tolstoy) was not happy. At the end of November 1925, due to the threat of arrest, he had to go to a neuropsychiatric clinic. Sofia Tolstaya agreed with Professor P.B. Gannushkin about the poet's hospitalization in a paid clinic at Moscow University. The professor promised to provide him with a separate ward where Yesenin could do literary work. Employees of the GPU and the police ran off their feet, looking for the poet. Only a few people knew about his hospitalization in the clinic, but there were informants. On November 28, security officers rushed to the director of the clinic, Professor P.B. Gannushkin and demanded the extradition of Yesenin, but he did not extradite his countryman for reprisal. The clinic is being monitored. After waiting for a moment, Yesenin interrupts the course of treatment (left the clinic in a group of visitors) and leaves for Leningrad on December 23. On the night of December 28, in the Angleterre Hotel, Sergei Yesenin is killed by staging suicide.

Yesenin's autobiography dated May 14, 1922

I am the son of a peasant. Born in 1895 on September 21 in the Ryazan province. Ryazan district. Kuzminskaya volost. From the age of two, due to the poverty of my father and the large number of my family, I was given up for education to a rather prosperous maternal grandfather, who had three adult unmarried sons, with whom almost all of my childhood passed. My uncles were mischievous and desperate guys. For three and a half years they put me on a horse without a saddle and immediately put me into a gallop. I remember that I was crazy and held on to the withers very tightly. Then I was taught to swim. One uncle (Uncle Sasha) took me to the boat, drove away from the shore, took off my clothes and, like a puppy, threw me into the water. I clumsily and frightenedly clapped my hands, and until I choked, he kept shouting: “Oh, bitch! Well, where are you fit? "Bitch" he had an affectionate word. After about eight years, I often replaced a hunting dog for another uncle, swimming in the lakes for shot ducks. Very well I was taught to climb trees. None of the boys could compete with me. For many who were disturbed by rooks at noon after plowing, I removed their nests from birch trees, a dime apiece. Once he broke loose, but very successfully, scratching only his face and stomach and breaking a jug of milk that he was carrying to his grandfather for mowing.

Among the boys, I have always been a horse-breeder and a big brawler, and I always walked around in scratches. For mischief, only one grandmother scolded me, and grandfather sometimes provoked me to fisticuffs and often told my grandmother: “Don’t touch him, you fool. He'll be stronger that way." Grandmother loved me with all her might, and her tenderness knew no bounds. On Saturdays they washed me, cut my nails and corrugated my head with garlic oil, because not a single comb was taken curly hair. But the oil did little to help. I always yelled with a good obscenity, and even now I have some kind of unpleasant feeling by Saturday. On Sundays I was always sent to mass and. to check that I was at mass, they gave 4 kopecks. Two kopecks for the prosphora and two for the removal of parts to the priest. I bought prosphora and instead of the priest made three marks on it with a penknife, and for the other two kopecks I went to the cemetery to play piggy with the guys.

This is how my childhood went. When I grew up, they really wanted to make a village teacher out of me, and therefore they sent me to a closed church teacher's school, after graduating from which, at the age of sixteen, I had to enter the Moscow Teachers' Institute. Fortunately, this did not happen. I was so fed up with the methodology and didactics that I didn’t even want to listen. I started writing poetry early, about nine years old, but I attribute conscious creativity to 16-17 years. Some of the poems of these years are placed in the "Radunitsa".

At the age of eighteen I was surprised, having sent my poems to magazines, by the fact that they were not being published, and suddenly burst into St. Petersburg. I was received very warmly there. The first one I saw was Blok, the second was Gorodetsky. When I looked at Blok, sweat dripped from me, because for the first time I saw a living poet. Gorodetsky introduced me to Klyuev, whom I had never heard a word about before. With Klyuev, despite all our internal strife, a great friendship began between us, which continues to this day despite the fact that we have not seen each other for six years. He now lives in Vytegra, writes to me that he eats bread with chaff, drinking empty boiling water and praying to God for a shameful death.

During the years of war and revolution, fate pushed me from side to side. I traveled far and wide across Russia, from the Arctic Ocean to the Black and Caspian Seas, from the West to China, Persia and India. The best time in my life I consider 1919. Then we spent the winter in 5 degrees of room cold. We didn't have any firewood. I have never been a member of the RCP, because I feel much more to the left. My favorite writer is Gogol. Books of my poems: "Radunitsa", "Dove", "Transfiguration", "Rural Book of Hours", "Treryadnitsa", "Confession of a Hooligan" and "Pugachev". Now I'm working on a big thing called "Country of Scoundrels." In Russia, when there was no paper, I printed my poems together with Kusikov and Mariengof on the walls of the Strastnoy Monastery or simply read it somewhere on the boulevard. The best admirers of our poetry are prostitutes and bandits. We are all in great friendship with them. The Communists do not like us because of a misunderstanding. Behind this, to all my readers, the lowest hello and a little attention to the sign: “Please do not shoot!”

Yesenin's autobiography from 1923

Born 1895 October 4th. The son of a peasant in the Ryazan province., Ryazan district, the village of Konstantinov. Childhood passed among the fields and steppes.

He grew up under the supervision of his grandmother and grandfather. Grandmother was religious, she dragged me around the monasteries. At home she gathered all the crippled who sing spiritual verses from “Lazar” to “Mikola” in Russian villages. Ros was mischievous and naughty. There was a brawler. Grandfather himself sometimes forced me to fight so that he would be stronger.

Poetry began to compose early. Grandma gave pushes. She told stories. I did not like some fairy tales with bad endings, and I remade them in my own way. Poetry began to write, imitating ditties. I had little faith in God. I did not like to go to church. At home they knew this and, in order to test me, they gave 4 kopecks for the prosphora, which I had to carry to the altar to the priest for the ritual of taking out the parts. The priest made 3 cuts on the prosphora and took 2 kopecks for it. Then I learned to do this procedure myself with a penknife, and 2 kopecks. he put it in his pocket and went to play in the cemetery with the boys, to play money. Once my grandfather figured it out. There was a scandal. I ran away to another village to my aunt and did not show up until they forgave me.

He studied at a closed teacher's school. At home they wanted me to be a village teacher. When they took me to school, I missed my grandmother terribly and one day I ran home for more than 100 miles on foot. They scolded the house and took it back.

After school, from the age of 16 to 17 he lived in the village. At the age of 17 he left for Moscow and entered the Shanyavsky University as a volunteer. At the age of 19 he came to St. Petersburg on his way to Revel to visit his uncle. I went to Blok, Blok brought Gorodetsky, and Gorodetsky with Klyuev. My poems made a big impression. All the best magazines of that time (1915) began to publish me, and in the fall (1915) my first book, Radunitsa, appeared. Much has been written about her. Everyone unanimously said that I was a talent. I knew it better than others. For "Radunitsa" I released "Dove", "Transfiguration", "Country Book of Hours", "Keys of Mary", "Treryadnitsa", "Confession of a hooligan", "Pugachev". The Country of Scoundrels and Moscow Tavern will soon be out of print.

Extremely individual. With all the foundations on the Soviet platform.

In 1916 he was called up for military service. With some patronage of Colonel Loman, adjutant of the Empress, he was presented with many benefits. He lived in Tsarskoye near Razumnik Ivanov. At the request of Loman, he once read poetry to the empress. After reading my poems, she said that my poems are beautiful, but very sad. I told her that all of Russia is like that. He referred to poverty, climate, and so on. The revolution found me at the front in one of the disciplinary battalions, where I landed because I refused to write poems in honor of the tsar. He refused, consulting and seeking support in Ivanov-Razumnik. During the revolution, he arbitrarily left Kerensky's army and, living as a deserter, worked with the Socialist-Revolutionaries not as a party member, but as a poet.

During the split of the party, he went with the left group and in October was in their fighting squad. He left Petrograd together with the Soviet authorities. In Moscow, in 18, he met with Mariengof, Shershenevich and Ivnev.

The urgent need to put into practice the power of the image prompted us to publish the manifesto of the Imagists. We were the initiators of a new era in the era of art, and we had to fight for a long time. During our war, we renamed the streets after ourselves and painted the Strastnoy Monastery with the words of our poems.

1919-1921 traveled around Russia: Murman, Solovki, Arkhangelsk, Turkestan, the Kyrgyz steppes, the Caucasus, Persia, Ukraine and Crimea. In 1922, he flew by airplane to Koenigsberg. traveled all over Europe and North America. I am most satisfied with the fact that I returned to Soviet Russia. What happens next remains to be seen.

Yesenin's autobiography dated June 20, 1924

I was born in 1895 on September 21 in the village of Konstantinov, Kuzminskaya volost, Ryazan province. and Ryazan district. My father is a peasant Alexander Nikitich Yesenin, my mother is Tatyana Fedorovna.

He spent his childhood with his maternal grandfather and grandmother in another part of the village, which is called. matt. My first memories date back to when I was three or four years old. I remember the forest, the big ditch road. Grandmother goes to the Radovetsky Monastery, which is 40 versts from us. I, grabbing her stick, can hardly drag my legs from fatigue, and my grandmother keeps saying: “Go, go, berry, God will give happiness.” Blind people often gathered at our house, wandering through the villages, singing spiritual verses about the beautiful paradise, about Lazar, about Mikol and about the groom, the bright guest from the city of the unknown. The nanny is an old woman who took care of me, told me fairy tales, all those fairy tales that all peasant children listen to and know. Grandfather sang old songs to me, so viscous, mournful. On Saturdays and Sundays he shared the Bible and sacred history with me.

My street life was different from my home life. My peers were mischievous guys. With them, I climbed together in other people's gardens. I ran away for 2-3 days to the meadows and ate, together with the shepherds, the fish that we caught in small lakes, first muddying the water with our hands, or broods of ducklings. After, when I returned, I often flew.

In the family we had a fit uncle, except for my grandmother, grandfather and my nanny. He loved me very much, and we often went with him to the Oka to water the horses. At night, when the weather is calm, the moon stands upright in the water. When the horses drank, it seemed to me that they were about to drink the moon, and I rejoiced when it, together with the circles, floated away from their mouths. When I was 12 years old, I was sent to study from a rural zemstvo school to a teacher's school. My relatives wanted me to become a rural teacher. Their hopes extended to the institute, fortunately for me, which I did not get into.

I started writing poetry at the age of 9, I learned to read at the age of 5. At the very beginning, rural ditties had an influence on my work. The period of study did not leave any traces on me, except for a strong knowledge of the Church Slavonic language. That's all I got. The rest he did himself under the guidance of a certain Klemenov. He introduced me to new literature and explained why it is necessary to be afraid of the classics in some ways. Of the poets, I liked Lermontov and Koltsov the most. Later I switched to Pushkin.

In 1913 I entered Shanyavsky University as a volunteer. After staying there for 1.5 years, he had to go back to the village due to financial circumstances. At this time, I wrote a book of poems "Radunitsa". I sent some of them to the St. Petersburg magazines and, without receiving an answer, went off on my own. He came and found Gorodetsky. He received me very cordially. Then almost all the poets gathered at his apartment. They started talking about me, and they began to print me almost like hot cakes.

I published: "Russian Thought", "Life for All", "Monthly Journal" by Mirolyubov, "Northern Notes", etc. This was in the spring of 1915. And in the autumn of the same year, Klyuev sent me a telegram to the village and asked me to come to him. He found me a publisher, M.V. Averyanov, and a few months later my first book, Radunitsa, was published. It came out in November 1915 with the note 1916. During the first period of my stay in St. Petersburg, I often had to meet with Blok, with Ivanov-Razumnik. Later with Andrei Bely.

I met the first period of the revolution sympathetically, but more spontaneously than consciously. In 1917 my first marriage took place to 3. N. Reich. In 1918, I parted with her, and after that my wandering life began, like all Russians during the period 1918-21. During these years I have been in Turkestan, the Caucasus, Persia, the Crimea, Bessarabia, the Orenbur steppes, the Murmansk coast, Arkhangelsk and Solovki. In 1921, I married A. Duncan and left for America, having previously traveled all over Europe, except for Spain.

After going abroad, I looked at my country and events in a different way. I don't like our barely cooled camp. I like civilization. But I really don't like America. America is that stench where not only art disappears, but in general the best impulses of mankind. If today they are heading for America, then I am ready to prefer our gray sky and our landscape: a hut, a little rooted into the ground, a spinner, a huge pole sticking out of the spinner, a skinny horse waving its tail in the wind in the distance. It's not like the skyscrapers that have so far only given us Rockefeller and McCormick, but it's the same thing that raised Tolstoy, Dostoyevsky, Pushkin, Lermontov, and others. First of all, I love bringing out the organic. Art for me is not the intricacy of patterns, but the most necessary word the language in which I want to express myself. Therefore, the Imagism trend founded in 1919, on the one hand by me, and on the other by Shershenevich, although it formally turned Russian poetry along a different channel of perception, did not give anyone else the right to claim talent. Now I reject all schools. I think that a poet cannot adhere to any particular school. It binds him hand and foot. Only a free artist can bring free speech. That's all, short, schematic, with regard to my biography. Not everything is said here. But I think it's still too early for me to draw any conclusions for myself. My life and my work is still ahead.

"About myself". October 1925

Born in 1895, September 21, in the Ryazan province, Ryazan district, Kuzminskaya volost, in the village of Konstantinov. From the age of two, I was given to be raised by a rather prosperous maternal grandfather, who had three adult unmarried sons, with whom almost all of my childhood passed. My uncles were mischievous and desperate guys. For three and a half years they put me on a horse without a saddle and immediately put me into a gallop. I remember that I was crazy and held on to the withers very tightly. Then I was taught to swim. One uncle (Uncle Sasha) took me to the boat, drove away from the shore, took off my clothes and, like a puppy, threw me into the water. I clumsily and frightenedly clapped my hands, and until I choked, he kept shouting: “Eh! Bitch! Well, where are you fit? ..” “Bitch” he had an affectionate word. After about eight years, I often replaced a hunting dog for another uncle, swam on the lakes for shot ducks. He was very good at climbing trees. Among the boys he was always a horse-breeder and a big brawler, and he always walked in scratches. Only one grandmother scolded me for mischief, and grandfather sometimes provoked me to fisticuffs and often said to my grandmother: “Don’t touch him, you fool, he will be stronger!” Grandmother loved me with all her urine, and her tenderness knew no bounds. On Saturdays I was washed, my nails were cut, and my head was shirred with garlic oil, because not a single comb took curly hair. But the oil did little to help. I always yelled with a good obscenity, and even now I have some kind of unpleasant feeling by Saturday.

This is how my childhood passed. When I grew up, they really wanted to make a rural teacher out of me, and therefore they sent me to a church teacher's school, after graduating from which I was supposed to enter the Moscow Teachers' Institute. Fortunately, this did not happen.

I started writing poetry early, about nine years old, but I attribute conscious creativity to the age of 16-17. Some of the poems of these years are placed in the "Radunitsa". At the age of eighteen, I was surprised, having sent my poems to magazines, that they were not being published, and I went to Petersburg. I was received very warmly there. The first one I saw was Blok, the second was Gorodetsky. When I looked at Blok, sweat dripped from me, because for the first time I saw a living poet. Gorodetsky introduced me to Klyuev, whom I had never heard a word about before. Despite all our internal strife, we struck up a great friendship with Klyuev. In the same years, I entered the Shanyavsky University, where I stayed for only a year and a half, and again went to the village. At the University I met the poets Semenovsky, Nasedkin, Kolokolov and Filipchenko. Of the contemporary poets, I liked Blok, Bely and Klyuev the most. Bely gave me a lot in terms of form, while Blok and Klyuev taught me lyricism.

In 1919, with a number of comrades, I published a manifesto of Imagism. Imagism was the formal school that we wanted to establish. But this school had no ground and died of itself, leaving the truth behind the organic image. I would gladly discard many of my religious verses and poems, but they have great value as the path of the poet before the revolution.

From the age of eight, my grandmother dragged me to different monasteries, because of her, all sorts of wanderers and pilgrims always huddled with us. Various spiritual verses were sung. Grandfather opposite. Was not a fool to drink. From his side, eternal unmarried weddings were arranged. After, when I left the village, I had to figure out my way of life for a long time.

During the years of the revolution, he was entirely on the side of October, but he accepted everything in his own way, with a peasant bias. In terms of formal development, I am now more and more drawn to Pushkin. As for the rest of the autobiographical information, they are in my poems.

Yesenin's life story

Some interesting facts from the life of Sergei Yesenin:

Sergei Yesenin graduated with honors from the Konstantinovsky Zemstvo School in 1909, then the church teacher's school, but after studying for a year and a half, he left it - the profession of a teacher did not attract him much. Already in Moscow, in September 1913, Yesenin began to attend the Shanyavsky People's University. A year and a half of university gave Yesenin the foundation of education that he so lacked.

In the autumn of 1913, he entered into a civil marriage with Anna Romanovna Izryadnova, who worked together with Yesenin as a proofreader at Sytin's printing house. On December 21, 1914, their son Yuri was born, but Yesenin soon left the family. In her memoirs, Izryadnova writes: “I saw him shortly before his death. He came, he said, to say goodbye. When I asked why, he said: “I’m washing off, I’m leaving, I feel bad, I’ll probably die.” He asked not to spoil, to take care of his son. After the death of Yesenin, the people's court of the Khamovnichesky district of Moscow dealt with the case of recognizing Yuri as the child of the poet. On August 13, 1937, Yuri Yesenin was shot on charges of preparing an assassination attempt on Stalin.

On July 30, 1917, Yesenin married the beautiful actress Zinaida Reich in the Church of Kirik and Ulita in the Vologda district. On May 29, 1918, their daughter Tatyana was born. Daughter, blond and blue-eyed, Yesenin was very fond of. On February 3, 1920, after Yesenin divorced Zinaida Reich, their son Konstantin was born. One day, he accidentally found out at the station that Reich was on the train with his children. A friend persuaded Yesenin to at least look at the child. Sergei reluctantly agreed. When Reich swaddled her son, Yesenin, barely looking at him, said: “Yesenins are not black ...” But according to contemporaries, Yesenin always carried photographs of Tatyana and Konstantin in his jacket pocket, constantly took care of them, sent them money. On October 2, 1921, the Orel People's Court ruled to dissolve Yesenin's marriage to Reich. Sometimes he met with Zinaida Nikolaevna, at that time already the wife of Vsevolod Meyerhold, which caused Meyerhold's jealousy. There is an opinion that of his wives, Yesenin, until the end of his days, loved Zinaida Reich the most. Shortly before his death, in the deep autumn of 1925, Yesenin visited Reich and the children. As an adult, he talked with Tanechka, he was indignant at the mediocre children's books that his children read. Said: "You must know my poems." The conversation with Reich ended in another scandal and tears. In the summer of 1939, after the death of Meyerhold, Zinaida Reich was brutally murdered in her apartment. Many contemporaries did not believe that this was pure criminality. It was assumed (and now this assumption will more and more develop into certainty) that she was killed by NKVD agents.

November 4, 1920 on literary evening"The Trial of the Imagists" Yesenin met Galina Benislavskaya. Their relationship with varying success lasted until the spring of 1925. Returning from Konstantinov, Yesenin finally broke with her. It was a tragedy for her. Insulted and humiliated, Galina wrote in her memoirs: “Due to the awkwardness and brokenness of my relationship with S.A. more than once I wanted to leave him as a woman, I wanted to be only a friend. But I realized that from S.A. I can’t leave, I can’t break this thread ... ”Shortly before the trip to Leningrad in November, before going to the hospital, Yesenin called Benislavskaya:“ Come say goodbye. He said that Sofya Andreevna Tolstaya would come too. Galina replied: “I don’t like such wires.” Galina Benislavskaya shot herself at Yesenin's grave. She left two notes on his grave. One is a simple postcard: “December 3, 1926. I killed myself here, although I know, after that more more dogs they will hang on Yesenin ... But he and I don't care. In this grave, everything is dearest to me ... ”She is buried at the Vagankovsky cemetery next to the grave of the poet.

Autumn 1921 - acquaintance with the "sandal" Isadora Duncan. According to the memoirs of contemporaries, Isadora fell in love with Yesenin at first sight, and Yesenin was immediately carried away by her. On May 2, 1922, Sergei Yesenin and Isadora Duncan decided to fix their marriage according to Soviet laws, as they had a trip to America. They signed at the registry office of the Khamovniki Council. When they were asked what surname they choose, both wished to have a double surname - Duncan-Yesenin. So they wrote down in the marriage certificate and in their passports. “Now I am Duncan,” Yesenin shouted when they went out into the street. This page of the life of Sergei Yesenin is the most chaotic, with endless quarrels and scandals. They broke up and got back together many times. Hundreds of volumes have been written about Yesenin's romance with Duncan. Numerous attempts have been made to unravel the mystery of the relationship between these two such dissimilar people. But was there a secret? All his life, Yesenin, deprived of a real friendly family in childhood (his parents constantly quarreled, often lived apart, Sergei grew up with his maternal grandparents), dreamed of family comfort and peace. He constantly said that he would marry such an artist - all his mouth was open, and that he would have a son who would become more famous than he was. It is clear that Duncan, who was 18 years older than Yesenin and constantly touring, could not create the family he dreamed of. In addition, Yesenin, as soon as he was married, sought to break the fetters that fettered him.

In 1920, Yesenin met and became friends with the poetess and translator Nadezhda Volpin. May 12, 1924 was born in Leningrad illegitimate son Sergei Yesenin and Nadezhda Davydovna Volpin - a prominent mathematician, a well-known human rights activist, he periodically publishes poetry (only under the name Volpin). A. Yesenin-Volpin is one of the founders (together with Sakharov) of the Human Rights Committee. Now lives in the USA.

March 5, 1925 - acquaintance with the granddaughter of Leo Tolstoy Sophia Andreevna Tolstaya. She was 5 years younger than Yesenin, blood flowed in her veins greatest writer peace. Sofya Andreevna was in charge of the library of the Writers' Union. On October 18, 1925, the marriage with S.A. Tolstaya was registered. Sofya Tolstaya is another failed Yesenin's hope to start a family. Coming from an aristocratic family, according to the recollections of Yesenin's friends, she was very arrogant, proud, she demanded etiquette and unquestioning obedience. These qualities of hers were in no way combined with the simplicity, generosity, cheerfulness, and mischievous nature of Sergei. They soon separated. But after his death, Sofya Andreevna dismissed various gossip about Yesenin, they said that he allegedly wrote in a state of drunken stupor. She, who repeatedly witnessed his work on poetry, claimed that Yesenin took his work very seriously, never sat down at the table drunk.

On December 24, Sergei Yesenin arrived in Leningrad and stayed at the Angleterre Hotel. Late in the evening of December 27, the body of Sergei Yesenin was found in the room. Before the eyes of those who entered the room, a terrible picture appeared: Yesenin, already dead, leaning against a steam heating pipe, blood clots on the floor, things scattered, on the table lay a note with Yesenin’s dying verses “Goodbye, my friend, goodbye .. ." Exact date and time of death have not been established.

Yesenin's body was transported to Moscow for burial at the Vagankovsky cemetery. The funeral was grandiose. According to contemporaries, not a single Russian poet was buried like this.