The work of Sergei Yesenin, uniquely bright and deep, is now firmly established in our literature and enjoys great success with numerous readers. The poet's poems are full of heartfelt warmth and sincerity, passionate love for the boundless expanses of native fields, the "inexhaustible sadness" of which he was able to convey so emotionally and so loudly.
Sergei Yesenin entered our literature as an outstanding lyricist. It is in the lyrics that everything that makes up the soul of Yesenin's creativity is expressed. It contains the full-blooded, sparkling joy of a young man who rediscovers an amazing world, subtly feeling the fullness of earthly charms, and the deep tragedy of a man who has remained too long in the "narrow gap" of old feelings and views. And if in best poems Sergei Yesenin - "flood" of the most secret, most intimate human feelings, they are filled to the brim with the freshness of the paintings native nature, then in his other works - despair, decay, hopeless sadness. Sergei Yesenin is first of all a singer of Rus', and in his verses, sincere and frank in Russian, we feel the beating of a restless tender heart. They have a "Russian spirit", they "smell of Russia". They absorbed the great traditions of national poetry, the traditions of Pushkin, Nekrasov, Blok.
Even in love lyrics Yesenin, the theme of love merges with the theme of the Motherland. The author of "Persian Motives" is convinced of the fragility of serene happiness away from native land. And distant Russia becomes the main heroine of the cycle: "No matter how beautiful Shiraz is, it is no better than the expanses of Ryazan." Yesenin met the October Revolution with joy and ardent sympathy. Together with Blok, Mayakovsky, he took her side without hesitation. The works written by Yesenin at that time ("Transfiguration", "Inonia", "Heavenly Drummer") are imbued with rebellious moods. The poet is captured by the storm of the revolution, its greatness, and rushes to the new, to the future. In one of the works, Yesenin exclaimed: "My mother is the motherland, I am a Bolshevik!" But Yesenin, as he himself wrote, took the revolution in his own way, "with a peasant bias", "more spontaneously than consciously." This left a special imprint on the poet's work and largely predetermined his future path. Characteristic were the poet's ideas about the goal of the revolution, about the future, about socialism. In the poem "Inonia" he draws the future as a kind of idyllic kingdom of peasant prosperity, socialism seems to him a blissful "peasant's paradise".
Such ideas also affected other works of Yesenin of that time:
I see you, green fields,
With a herd of brown horses.
With a shepherd's pipe in the willows
Apostle Andrew is wandering.
But the fantastic visions of the peasant Inonia, of course, were not destined to come true. The revolution was led by the proletariat, the village was led by the city. “After all, there is absolutely not the socialism that I thought about,” says Yesenin in one of the letters of that time. Yesenin begins to curse the "iron guest", bringing death to the patriarchal rural way of life, and mourn the old, outgoing "wooden Rus'". This explains the inconsistency of Yesenin's poetry, who went through a difficult path from a singer of patriarchal, impoverished, destitute Russia to a singer of socialist Russia, Lenin's Russia. After Yesenin's trip abroad and to the Caucasus, a turning point occurs in the life and work of the poet and is indicated new period. It makes him fall in love with his socialist fatherland more strongly and more strongly and evaluate everything that happens in it in a different way. "... I fell in love with communist construction even more," Yesenin wrote upon returning to his homeland in the essay "Iron Mirgorod". Already in the cycle "Love of a Hooligan", written immediately upon arrival from abroad, moods of loss and hopelessness are replaced by hope for happiness, faith in love and the future. The beautiful poem "A blue fire swept ...", full of self-condemnation, pure and tender love, gives a clear idea of the new motives in Yesenin's lyrics:
A blue fire swept
Forgotten relatives gave.
For the first time I sang about love,
For the first time I refuse to scandal.
I was all - like a neglected garden,
He was greedy for women and potion.
Enjoyed singing and dancing
And lose your life without looking back.
Yesenin's work is one of the brightest, deeply exciting pages in the history of Russian literature. Yesenin's era has passed away, but his poetry continues to live, awakening a feeling of love for his native land, for everything close and different. We are concerned about the sincerity and spirituality of the poet, for whom Rus' was the most precious thing on the entire planet.
Yesenin Sergey Alexandrovich (1895-1925) Russian poet.
Born in the village of Konstantinovo, Ryazan province, in a peasant family. From childhood he was brought up by his maternal grandfather, an enterprising and prosperous man, a connoisseur of 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 with 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.
Yesenin's poems first appeared in Moscow magazines in 1914. In 1915, he traveled to Petrograd, where he met A. Blok, S. Gorodetsky, N. Klyuev and other poets. Soon the first collection of his poems - "Radunitsa" - is published. He collaborated in the Socialist-Revolutionary magazines, publishing in them the poems "Transfiguration", "Oktoih", "Inonia".
In March 1918, the poet again settled in Moscow, where he acted as one of the founders of the Imagist group. In 1919-1921. traveled a lot (Solovki, Murmansk, Caucasus, Crimea). He worked on the dramatic poem "Pugachev", in the spring of 1921 he went to the Orenburg steppes, reached Tashkent.
In 1922-1923. Together with the American dancer A. Duncan, who lived in Moscow, who became Yesenin's wife, he traveled to Germany, France, Italy, Belgium, Canada and the USA. In 1924-1925. he visited Georgia and Azerbaijan three times, worked there with great enthusiasm and created "The Poem of Twenty-Six", "Anna Snegina", "Persian Motifs".
The best works of Yesenin vividly captured the spiritual beauty of the Russian people. Recognized as the finest lyricist, the wizard of the Russian landscape. Tragically died in 1925 in Leningrad.
According to the version accepted by most of the poet's biographers, Yesenin, in a state of depression (a month after treatment in a neuropsychiatric 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.
- Wanderings of the poet in the capital
- Poetry of Sergei Yesenin
- Personal life Sergei Yesenin
- Interesting Facts
With Yergey Yesenin did not immediately find his literary credo: he rushed from one direction to another. At first he performed in bast shoes and a shirt with new peasant poets, then, dressed in a jacket and tie, he created with the Imagists new literature. He eventually abandoned all schools and became a freelance artist, stating: "I'm not a peasant poet or an Imagist, I'm just a poet."
"I won my freedom": the childhood and youth of Sergei Yesenin
Sergei Yesenin was born on October 3, 1895 in the village of Konstantinov, Ryazan province. Life in the Russian outback inspired the boy from early childhood, and at the age of nine he wrote his first poems.
The poet's parents Alexander Nikitich and Tatyana Fedorovna. 1905. Photo: cameralabs.org
Sergei Yesenin (third from right) among fellow villagers. 1909-1910. Photo: cameralabs.org
Sergei Yesenin with sisters Katya and Shura. 1912. Photo: cameralabs.org
Sergei Yesenin received his primary education at a zemstvo school - the future poet graduated with honors. However, as he later recalled, his studies did not affect his formation in any way and did not leave anything "except for a strong knowledge of the Church Slavonic language". When the boy was 14 years old, he was sent to the Spas-Klepikovskaya teacher's school: his parents wanted their son to become a village teacher. But Yesenin saw his vocation in poetry, so he continued to write poems at school. He even tried to publish his collection "Sick Thoughts" in Ryazan, but the book was not published.
After leaving school, in the summer of 1912, Sergei Yesenin came to Moscow: in the fall he was supposed to enter the Moscow Teachers' Institute. But contrary to the decision of his parents, he got a job at the Kultura publishing house and refused to study. “Now it's decided. I am alone. Now I will live without outside help.<...>Eh, now, probably, I won’t see anything native. Well! I won my freedom"- he wrote to a friend Grigory Panfilov.
Yesenin sent his poems to Moscow magazines, but they were not published. In one of his letters to Panfilov, the poet confessed: “Lack of money especially choked me, but I nevertheless firmly endured the blow of a fatal fate, did not turn to anyone and did not curry favor with anyone”. To have a livelihood, the young poet worked as a salesman in a bookstore.
In 1913, he became a volunteer of the historical and philosophical cycle at the Moscow City People's University named after Alfons Shanyavsky. Classes were held in the evenings, so Yesenin easily combined them with daytime work. During this time, he served in the printing house of the Ivan Sytin Partnership. First he worked as a freight forwarder, then as an assistant proofreader.
During this period, Yesenin became interested in the ideas of the Social Democratic Party. The poet distributed political leaflets, spoke to workers in factory districts and agitated them to fight for their rights. On September 23, 1913, Yesenin participated in a general Moscow strike against the persecution of the proletarian press. The poet reported to Panfilov about what was happening: “There, near you, peacefully and smoothly flow, alternating, blissful days, but here the cold time boils, boils and drills, picking up all the germs of truth in its course, squeezing into its icy embrace and carrying God knows where to distant lands, from where no one comes ».
Arrests of demonstrators, police repressions, persecution of the workers' press - all this the young poet was keenly worried about and reflected in his poems. By that time, Yesenin had collected a book of poems "Radunitsa". He sent some essays from the collection to St. Petersburg magazines, but did not receive a single answer. But Moscow publications began to print the poet: the children's magazine Mirok published the poems Birch, Sparrows, Powder, Village, Easter Blagovest, and the Bolshevik newspaper Put Pravda published the poem Blacksmith.
Wanderings of the poet in the capital
Sergei Yesenin (left) with friends. 1913. Photo: cameralabs.org
Sergey Yesenin. 1914. Photo: cameralabs.org
Sergey Yesenin. Photo: cameralabs.org
Soon life in Moscow began to oppress Yesenin. The city more and more seemed to the poet a literary province, past which the real social and cultural life of the country passed. In a letter to Panfilov, he lamented: “Moscow is a soulless city, and everyone who strives for the sun and light, for the most part, runs away from it. Moscow is not the engine of literary development, but it uses everything ready from St. Petersburg.. Thus was born the decision to move to the capital.
In 1915 Yesenin arrived in Petrograd. He immediately went to his authority in the world of literature - Alexander Blok. He introduced him to the writer Mikhail Murashev and the poet Sergei Gorodetsky. Well-known Petrograd authors gave the young man recommendation notes in the editors of magazines, and finally Yesenin's poems appeared in the capital's publications.
The poet spent the summer of 1915 in his native village. Here he prepared the manuscript for the collection "Radunitsa", wrote the poems "The White Scroll and the Scarlet Sash ...", "The Robber", the story "Yar", the stories "Bobyl and Druzhok" and "At White Water". The poet collected folk songs, fairy tales, ditties and riddles - later they were included in the collection "Ryazan fables, ditches and suffering."
Returning to Petrograd, Sergei Yesenin became a member of the Krasa Association of Peasant Writers. Together with its participants, the poet first spoke at an open literary evening. According to Gorodetsky, it was "Yesenin's first public success". Soon "Krasa" broke up, and Sergei Yesenin moved to the literary and artistic society "Strada". Despite the great success, he barely made ends meet: the performances brought almost nothing.
Poetry of Sergei Yesenin
In 1916, the first collection, Radunitsa, was published. Yesenin was talked about as an original lyric poet, an artist of "wonderful colors", a creator who has a future. The poet himself wrote: “My poems made a big impression. All the best magazines of that time began to publish me, and in the autumn 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.".
Shortly after the publication of the book, Yesenin was drafted into the army. Thanks to the intercession of Colonel Dmitry Loman, the poet did not go to the front of World War I, but to the Petrograd reserve of military orderlies, from there to the Tsarskoye Selo infirmary. With his patronage, Loman hoped to bring Yesenin closer to him and make him a court poet. However, this calculation was not justified. The poet wrote a number of freedom-loving poems: "Behind the dark strand of woods", "Blue sky, colored arc ...", "Mikola".
"Trouble" overtook Yesenin in February 1917, when he again "refused to write poems in honor of the king", - the freedom-loving poet was sent to the front in a disciplinary battalion. However, he did not have time to get into the war: the February Revolution began, after which all decisions of the tsarist regime were canceled. During this period, Yesenin created a cycle of poems "Comrade", "Singing Call", "Father" and "Oktoih", in which the image of the revolution arose. The poet himself admitted that "I met the first period of the revolution sympathetically, but more spontaneously than consciously".
In March 1918, Yesenin arrived in Moscow. Here the poet prepared for publication collections of poems "Dove", "Transfiguration" and "Country Book of Hours", wrote a theoretical treatise "Keys of Mary" about creativity and literature, composed poems "Inonia" and "Jordan Dove" with biblical motifs. Despite the fact that Sergei Yesenin enthusiastically accepted the October Revolution, he was very upset by the breaking of peasant life. These sad, nostalgic moods formed the basis of the poem "Sorokoust".
Poet at the forefront of Imagism
Sergei Yesenin (left) and poet Sergei Gorodetsky. 1915. Photo: cameralabs.org
Sergei Yesenin (right) and poet Leonid Kannegiser. 1915. Photo: cameralabs.org
Sergei Yesenin (right) and poet Nikolai Klyuev. 1916. Photo: cameralabs.org
At one of the poetry evenings in 1918, Sergei Yesenin, together with Anatoly Mariengof, Vadim Shershenevich and Rurik Ivnev, decided to create a new school of poetry - Imagism. The main idea of this literary trend was the independence of the image (in Latin imago) from reality. In 1919, the poets published a declaration of Imagism. They described the main point of the program as follows: “The image as an end in itself. The word demands liberation from the idea.<...>Eating the image of meaning - this is the way of development of the poetic word ".
The ideas of the Imagists sounded provocative, but not fresh: the decadents advocated the liberation of poetry from meaning even before the revolution. Yesenin quickly became convinced of the failure new program, and later criticized its main provisions in the article "Life and Art".
However, Yesenin did not immediately succeed in breaking off relations with the Imagists - he was too accustomed to constant joint revels. The rampant lifestyle was reflected in the poet's work: he created a cycle of poems "Moscow Tavern". Cheerfulness and village sketches have disappeared from the lyrics, replaced by gloomy landscapes of the night city, where the lost lyrical hero wanders.
Everyday life oppressed the poet: “I live somehow in a bivouac,- he complained in one of the letters - without a shelter and without a shelter, because various loafers began to go home and disturb. They, you see, are pleased to have a drink with me! I don’t even know how to get rid of such bungling, and it became ashamed and pitiful to burn myself through.”.
Yesenin found a way out of this situation in creativity. The poet worked on the dramatic poem "Pugachev" and decided to go on a trip to the places of the Pugachev movement. In 1921, Yesenin left Moscow for Central Asia and the Volga region. On the trip, the poet finished the poem and was able to distract himself. The new work was warmly received by the public. Maxim Gorky wrote: “I couldn’t even believe that this little man had such great power of feeling, such perfect expressiveness”, and director Vsevolod Meyerhold planned to stage the poem in the RSFSR-1 theater.
In the spring of 1922, Sergei Yesenin went abroad. He traveled to Germany, Belgium, France, Italy, America. The poet's impressions of the trip abroad were contradictory. In his letters, he noted external beauty - “After our devastation, everything here is tidied up and ironed”. But at the same time, he did not feel spirituality in this: “I have not met a man yet and I don’t know where he smells.<...>Even if we are beggars, even if we have hunger, cold and cannibalism, but we have a soul that was rented here as unnecessary for rent under smerdyakovism. ”. On the journey, Yesenin continued to work. He began to write dramatic poem"Country of Scoundrels", made sketches of the poem "The Black Man".
Personal life of Sergei Yesenin
Sergei Yesenin met Anna Izryadnova in 1913 at the Sytin printing house. Together they not only worked, but studied at Shanyavsky University. They soon began an affair. Izryadnova recalled: “He became very attached to me, read poetry. He was terribly demanding, he did not even order to talk to women - "they are not good." He was in a depressive mood - he is a poet, no one wants to understand him, editorial offices are not accepted for publication, his father scolds ... He spent all his salary on books, magazines, did not even think about how to live ”.
A few months after they met, Yesenin and Izryadnova began to live together. Yesenin almost immediately became disillusioned with family life: he saw his destiny in literature and poetic success. Izryadnova felt like a hindrance: “Yesenin had to mess with me a lot (we only lived together)”. In 1915, their son Yuri was born, and Yesenin left Anna.
Yesenin's first official wife was Zinaida Reich. They met in the spring of 1917. By that time, Yesenin was already a famous poet, and she worked as a secretary-typist in the newspaper Delo Naroda. The Yesenins lived in Orel, then moved to Petrograd, from there in 1918 to Moscow. Family life again did not go well, and the poet left Reich. They officially divorced only in 1921. In marriage, the Yesenins had two children - daughter Tatyana and son Konstantin.
Sergei Yesenin with his wife Isadora Duncan. Photo: cameralabs.org
Sergei Yesenin with his wife Isadora Duncan. Photo: cameralabs.org
In the autumn of 1921, Sergei Yesenin met Isadora Duncan. The American dancer came to the country on tour. Feelings between the poet and the artist flared up almost immediately. "It was a deep mutual love"- wrote Sergei Gorodetsky. "Certainly, he added, Yesenin was as much in love with Duncan as with her fame, but he was no less in love than he could fall in love at all..
In 1922, Sergei Yesenin and Isadora Duncan got married. The writer decided to accompany his wife on tour in Western Europe and USA. He himself planned to conduct creative propaganda of his homeland abroad. The poet told his friends: "I'm going to the West in order to show the West what a Russian poet is". He promised the authorities to establish a publishing house for books of Russian poets in Berlin, and in America to regulate relations between the Soviet state and the States.
IN Soviet Union the couple returned in 1923, and soon the couple separated. Yesenin and Duncan shared a lot: the age difference (the dancer was 17 years older than the poet), the language barrier, the difference in worldview. Common comrade Sergei Konenkov wrote: “Duncan was a bright, unusual figure. She gave Yesenin a lot, but she took even more moral and spiritual strength from him..
Sergei Yesenin “I was always burdened by family disorder, the lack of my own corner”- wrote the sister of the poet Alexander. This feeling did not leave the writer and with new relationships. In 1925, Yesenin met Sofya Tolstaya, the granddaughter of Leo Tolstoy. A few months later they got married. But this marriage did not make Yesenin happy: “Everything that I hoped for, dreamed about, goes to dust. Apparently, I can't settle down in Moscow. Family life is not going well, I want to run away ". The poet divorced Sophia Tolstaya after six months of marriage.
Illness and death of Sergei Yesenin
The poet returned to his homeland only a year later. He said goodbye to all the literary movements to which he once considered himself, and declared: “I am not a peasant poet and not an imagist, I am just a poet”. He decided to become a "singer of a new life" and wrote the historical-revolutionary poem "Song of the Great Campaign", the heroic story "The Poem of 36", a poem about the revolution "Remembrance".
In September 1924, Yesenin went to the Transcaucasian republics. During the six months of his journey, he published two books of poems - “Soviet Russia” and “Soviet Country”, wrote “The Ballad of Twenty-Six”, poems “Letter to a Woman”, “My Way”, “Captain of the Earth”, “Rus Leaving”, "Rus homeless", "Flowers", "In memory of Bryusov", began the poem "Anna Snegina" and the cycle of poems "Persian motives".
Sometimes the poet came to native village. Here he created the poems “Return to the Motherland”, “Golden Grove Dissuaded ...”, “Low House with Blue Shutters ...”, “It seems that this is the way it has been forever ...”. Village impressions later formed the basis of other works of the poet: “Now this sadness cannot be scattered ...”, “I will not return to my father's house ...”, “The feather grass is sleeping. Plain dear ... "," Rash, talyanka, loudly, rash, talyanka, boldly ... ".
By the middle of 1925, Yesenin's fruitful creative period was replaced by a period of spiritual crisis. Pessimistic moods and shattered nerves were complicated by physical ailments. The doctors insisted that the poet undergo a course of treatment in a neuropsychiatric clinic.
In the hospital, Yesenin continued to work. Here he wrote “Don’t look at me with reproach…”, “You don’t love me, don’t feel sorry for me…”, “Maybe it’s too late, maybe too early…”, “Who am I? What am I? Only a dreamer ... ", which were included in the cycle" Poems about which ... ". Having not recovered in the clinic, the writer decided to abruptly break with the past and left for Leningrad. However, the writer failed to find peace: he was constantly visited by old acquaintances. On December 28, 1925, weakened by illness and depressive thoughts, the poet committed suicide. He was buried at the Vagankovsky cemetery in Moscow.
1. At first public speaking Sergei Yesenin behaved like an uneducated village peasant and spoke in a voice, as Vladimir Mayakovsky said in his essay, like “revived lamp oil”: “We are rural, we don’t understand this of yours ... we’re somehow ... in our opinion ... in the primordial, primordial”. In literary salons, the poet also outwardly imitated a village boy: most often he was dressed in a white shirt with embroidery, bast shoes or felt boots, and with an accordion in his hands. Mayakovsky believed that in this way Yesenin "advertised" his peasant poetry, and even argued with him that he would soon leave "all these bast shoes and roosters-combs". And indeed, as soon as Yesenin's relationship with peasant poets went wrong, his style of dress also changed. Having met the young poet after the revolution in a tie and jacket, Mayakovsky demanded to give back the loss.
2. In his work "Pugachev" Sergei Yesenin most of all loved Khlopushi's monologue. He always read it with special rapture. Maxim Gorky, who was present at one of the readings, recalled: “I cannot call his reading artistic, skillful, and so on; all these epithets do not say anything about the nature of reading. The poet's voice sounded somewhat hoarse, loud, hysterical, and this most sharply emphasized Khlopusha's stone words..
3. Khlopushi's monologue has been calling card Yesenin - the author's performance was even recorded on a phonograph. On the surviving audio recording of Yesenin’s speech, the Ryazan accent is clearly audible: the author pronounces “e” as “her”, “o” as “oh”.
4. After returning to Moscow from a foreign trip, Sergei Yesenin published his collection of poems "Moscow Tavern" in the Imagist magazine "Hotel for Travelers in the Beautiful." In the two previous issues of the publication, the works were arranged in alphabetical order by the names of the authors, in the same issue, the Yesenin cycle followed the poems by Anatoly Mariengof. This fact offended Yesenin, as he told the Association of Freethinkers: “Out of aesthetic feelings and feelings of personal resentment, I completely refuse to participate in the Hotel Hotel magazine, especially since it is from Mariengof. I capriciously state why Mariengof printed himself on the first page, and not me..
5. Once, in a conversation with Mariengof, Yesenin boasted: “But I, Anatoly, have had three thousand women in my whole life”. To an incredulous phrase: "Vyatka, do not breach!"- corrected: "Well, three hundred<...>Well, thirty. Speaking about his heartfelt victories, the poet often fibbed in numbers, but he had few real loves. Yesenin himself justified his failure in family life with a love of poetry and art.
6. Despite the fact that Yesenin often wrote about the village in his poems, the poet rarely visited his native Konstantinov. Anatoly Mariengof recalled: “In the four years that we lived together, only once he [Yesenin] got out to his Konstantinovo. I was going to live there for a week and a half, and rode back three days later, spitting, kicking and telling, laughing, how the next day in the morning I didn’t know where to put myself from green melancholy ”. The poet aspired to become a city dweller both in clothes and in lifestyle. Even on foreign trips, he liked "civilization" the most.
In the old days, there was a legend among the people that the Lord, having created the earth, flew over it and, like a sower-worker, generously scattered picturesque fields, dense forests, and hot deserts from his magic basket. Flying over Ryazan, he tore it up, and all the best fell into these parts: full-flowing rivers, dense forests, orchards ... Fate again presented the region with a gift that could not be more expensive, at the end of the century, when Sergei Yesenin was born. The poet lived a short sparkling life, leaving an unfading mark in Russian culture.
But when Yesenin was born, no one could have imagined that he was a great gift. In an ordinary peasant family, a boy was born, who was named Sergei. As a child, he had the usual joys, worries, and sorrows. But the conditions under which the first years of a person's life usually pass often play an important role in his future destiny. Was the environment of the future poet usual?
Birth of a poet
In what year was Yesenin born? The great Russian poet was born five years before the beginning of the 20th century. And this means that his youth fell on the terrible years in the history of Russia. He lived a little. And regarding his death in recent decades, all sorts of conjectures and assumptions began to be built. To know the truth, today, alas, it is impossible.
When Yesenin was born, his family was also going through difficult times. His life and relationships with women were also difficult. He always sought to assert himself. The main thing in Yesenin's life was poetry. His whole existence was subordinated to the writing of poetry. There were simply no other values. With bravado, frenzy, wild antics, he only filled the void in life.
“In one village, maybe in Kaluga, or maybe in Ryazan ...”
When Yesenin was born, peasant origins did not yet have such a great weight in society. A quarter of a century later, in his autobiography, the poet will stubbornly refer to the fact that he is a peasant by origin. This is not a tribute to time. Yesenin never aspired to make a career. He lived in the world of poetry. But why did he emphasize his social origin?
Yesenin was born in the village of Konstantinovo. His parents were really simple people, but they did not plow the land. They just belonged to the peasant class. Alexander Yesenin, after the birth of his son, left for St. Petersburg and left his young wife Tatyana in the care of his parents. But the relationship didn't work out. And then there was a big quarrel, after which Tatyana took her three-year-old son and left. Her father adopted a grandson. He sent his daughter to the city to get bread.
The situation was also complicated by the fact that when Yesenin was born, enmity arose between the families of his father and mother. The future poet lived for five years in the house of his maternal grandfather. Parents did not live together all this time. From childhood he felt like an orphan. And the fact that he had to feel like that in the presence of living parents brought especially acute pain. Relations with relatives were not easy, as evidenced by letters and memoirs of friends and acquaintances.
Yesenin's secrets
In 1926, a certain journalist visited where Yesenin was born. He was in hot pursuit. Only a year has passed since the death of the poet. There he was told a mysterious story about the family of the singer of the Russian land. According to fellow villagers Yesenins, everything in the relationship between Alexander and Tatyana was good until she gave birth to her second son. Alexander Yesenin did not recognize the baby. The child soon died, but after these events, everything in their family changed. The poet's father stopped communicating with his mother for several years, did not send money and did not support financially. Tatyana later asked for a divorce, but Alexander did not give it.
The picture is incomplete, but in general terms clear. As a child, the future poet did not know maternal affection. And, perhaps, it was no coincidence that later he so often struck up relationships with the women of his elder. First of all, he looked for feelings in them that were close to his mother's.
“And I was obscene, and scandalized ...”
Yesenin was born in the village, but in many ways from childhood he was different from his peers. And the difference was, first of all, not even in his literary abilities, but in the desire to always and in everything dominate. According to the memoirs of the poet himself, he, being a boy, was always a fighter and walked in bruises. He retained the desire to boast of prowess even at a more mature age.
Such behavior was due to a restless, absurd disposition and upbringing (my grandfather sometimes forced me to fight in order to become stronger). And also the desire to assert oneself and prove something. He became the first in everything. First in fights with village boys, then in poetry.
"Are you still alive, my old lady?"
From an early age, he was unlike his peers. A poet was already awakening in him. When Sergei was born, they lived together, but five years later they temporarily separated. The boy was brought up in his grandfather's house.
The spoken word played a big role in his life. His grandmother introduced him to folk art. And then he himself began to write poetry, imitating ditties. It is worth saying that the father's mother left a significant mark on his soul. He addressed the famous “Letter to a Woman” rather to her than to the woman who gave birth to him.
“I’m tired of living in my native land…”
He wrote these lines not on his first visit to the capital. After school, the boy spent several weeks lounging in Konstantinov, then went to Moscow to work in a butcher's shop. Every person in Russia knows what year Yesenin was born and when he died. The time between these two dates is shrouded in mystery and speculation. For some time he did not earn money by poetry. But this period in the life of the poet did not last long. Basically, all his life he lived on royalties. A rare success for a Russian poet.
Before fame came to Yesenin, he worked in a printing house. But the rural boy, who grew up in the open spaces of the Ryazan region, was burdened by the cramped Moscow streets. He was accustomed to almost unlimited freedom. Here, in this printing house, he met a woman who became the mother of his first child. Her name was Anna Izryadnova. She was a modest, shy and outwardly inconspicuous person. Like many subsequent women in Yesenin's life, Izryadnova was older than him.
"And I will return to my father's house again..."
In 1917, a year after these lines were written, Yesenin returned to Konstantinovo. Happened here significant event. The landowner Kulakov, the owner of Khitrov's rooming houses in Moscow, died. During his lifetime, he was strict, and the villagers were afraid of him. After his death, the estate went to Lydia Kashina, his daughter.
This person was not distinguished by beauty, but was a comprehensively developed interesting personality. She spoke foreign languages, knew a lot about horseback riding, and loved entertainment. It was in her house that Sergei Yesenin spent most of his time in those days. Which, it should be said, even led to quarrels with his mother. The thing is that Kashina was a married lady. It was even rumored that her husband was a general. But the dissatisfaction of the mother did not cause any reaction in Yesenin. She was a small authority for the poet, if any existed in his life at all. He visited Lydia Kashina regularly, and then unexpectedly returned to Moscow again.
“And some woman in her forties…”
He married in 1922. It was one of the most scandalous marriages not only in Russia, but also in Europe. As for the puritanical American society, the time during which the dancer toured the United States, accompanied by a young Russian husband, was not immediately forgotten here. However, just in case, Duncan was deprived of American citizenship, so as not to see this restless, blatant couple in their calm and measured world anymore.
“He was graceful, besides a poet ...”
To the question: “Where was Yesenin born?” each student will answer. It happened in s. Konstantinovo (Ryazan) in 1985. He died thirty years later. It is also known from information about the life of the poet that he loved Russia very much, wrote about the rural landscape, birch trees and dogs. But he drank a lot, hooligans, got confused in relationships with women. That's why he hanged himself. But can the biography of a great man be so simple and unambiguous?
Brief biography of Sergei Yesenin.
Sergei Alexandrovich Yesenin was born on September 21 (October 4), 1895 in the village of Konstantinovo, Ryazan province, in the family of a peasant Alexander Yesenin. 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 (Fedor Titov), a connoisseur of church books. Yesenin's grandmother knew many fairy tales and ditties, and, according to the poet himself, it was she who gave the "impulses" to write the first poems.
In 1904, Yesenin was sent to study at the Konstantinovsky Zemstvo School, and then a church teacher's school in the city of Spas-Klepiki.
In 1910-1912, Yesenin wrote quite a lot, and among the poems of these years there are already quite mature, perfect ones. Yesenin's first collection "Radunitsa" was published in 1916. The song warehouse of the poems included in the book, their ingenuously sincere intonations, the melody that refers to folk songs and ditties is evidence that the umbilical cord connecting the poet with the village world of childhood was still very strong at the time of their writing.
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. In fact, one thing does not contradict the other, at least in Yesenin's poems, the distinguishing feature of which is hidden sadness and aching pity for everything living, beautiful, doomed to disappear: May you be blessed forever that it has come to flourish and die ... Poetic the language already in the early poems of the poet is peculiar and subtle, the metaphors are sometimes unexpectedly expressive, and the person (the author) feels, perceives nature as living, spiritual (Where there are cabbage beds ... Imitation of the song, The scarlet light of dawn wove out on the lake ..., The flood licked with smoke ill. ., Tanyusha was good, there was no more beautiful in the village. .).
After graduating from the Spaso-Klepikovsky School in 1912, Yesenin and his father came to Moscow to work. In March 1913, Yesenin again went to Moscow. Here he gets a job as an assistant proofreader in the printing house of I.D. Sytin. Anna Izryadnova, the poet's first wife, describes Yesenin in those years as follows: "He was in a depressed mood - he is a poet, no one wants to understand this, editorial boards are not accepted for publication, his father scolds that he is not doing business, he has to work: He was reputed to be a leader, attended meetings, distributed illegal literature, pounced on books, read all his free time, spent all his salary on books, magazines, did not at all think about how to live ... ". In December 1914, Yesenin quit his job and, according to the same Izryadnova, "gives himself all over to poetry. He writes all day long. In January, his poems are published in the newspapers Nov, Parus, Zarya ..."
The mention of Izryadnova, about the distribution of illegal literature, is associated with Yesenin's participation in the literary and musical circle of the peasant poet I. Surikov - a very colorful meeting, both in aesthetic and political respects (its members included the Socialist-Revolutionaries, the Mensheviks, and the Bolshevik-minded workers ). The poet also goes to the classes of the Shanyavsky People's University - the first educational institution in the country, which could be visited free of charge by volunteers. There, Yesenin receives the basics of a humanitarian education - he listens to lectures on Western European literature, on Russian writers.
Meanwhile, Yesenin's verse is becoming more confident, more original, sometimes civil motives begin to occupy him (Kuznets, Belgium, etc.). And the poems of those years - Marfa Posadnitsa, Us, the Song of Evpaty Kolovratka - are both a stylization of ancient speech, and an appeal to the origins of patriarchal wisdom, in which Yesenin saw both the source of the figurative musicality of the Russian language, and the secret of "the naturalness of human relations." The theme of the doomed transience of being begins to sound in Yesenin's poems of that time in full voice:
I meet everything, I accept everything,
Glad and happy to take out the soul.
I came to this earth
To leave her soon.
It is known that in 1916 in Tsarskoye Selo Yesenin visited N. Gumilyov and A. Akhmatova and read to them this poem, which struck Anna Andreevna with its prophetic character. And she was not mistaken - Yesenin's life really turned out to be both fleeting and tragic ...
Meanwhile, Moscow seems close to Yesenin, in his opinion, all the main events of literary life take place in St. Petersburg, and in the spring of 1915 the poet decides to move there.
In St. Petersburg, Yesenin visited A. Blok. Not finding him at home, he left him a note and poems tied in a rustic scarf. The note was preserved with Blok's note: "Poems are fresh, clean, vociferous...". So, thanks to the participation of Blok and the poet S. Gorodetsky, Yesenin became a member of all the most prestigious literary salons and living rooms, where he very soon became a welcome guest. His poems spoke for themselves - their special simplicity, combined with images "burning through" the soul, the touching immediacy of the "village boy", as well as the abundance of words from the dialect and the Old Russian language, had a bewitching effect on many leaders of literary fashion. Some saw in Yesenin a simple young man from the village, endowed with a remarkable poetic gift by a twist of fate. Others - for example, Merezhkovsky and Gippius, were ready to consider him the bearer of the saving, in their opinion, for Russia, mystical folk Orthodoxy, a man from the ancient sunken "City of Kitezh", in every possible way emphasizing and cultivating religious motives in his poems (Jesus the baby., Scarlet darkness in the blackness of heaven., Clouds from the hare) (Neigh like a hundred mares.).
In late 1915 - early 1917, Yesenin's poems appeared on the pages of many metropolitan publications. At this time, the poet also converges quite closely with N. Klyuev, a native of Old Believer peasants. Together with him, Yesenin performs in the salons to the accordion, dressed in morocco boots, a blue silk shirt, girded with a gold lace. The two poets really had a lot in common - longing for the patriarchal village way of life, passion for folklore, antiquity. But at the same time, Klyuev always consciously fenced himself off from the modern world, and Yesenin, who was restless and aspiring to the future, was irritated by the feigned humility and deliberately didactic unctuousness of his "friend-enemy". It is no coincidence that a few years later, Yesenin advised a poet in a letter: "Stop singing this stylized Klyuev Rus: Life, the real life of Rus' is much better than the frozen drawing of the Old Believers ..."
And this "real life of Rus'" carried Yesenin and his fellow travelers on the "ship of modernity" farther and farther. In full swing. First World War, disturbing rumors are spreading around St. Petersburg, people are dying at the front: Yesenin serves as an orderly in the Tsarskoye Selo military hospital, reads his poems in front of the Grand Duchess Elizabeth Feodorovna, in front of the Empress. What causes criticism from his St. Petersburg literary patrons. In that "deaf breath of fire" about which A. Akhmatova wrote, all values, both human and political, turned out to be mixed, and the "coming boor" (D. Merezhkovsky's expression) revolted no less than reverence for the reigning persons .. .
At first, in the revolutionary turbulent events, Yesenin saw the hope for a speedy and profound transformation of his entire former life. It seemed that the transformed lands and sky were calling out to the country and man, and Yesenin wrote: O Rus, flap your wings, / Set up a different support! / With other times. / A different steppe rises... (1917). Yesenin is overwhelmed with hopes for building a new, peasant paradise on earth, a different, just life. The Christian worldview at this time is intertwined in his poems with theomachy and pantheistic motives, with admiring exclamations addressed to the new government:
The sky is like a bell
The month is the language
My mother is the motherland
I am a Bolshevik.
He writes several short poems: Transfiguration, Otchar, Octoechos, Ionia. Many lines from them, sometimes sounding defiantly scandalous, shocked contemporaries:
I will lick on the icons with my tongue
Faces of martyrs and saints.
I promise you the city of Inonia,
Where the deity of the living lives.
No less famous are the lines from the poem Transfiguration:
The clouds are barking
The golden-toothed heights roar...
I sing and call:
Lord, recline!
In the same revolutionary years, in times of devastation, famine and terror, Yesenin reflects on the origins of figurative thinking, which he sees in folklore, in ancient Russian art, in the "nodal tie of nature with the essence of man", in folk art. He expresses these thoughts in the article Keys of Mary, in which he expresses hope for the resurrection of secret signs. ancient life, on the restoration of harmony between man and nature, while relying on the same rural way of life: "The only wasteful and slovenly, but still the keeper of this secret was the village, half-broken by laggards and factories."
Very soon, Yesenin realizes that the Bolsheviks are not at all the ones they would like to pretend to be. According to S. Makovsky, an art critic and publisher, Yesenin “understood, or rather, felt with his peasant heart, with his pity: that it was not a“ great bloodless one ”, but a dark and merciless time began ... ". And now the mood of elation and hope is replaced by Yesenin's confusion, bewilderment before what is happening. Peasant life is collapsing, hunger and devastation are marching across the country, and the regulars of the former literary salons, many of whom have already emigrated, are being replaced by a very diverse literary and near-literary public.
In 1919, Yesenin turned out to be one of the organizers and leaders of the new literary group- Imaginists. (IMAGINISM [from the French image - image] is a trend in literature and painting. It arose in England shortly before the war of 1914-1918 (its founders were Ezra Pound and Windham Lewis, who broke away from the Futurists), developed on Russian soil in the first years of the revolution. The Imagists published their declaration in the journals Sirena (Voronezh) and Sovietskaya Strana (Moscow) at the beginning of 1919. The core of the group was V. Shershenevich, A. Mariengof, S. Yesenin, A. Kusikov, R. Ivnev, and I. Gruzinov and some others. Organizationally, they united around the publishing house "Imaginists", "Chikhi-Pihi", a bookstore and the well-known Lithuanian cafe "Stall of Pegasus" in their time. number 4. Shortly thereafter, the group disbanded.
The theory of the Imagists is based on the principle of poetry, proclaiming the primacy of the "image as such". Not a word-symbol with an infinite number of meanings (symbolism), not a word-sound (cubo-futurism), not a word-name of a thing (acmeism), but a word-metaphor with one specific meaning is the basis of I. "The only law of art, the only and incomparable method is to reveal life through the image and the rhythm of images" ("Declaration" of the Imagists). The theoretical substantiation of this principle comes down to likening poetic creativity to the process of language development through metaphor. The poetic image is identified with what Potebnya called "the inner form of the word." "The birth of the word of speech and language from the womb of the image," says Mariengof, "predetermined once and for all the figurative beginning of future poetry." "You must always remember the original image of the word." If in practical speech the "conceptuality" of a word displaces its "figurativeness", then in poetry the image excludes meaning, content: "eating the meaning with the image is the way of development of the poetic word" (Shershenevich). In this regard, there is a breakdown of grammar, a call for agrammaticity: "the meaning of the word lies not only in the root of the word, but also in the grammatical form. The image of the word is only in the root. By breaking the grammar, we destroy the potential power of the content, while maintaining the former power of the image" (Shershenevich , 2×2=5). The poem, which is an agrammatic "catalog of images", naturally does not fit into the correct metrical forms: "vers libre of images" requires rhythmic "vers libre": "Free verse is the essential essence of Imagist poetry, which is distinguished by the extreme sharpness of figurative transitions" (Marienhof) . "A poem is not an organism, but a crowd of images, one image can be taken out of it, ten more can be inserted" (Shershenevich)).
Their slogans, it would seem, are completely alien to Yesenin's poetry, his views on the nature of poetic creativity. What are, for example, the words from the Declaration of Imagism: "Art built on content ... should have perished from hysteria." In Imagism, Yesenin drew close attention to the artistic image, a significant role in his participation in the group was played by the general disorder of everyday life, attempts to share the hardships of the revolutionary time together.
The painful feeling of duality, the impossibility of living and creating, being cut off from the folk peasant roots, coupled with disappointment in finding a "new city - Inonia" give Yesenin's lyrics a tragic mood. The leaves in his poems are already whispering "in autumn", whistling all over the country, like Autumn, a charlatan, a murderer and a villain, and sighted eyes. Only death closes...
I last poet villages - Yesenin writes in a poem (1920) dedicated to his friend the writer Mariengof. Yesenin saw that the former village life was disappearing into oblivion, it seemed to him that a mechanized, dead life was coming to replace the living, natural. In one of his letters in 1920, he admitted: “I am very sad now that history is going through a difficult era of killing the individual as a living person, because there is absolutely not the socialism that I thought about ... Closely in it is the living, closely building a bridge to the invisible world, for they cut and blow up these bridges from under the feet of future generations.
At the same time, Yesenin was working on the poems Pugachev and Nomakh. He had been interested in the figure of Pugachev for several years, collected materials, dreamed of theater production. The surname Nomakh is formed on behalf of Makhno - the leader rebel army in the years civil war. Both images are related by the motif of rebellion, a rebellious spirit, characteristic of folklore robbers-truth-seekers. The poems clearly sound a protest against contemporary reality, in which Yesenin did not see even a hint of justice. So the "country of scoundrels" for Nomakh is the region in which he lives, and in general any state where ... if it is criminal here to be a bandit, / That is no more criminal than being a king ...
In the autumn of 1921, the famous dancer Isadora Duncan arrived in Moscow, with whom Yesenin soon married.
Spouses go abroad, to Europe, then to the USA. At first, European impressions lead Yesenin to the idea that he "has fallen out of love with impoverished Russia, but very soon both the West and industrial America begin to seem to him a kingdom of philistinism and boredom.
At this time, Yesenin was already drinking heavily, often falling into a rage, and in his poems, motifs of hopeless loneliness, drunken revelry, hooliganism and ruined life, partly related to some of his poems with the genre of urban romance, are increasingly heard. Not without reason, even in Berlin, Yesenin wrote his first poems from the Moscow Tavern cycle:
Again they drink here, fight and cry.
Under harmonica yellow sadness...
The marriage with Duncan soon broke up, and Yesenin again found himself in Moscow, not finding a place for himself in the new Bolshevik Russia.
According to contemporaries, when he fell into hard drinking, he could terribly "cover" Soviet power. But they did not touch him and, having kept him for some time in the police, they soon released him - by that time Yesenin was famous in society as a folk, "peasant" poet.
Despite the difficult physical and moral condition, Yesenin continues to write - even more tragic, even deeper, even more perfect.
Among the best poems of his last years are a Letter to a woman, Persian motifs, small poems, Rus' is leaving, Rus' is homeless, Return to the Motherland, Letter to mother (Are you still alive, my old woman?.), We are now leaving little by little to that country where there is silence grace...
And, finally, the poem "The Golden Grove Dissuaded", which combines a truly folk song element, and the skill of a mature, experienced poet, and a poignant, pure simplicity, for which he was so loved by people who were far from elegant literature:
The golden grove dissuaded
Birch, cheerful language,
And the cranes, sadly flying,
No more regrets for anyone.
Whom to pity? After all, every wanderer in the world -
Pass, enter and leave the house again.
Hemp dreams about all the departed
With a wide moon over the blue pond...
On December 28, 1925, Yesenin was found dead in the Angleterre Hotel in Leningrad. His last poem - "Goodbye, my friend, goodbye ..." - was written in this hotel in blood. According to the poet's friends, Yesenin complained that there was no ink in the room, and he was forced to write in blood.
According to the version accepted by most of the poet's biographers, Yesenin, in a state of depression (a month after treatment in a neuropsychiatric hospital), committed suicide (hanged himself). Neither contemporaries of the event, nor in the next few decades after the death of the poet, other versions of the event were expressed.
In the 1970s-1980s, mainly in nationalist circles, there were also versions about the murder of the poet, followed by a staged suicide: on the basis of jealousy, mercenary motives, murder by the OGPU. In 1989, under the auspices of the Gorky IMLI, the Yesenin Commission was established under the chairmanship of Yu. L. Prokushev; at her request, a number of examinations were carried out, which led to the following conclusion: “the now published ‘versions’ about the murder of the poet, followed by a staged hanging, despite some discrepancies ... are a vulgar, incompetent interpretation of special information, sometimes falsifying the results of the examination” (from the official response professor at the department of forensic medicine, doctor medical sciences B. S. Svadkovsky at the request of the chairman of the commission Yu. L. Prokushev). In the 1990s, various authors continued to put forward both new arguments in support of the murder version and counterarguments. The version of Yesenin's murder is presented in the TV series Yesenin.
He was buried on December 31, 1925 in Moscow at the Vagankovsky cemetery.
Creativity of Sergei Alexandrovich Yesenin, uniquely bright and deep, is now firmly established in our literature and enjoys great success with numerous Soviet and foreign readers.
The poet's poems are full of heartfelt warmth and sincerity, passionate love for the boundless expanses of native fields, the "inexhaustible sadness" of which he was able to convey so emotionally and so loudly.
Sergei Yesenin entered our literature as an outstanding lyricist. It is in the lyrics that everything that makes up the soul of Yesenin's creativity is expressed. It contains the full-blooded, sparkling joy of a young man who rediscovers the wonderful world, subtly feeling the fullness of earthly charm, and the deep tragedy of a man who has remained too long in the "narrow gap" of old feelings and views. And if in the best poems of Sergei Yesenin there is a "flood" of the most intimate , the most intimate human feelings, they are filled to the brim with the freshness of pictures of native nature, then in his other works - despair, decay, hopeless sadness. Sergei Yesenin is primarily a singer of Russia, and in his poems,
sincere and frank in Russian, we feel the beating of a restless tender heart. They have a "Russian spirit", they have a "smell of Russia". They absorbed the great traditions of national poetry, the traditions of Pushkin, Nekrasov, Blok. Even in Yesenin's love lyrics, the theme of love merges with the theme of the Motherland. The author of "Persian Motives" is convinced of the fragility of serene happiness away from his native land. And distant Russia becomes the main heroine of the cycle: "No matter how beautiful Shiraz is, it is no better than the expanses of Ryazan." Yesenin met the October Revolution with joy and ardent sympathy. Together with Blok, Mayakovsky, he took her side without hesitation. The works written by Yesenin at that time ("Transfiguration", "Inonia", "Heavenly Drummer") are imbued with rebellious moods. The poet is captured by the storm of the revolution, its greatness and rushes to the new, to the future. In one of his works, Yesenin exclaimed: "My Motherland, I am a Bolshevik!" But Yesenin, as he himself wrote, took the revolution in his own way, "with a peasant bias", "more spontaneously than consciously." This left a special imprint on the poet's work and largely predetermined his future path. Characteristic were the poet's ideas about the purpose of the revolution, about the future, about socialism. In the poem "Inonia" he draws the future as a kind of idyllic kingdom of peasant prosperity, socialism seems to him a blissful "peasant's paradise". Such ideas also affected other works of Yesenin of that time:
I see you, green fields,
With a herd of brown horses.
With a shepherd's pipe in the willows
Apostle Andrew is wandering.
But the fantastic visions of the peasant Inonia, of course, were not destined to come true. The revolution was led by the proletariat, the village was led by the city. "After all, there is absolutely not the socialism that I thought about," Yesenin says in one of the letters of that time. Yesenin begins to curse the "iron guest", bringing death to the patriarchal rural way of life, and mourn the old, outgoing "wooden Rus'". This explains the inconsistency of Yesenin's poetry, who went through a difficult path from a singer of patriarchal, impoverished, destitute Russia to a singer of socialist Russia, Lenin's Russia. After Yesenin's trip abroad and to the Caucasus, a turning point occurs in the life and work of the poet and a new period is indicated. It makes him fall in love with his socialist fatherland more strongly and more strongly and evaluate everything that happens in it in a different way. "... I fell in love even more in communist construction," Yesenin wrote on his return to his homeland in the essay "Iron Mirgorod". Already in the cycle "Love of a bully", written immediately upon arrival from abroad, the mood of loss and hopelessness is replaced by hope for happiness, faith in love and the future. love, gives a clear idea of the new motives in Yesenin's lyrics:
A blue fire swept
Forgotten relatives gave.
For the first time I sang about love,
For the first time I refuse to scandal.
I was all like a neglected garden,
He was greedy for women and potion.
Enjoyed singing and dancing
And lose your life without looking back.
Yesenin's work is one of the brightest, deeply moving pages in the history of Soviet literature. Yesenin's era has passed away, but his poetry continues to live, awakening a feeling of love for his native land, for everything close and different. We are concerned about the sincerity and spirituality of the poet, for whom Rus' was the most precious thing on the entire planet...
