Name: Sergey Yesenin
Age: 30 years
Height: 168
Activity: poet, classic of the "Silver Age"
Family status: was divorced
Sergei Aleksandrovich Yesenin is a great Russian lyric poet. Most of his works are new peasant poetry and lyrics. Later creativity belongs to Izhanism, as it contains many used images and metaphors.
The date of birth of the literary genius is September 21, 1895. He comes from the Ryazan province, the village of Konstantinovka (Kuzminskaya volost). Therefore, many works are dedicated to love for Rus', there are a lot of new peasant lyrics. Financial condition The family of the future poet could not even be called tolerant, since his parents were quite poor.
All of them belonged to a peasant family, and therefore were forced to work a lot with physical labor. Sergei's father, Alexander Nikitich, also went through a long career. As a child, he was fond of singing in the church choir and had good vocal abilities. When he grew up, he went to work in a meat shop.
Chance helped him get a good position in Moscow. It was there that he became a clerk, and the family's income became higher. But this did not bring joy to his wife, Yesenin’s mother. She saw her husband less and less, which could not but affect their relationship.
Sergei Yesenin with his parents and sisters Another reason for discord in the family was that after his father moved to Moscow, the boy began to live with his Old Believer grandfather, his mother’s father. It was there that he received a male upbringing, which his three uncles did in their own way. Since they did not have time to start their own families, they tried to pay a lot of attention to the boy.
All the uncles were unmarried sons of Yesenin’s grandfather’s grandmother, who were distinguished by their cheerful disposition and, to some extent, youthful mischief. They taught the boy to ride a horse in a very unusual way: they put him on a horse, which galloped. There was also training in swimming in the river, when little Yesenin was simply thrown naked from a boat directly into the water.
As for the poet’s mother, she was affected by the separation from her husband when he was on long service in Moscow. She got a job in Ryazan, where she fell in love with Ivan Razgulyaev. The woman left Alexander Nikitich and even gave birth to a second child from her new partner. Sergei's half-brother was named Alexander. Later, the parents finally got back together, Sergei had two sisters: Katya and Alexandra.
After such home education, the family decided to send Seryozha to study at the Konstantinovsky Zemstvo School. He studied there from nine to fourteen years old and was distinguished not only by his abilities, but also by his bad behavior. Therefore, in one year of study, by decision of the school administrator, he was left for the second year. But still, the final grades were exceptionally high.
At this time, the parents of the future genius decided to live together again. The boy began to visit more often native home on vacation. Here he went to the local priest, who had an impressive library with books from various authors. He carefully studied many volumes, which could not but influence his creative development.
After graduating from the zemstvo school, he moved to the parish school, located in the village of Spas-Klepki. Already in 1909, after five years of study, Yesenin graduated from the Zemstvo School in Konstantinovka. His family's dream was for their grandson to become a teacher. He was able to realize it after studying at Spas-Klepiki.
It was there that he graduated from the second-class teacher's school. She also worked at the church parish, as was customary in those days. Now there is a museum dedicated to the work of this great poet. But after receiving his teaching education, Yesenin decided to go to Moscow.
In crowded Moscow he had to work in butcher shop, and in the printing house. His own father got him a job in the shop, since the young man had to ask him for help in finding a job. Then he got him a job in an office where Yesenin quickly became bored with the monotonous work.
When he served in the printing house as an assistant proofreader, he quickly became friends with poets who were part of Surikov’s literary and musical circle. Perhaps this influenced the fact that in 1913 he did not enter, but became a free student at the Moscow City People's University. There he attended lectures at the Faculty of History and Philosophy.
Yesenin’s passion for writing poetry was born in Spas-Klepiki, where he studied at a parish teacher’s school. Naturally, the works had a spiritual orientation and were not yet imbued with notes of lyrics. Such works include: “Stars”, “My Life”. When the poet was in Moscow (1912-1915), it was there that he began his more confident attempts at writing.
It is also very important that during this period in his works:
The first published work was the poem “Birch”. Historians note that when writing it, Yesenin was inspired by the works of A. Fet. Then he took the pseudonym Ariston, not daring to send the poem to print under own name. It was published in 1914 by the Mirok magazine.
The first book “Radunitsa” was published in 1916. Russian modernism could also be traced in it, since the young man moved to Petrograd and began to communicate with famous writers and poets:
In “Radunitsa” there are notes of dialectism and numerous parallels drawn between the natural and the spiritual, since the name of the book is the day when the dead are venerated. At the same time, the arrival of spring occurs, in honor of which the peasants sing traditional songs. This is the connection with nature, its renewal and honoring those who have passed on.
The poet's style also changes, as he begins to dress a little more fabulously and more elegantly. This could also have been influenced by his guardian Klyuev, who supervised him from 1915 to 1917. The poems of the young genius were then listened to with attention by S.M. Gorodetsky, and great Alexander Block.
In 1915, the poem “Bird Cherry” was written, in which he endows nature and this tree with human qualities. The bird cherry seems to come to life and show its feelings. After being drafted into the war in 1916, Sergei began communicating with a group of new peasant poets.
Because of the released collection, including “Radunitsa,” Yesenin became more widely known. It even reached the Empress Alexandra Feodorovna herself. She often called Yesenin to Tsarskoe Selo so that he could read his works to her and her daughters.
In 1917, a revolution occurred, which was reflected in the works of the genius. He received a “second wind” and, inspired, decided to release a poem in 1917 called “Transfiguration.” It caused great resonance and even criticism, since it contained many slogans of the International. All of them were presented in a completely different way, in style Old Testament.
The perception of the world and commitment to the church also changed. The poet even stated this openly in one of his poems. Then he began to focus on Andrei Bely and began communicating with the poetry group “Scythians”. Works from the late twenties include:
The period of Imagism began in 1919. It means the use of a large number of images and metaphors. Sergei enlists the support of V.G. Shershenevich and founded his own group, which absorbed the traditions of futurism and style. An important difference was that the works were of a pop nature and involved open reading in front of the viewer.
This gave the group great fame against the backdrop of bright performances with the use. Then they wrote:
It is also known that in the early twenties Sergei began selling books and rented a shop to sell printed publications. It was located on Bolshaya Nikitskaya. This activity brought him income and distracted him a little from creativity.
After communicating and exchanging opinions and stylistic techniques with A. Mariengof Yesenin, the following were written:
Sergei Yesenin on the beach in Europe After this, the poet began to travel frequently. His travel geography was not limited to Orenburg and the Urals alone; he even visited Central Asia, Tashkent and even Samarkand. In Urdy, he often visited local establishments (teahouses), traveled around the old city, and made new acquaintances. He was inspired by Uzbek poetry, oriental music, as well as the architecture of local streets.
After the marriage, numerous trips to Europe followed: Italy, France, Germany and other countries. Yesenin even lived in America for several months (1922-1923), after which notes were made with impressions of living in this country. They were published in Izvestia and called “Iron Mirgorod”.
Sergei Yesenin (center) in the Caucasus In the mid-twenties, a trip to the Caucasus was also made. There is an assumption that it was in this area that the collection “Red East” was created. It was published in the Caucasus, after which the poem “Message to the Evangelist Demyan” was published in 1925. The period of imagism continued until the genius quarreled with A. B. Mariengof.
He was also considered a critic and well-known opponent of Yesenin. But at the same time, they did not show hostility publicly, although they were often pitted against each other. Everything was done with criticism and even respect for each other’s creativity.
After Sergei decided to break with imagism, he began to give frequent reasons for criticism of his behavior. For example, after 1924, various incriminating articles began to be published regularly about how he was seen drunk or causing rows and scandals in establishments.
But such behavior was just hooliganism. Due to the denunciations of ill-wishers, several criminal cases were immediately opened, which were later closed. The most notorious of them is the Case of the Four Poets, which included accusations of anti-Semitism. At this time, the health of the literary genius also began to deteriorate.
Regarding attitude Soviet power, then she was worried about the poet’s condition. There are letters indicating that Dzerzhinsky is being asked to help and save Yesenin. They say that a GPU employee should be assigned to Sergei to prevent him from drinking himself to death. Dzerzhinsky responded to the request and attracted his subordinate, who was never able to find Sergei.
Yesenin's common-law wife was Anna Izryadnova. He met her when he worked as an assistant proofreader in a printing house. The result of this marriage was the birth of a son, Yuri. But the marriage did not last long, since already in 1917 Sergei married Zinaida Reich. During this time, they had two children at once - Konstantin and Tatyana. This union also turned out to be fleeting.
The poet entered into an official marriage with Isadora Duncan, who was a professional dancer. This love story was remembered by many, as their relationship was beautiful, romantic and partly public. The woman was a famous dancer in America, which fueled public interest in this marriage.
At the same time, Isadora was older than her husband, but the age difference did not bother them.
Sergei met Duncan in a private workshop in 1921. Then they began to travel together throughout Europe, and also lived for four months in America - the dancer’s homeland. But after returning from abroad, the marriage was dissolved. The next wife was Sofia Tolstaya, who was a relative of the famous classic; the union also broke up in less than a year.
Yesenin’s life was also connected with other women. For example, Galina Benislavskaya was his personal secretary. She was always by his side, partly dedicating her life to this man.
Yesenin had problems with alcohol, which were known not only to his friends, but also to Dzerzhinsky himself. In 1925, the great genius was hospitalized in a paid clinic in Moscow, specializing in psychoneurological disorders. But already on December 21, the treatment was completed or, possibly, interrupted at the request of Sergei himself.
He decided to temporarily move to Leningrad. Before this, he interrupted his work with Gosizdat and withdrew all his funds that were in government accounts. In Leningrad, he lived in a hotel and often communicated with various writers: V. I. Erlich, G. F. Ustinov, N. N. Nikitin.
Death overtook this great poet unexpectedly on December 28, 1928. The circumstances under which Yesenin passed away, as well as the cause of death itself, have not yet been clarified. This happened on December 28, 1925, and the funeral itself took place in Moscow, where the genius’s grave is still located.
On the night of December 28, an almost prophetic farewell poem was written. Therefore, some historians suggest that the genius committed suicide, but this is not a proven fact.
In 2005, the Russian film “Yesenin” was shot, in which main role played. Also before this, the series “The Poet” was filmed. Both works are dedicated to the great Russian genius and received positive reviews.
Yesenin Sergei Aleksandrovich (1895 - 1925) - Russian poet, representative of new peasant poetry and lyrics. Among the biographies of poets special place are occupied by the biographies of those geniuses whose death was tragic. Brief biography of Yesenin belongs specifically to this category.
Yesenin is rightly placed on the same pedestal with the greatest poets of Russia: Pushkin, Lermontov, Blok and Akhmatova. After reading summary you will understand why this is so.
Sergei Yesenin was born in the village of Konstantinovo, Ryazan province, into a peasant family. From childhood, he was raised by his maternal grandfather, an enterprising and wealthy man, an expert in church books.
He graduated from a four-year rural school, then from a church-teacher school in Spas-Klepiki. In 1912, Yesenin moved to Moscow, where his father worked for a merchant.
He worked in a printing house, joined the literary and musical circle named after Surikov, and 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 travels to Petrograd, where he meets outstanding literary figures: A. Blok, S. Gorodetsky, N. Klyuev and others.
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”, “Octoechos” and “Inonia”.
Portrait of Yesenin
In March 1918, the poet settled in Moscow again, where he became one of the founders of a group of imagists. Imagism is literary direction in Russian poetry of the 20th century, whose representatives stated that the goal of creativity is to create an image.
In 1919 - 1921 he traveled a lot. He traveled to Solovki, to Murmansk, and enthusiastically visited the Caucasus (which at one time played a big role in) and the Crimea. At the same time, 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 and became Yesenin’s wife, he visited 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 the Twenty-Six,” “Anna Snegina” 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.
Yesenin's best works vividly captured the spiritual beauty of the Russian person. Yesenin is recognized as a most subtle lyricist, a 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 psychoneurological hospital), committed suicide (hanged himself).
For a long time, no other versions of the event were 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 both the poet’s personal life and his work were cited as possible reasons.
We will probably never know the exact cause of death of the outstanding Russian poet. However, his work is still alive and has a huge influence on the formation of the personality of the Russian person.
His poems are simple and elegant, like all genius.
Goodbye, my friend, goodbye.
My dear, you are in my chest.
Destined separation
Promises a meeting ahead.
Goodbye, my friend, without a hand, without a word,
Don’t be sad and don’t have sad eyebrows, -
Dying is nothing new in this life,
But life, of course, is not newer.
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Sergei Alexandrovich Yesenin- a famous Russian poet, a representative of the peasant, later - imagist movement in poetry - was born in the village. Konstantinovo, Ryazan province October 3 (September 21, O.S.) 1895 Serezha was born in a poor large family, therefore, at the age of two, he was given to be raised by his more prosperous grandfather, Fyodor Andreevich. ABC future poet mastered it at the age of five, and wrote his first poems at the age of nine.
From 1904 to 1909 Yesenin studied at the Konstantinovsky four-year zemstvo school, then until 1912 he mastered the teaching profession at Spas-Klepiki, a closed parochial school. His first more or less serious poetic experiments date back to this period.
In the fall of 1912, he left for Moscow, where he worked in a merchant's shop, in a printing house, and in the Kultura publishing house. Coming from a peasant family, he was actively engaged in self-education; from 1913, for a year and a half, he was a volunteer student at the Moscow City People's University named after A. L. Shanyavsky (historical and philosophical department). At the same time, he had a common-law wife, Anna Izryadnova, who bore him a son at the end of 1914. S. Yesenin’s debut in print dates back to 1914: his poem “Birch” was published in children's magazine"Mirok".
Leaving his family in Moscow, in the spring of 1915 Yesenin left for literary fame in Petrograd. He is encouraged by the warm welcome of A. Blok, whom he came to meet. Yesenin was introduced to A. Remizov, S. Gorodetsky, N. Klyuev, and they responded favorably to his work. Most of the poems he brought were accepted for publication, and their author joined the literary group so-called peasant poets.
In January 1916, Yesenin, called up for military service, was assigned to a military hospital train through the efforts of his friends. In the same year, his first collection, “Radunitsa,” was published, which brought him wide fame. Literary salons opened their doors to the peasant poet, and many periodicals began to willingly publish him. In the summer of 1917, Yesenin married Zinaida Reich. When the revolution broke out, the poet, as he writes in his autobiography, “was entirely on the side of October, but accepted everything in his own way, with a peasant bias.”
In April 1918, Yesenin left to live in Moscow, where the main literary forces of the country were concentrated at that time. His second collection is published, and already at the beginning of winter Yesenin is a member of the Moscow Trade Union of Writers. In this city he met A. Mariengof, V. Shershenevich, R. Ivnev, which resulted in the creation in 1919 of imagism - a new literary movement.
Early 20s in Yesenin’s biography it is noted for his energetic book and publishing activities; the poet rented a shop and sold books, which took up the lion's share of his time. In February 1921, the poet filed for divorce from Zinaida Reich (in fact, he separated from her and the children by moving to Moscow), and in the fall he met the famous dancer Isadora Duncan. The couple, who got married six months later, traveled around Europe and America throughout 1922-1923. However, having returned to Russia, these bright, passionate creative personalities, who were unable to find a common language, quickly divorced.
In 1924, ideological differences with his comrades forced S. A. Yesenin to break with imagism. In the last years of his life, the poet was active, often traveling around Russia, in particular, he visited the Caucasus three times alone. During this period, not only fans of creativity, but also ill-wishers and security forces showed increased interest in him. The poet allowed himself unflattering statements (including in his works) about the government of the Soviet Union and its leaders. His biography included more than ten convictions. Articles appeared in the newspapers every now and then, stigmatizing Yesenin's rows and drunkenness, especially since the restless poet himself periodically gave real reasons for this. At the same time, his literary fame did not fade, he was in the vanguard of Soviet poets, was preparing a complete collection of works for publication, continued to create, but his state of mind left much to be desired.
Internal contradictions worsened in the last year of life, which manifested itself in endless tossing, a feeling of doom, alcohol abuse, and illness. At the end of November 1925, through the efforts of his wife Sofia Tolstoy, the granddaughter of the famous writer, Yesenin was hospitalized in the psychoneurological clinic of Moscow University, but staying within its walls did not bring relief. On December 23, 1925, Yesenin left the medical facility without permission and went to Leningrad, where he stayed at the Angleterre Hotel. In the room, not finding ink, on December 27, with his own blood, he writes the last poem “Goodbye, my friend, goodbye...”, and the next morning on December 28th he is found dead: Yesenin hanged himself heating pipe. The great Russian poet was buried on December 31 at the Vagankovskoye cemetery (Moscow).
In the 1970-1980s. last century, versions began to appear one after another, according to which Yesenin’s death was the result not of suicide, but of a murder disguised as it, committed for mercenary, personal reasons or as reprisal by the authorities. This topic was discussed so actively that in 1989, the specially created Yesenin Commission conducted a series of examinations, on the basis of which it was concluded that doubts about the official cause of death were groundless. However, in subsequent years, the circumstances of Yesenin’s death never ceased to excite minds.
Was born Yesenin in the village of Konstantinovo, Kuzminsky volost, Ryazan district, Ryazan province, in a peasant family. Father - Alexander Nikitich Yesenin (1873-1931), mother - Tatyana Fedorovna Titova (1875-1955). Sisters - Ekaterina (1905-1977), Alexandra (1911-1981).
The house where S. A. Yesenin was born. Konstantinovo
In 1904, Yesenin went to the Konstantinovsky Zemstvo School, after which in 1909 he began his studies at the parish second-grade teacher's school (now the S. A. Yesenin Museum) in Spas-Klepiki. After graduating from school, in the fall of 1912, Yesenin left home, then arrived in Moscow, worked in a butcher shop, and then in the printing house of I. D. Sytin. In 1913, he entered the historical and philosophical department of the Moscow City People's University named after A. L. Shanyavsky as a volunteer student. He worked in a printing house and was friends with the poets of the Surikov literary and musical circle.
In 1914, Yesenin's poems were first published in the children's magazine Mirok.
In 1915, Yesenin moved from Moscow to Petrograd, read his poems to A. A. Blok, S. M. Gorodetsky and other poets. In January 1916, Yesenin was drafted into the war. Thanks to the efforts of his friends, he received an appointment (“with the highest permission”) to the Tsarskoye Selo military sanitary train No. 143 of Her Imperial Majesty the Empress Alexandra Feodorovna. At this time, he became close to the group of “new peasant poets” and published the first collections (“Radunitsa” - 1916), which made him very famous. Together with Nikolai Klyuev he often performed, including before Empress Alexandra Feodorovna and her daughters in Tsarskoe Selo.
In 1915-1917, Yesenin maintained friendly relations with the poet Leonid Kannegiser, who later killed the chairman of the Petrograd Cheka, Uritsky.
Yesenin's acquaintance with Anatoly Mariengof and his active participation in the Moscow group of imagists dates back to 1918 - early 1920s.
During the period of Yesenin’s passion for imagism, several collections of the poet’s poems were published - “Treryadnitsa”, “Confession of a Hooligan” (both 1921), “Poems of a Brawler” (1923), “Moscow Tavern” (1924), the poem “Pugachev”.
In 1921, the poet, together with his friend Yakov Blumkin, traveled to Central Asia, visited the Urals and Orenburg region. From May 13 to June 3, he stayed in Tashkent with his friend and poet Alexander Shiryaevets. There Yesenin spoke to the public several times, read poems at poetry evenings and in the houses of his Tashkent friends. According to eyewitnesses, Yesenin loved to visit the old city, teahouses of the old city and Urda, listen to Uzbek poetry, music and songs, and visit the picturesque surroundings of Tashkent with his friends. He also made a short trip to Samarkand.
In the fall of 1921, in the workshop of G. B. Yakulov, Yesenin met the dancer Isadora Duncan, whom he married six months later. After the wedding, Yesenin and Duncan traveled to Europe (Germany, France, Belgium, Italy) and to the USA (4 months). He was in America from May 1922 to August 1923. The Izvestia newspaper published Yesenin’s notes about America “Iron Mirgorod”. The marriage to Duncan ended shortly after their return from abroad.
In the early 1920s, Yesenin was actively involved in book publishing, as well as selling books in a bookstore he rented on Bolshaya Nikitskaya, which occupied almost all of his time. In the last years of his life, Yesenin traveled a lot around the country. He visited the Caucasus three times, went to Leningrad several times, and Konstantinovo seven times.
In 1924-1925, Yesenin visited Azerbaijan, published a collection of poems at the Krasny Vostok printing house, and was published in a local publishing house. There is a version that here, in May 1925, the poetic “Message to the Evangelist Demyan” was written. In Baku, Yesenin stayed at the New Europe Hotel. He also lived in the village of Mardakan (a suburb of Baku). Currently, his house-museum and memorial plaque are located here.
In 1924, Yesenin decided to break with imagism due to disagreements with A. B. Mariengof. Yesenin and Ivan Gruzinov published open letter about the dissolution of the group.
Sharply critical articles about Yesenin began to appear in newspapers, accusing him of drunkenness, rowdy behavior, fights and other antisocial behavior. The poet, through his behavior (especially in the last years of his life), sometimes himself gave grounds for this kind of criticism. Several criminal cases were opened against Yesenin - mainly on charges of hooliganism. The Case of Four Poets is also known, connected with the accusation of Yesenin and his friends of anti-Semitic statements.
The Soviet government was worried about Yesenin's health. Thus, in a letter from Rakovsky to Dzerzhinsky dated October 25, 1925, Rakovsky asks “to save the life of the famous poet Yesenin - undoubtedly the most talented in our Union,” suggesting: “invite him to your place, treat him well and send a comrade from the GPU with him to the sanatorium, who would not let him get drunk..." On the letter is Dzerzhinsky's resolution addressed to his close comrade, secretary, manager of the affairs of the GPU V.D. Gerson: "M. b., could you study?” Next to it is Gerson’s note: “I called repeatedly but could not find Yesenin.”
At the end of November 1925, Sofya Tolstaya agreed with the director of the paid psychoneurological clinic of Moscow University, Professor P. B. Gannushkin, about the poet’s hospitalization in his clinic. Only a few people close to the poet knew about this. On December 21, 1925, Yesenin left the clinic, canceled all powers of attorney at the State Publishing House, withdrew almost all the money from the savings book and a day later left for Leningrad, where he stayed at No. 5 of the Angleterre Hotel.
In Leningrad, the last days of Yesenin’s life were marked by meetings with N. A. Klyuev, G. F. Ustinov, Ivan Pribludny, V. I. Erlikh, I. I. Sadofyev, N. N. Nikitin and other writers.
In 1913, Sergei Yesenin met Anna Romanovna Izryadnova, who worked as a proofreader in the printing house of the I. D. Sytin Partnership, where Yesenin went to work. In 1914 they entered into a civil marriage. On December 21, 1914, Anna Izryadnova gave birth to a son named Yuri (shot on false charges in 1937).
In 1917, he met and on July 30 of the same year got married in the village of Kiriki-Ulitha, Vologda province, with Zinaida Reich, a Russian actress, the future wife of director V. E. Meyerhold. The groom's guarantors were Pavel Pavlovich Khitrov, a peasant from the village of Ivanovskaya, Spasskaya volost, and Sergei Mikhailovich Baraev, a peasant from the village of Ustya, Ustyanskaya volost, and the bride's guarantors were Alexey Alekseevich Ganin and Dmitry Dmitrievich Devyatkov, a merchant's son from the city of Vologda. The wedding took place in the building of the Passage Hotel. From this marriage were born a daughter, Tatyana (1918-1992), a journalist and writer, and a son, Konstantin (1920-1986), a civil engineer, football statistician and journalist. At the end of 1919 (or at the beginning of 1920), Yesenin left the family, and Zinaida Reich, who was pregnant with her son (Konstantin), was left with her one-and-a-half-year-old daughter, Tatyana. On February 19, 1921, the poet filed for divorce, in which he undertook to provide for them financially (the divorce was officially filed in October 1921). Subsequently, Yesenin repeatedly visited his children adopted by Meyerhold.
In 1920, Yesenin lives at home with his literary secretary Galina Benislavskaya. Their periodic personal relationship continued until their marriage to S. A. Tolstoy in the fall of 1925.
In 1921, from May 13 to June 3, the poet stayed in Tashkent with his friend, Tashkent poet Alexander Shiryaevets. At the invitation of the director of the Turkestan Public Library, on May 25, 1921, Yesenin spoke in the library at a literary evening organized by his friends in front of the audience of the “Art Studio”, which existed at the library. Yesenin arrived in Turkestan in the carriage of his friend Kolobov, a senior employee of the NKPS. He lived on this train throughout his stay in Tashkent, then on this train he traveled to Samarkand, Bukhara and Poltoratsk (present-day Ashgabat). On June 3, 1921, Sergei Yesenin left Tashkent and on June 9, 1921 returned to Moscow. By coincidence, most of the life of the poet’s daughter Tatyana was spent in Tashkent.
In the fall of 1921, in the workshop of G. B. Yakulov, Yesenin met the dancer Isadora Duncan, whom he married on May 2, 1922. At the same time, Yesenin did not speak English, and Duncan could barely express herself in Russian. Immediately after the wedding, Yesenin accompanied Duncan on tours in Europe (Germany, Belgium, France, Italy) and the USA. Despite the scandalous surroundings of the couple, literary scholars believe that both were brought together by their creative relationship. However, their marriage was brief, and in August 1923 Yesenin returned to Moscow.
In 1923, Yesenin became acquainted with the actress Augusta Miklashevskaya, to whom he dedicated seven heartfelt poems from the series “The Love of a Hooligan.” In one of the lines, the name of the actress is obviously encrypted: “Why does your name ring like August coolness?” It is noteworthy that in the fall of 1976, when the actress was already 85, in a conversation with literary critics, Augusta Leonidovna admitted that her affair with Yesenin was platonic and she did not even kiss the poet.
On May 12, 1924, Yesenin had a son, Alexander, after an affair with the poetess and translator Nadezhda Volpin - later a famous mathematician and figure in the dissident movement. Alexander Yesenin-Volpin died in the USA on March 15, 2016 at the age of 91.
On September 18, 1925, Yesenin married for the third (and last) time - to Sofya Andreevna Tolstoy (1900-1957), the granddaughter of L. N. Tolstoy, at that time the head of the library of the Writers' Union. This marriage also did not bring happiness to the poet and soon broke up. Restless loneliness became one of the main reasons for Yesenin’s tragic end. After the poet’s death, Tolstaya devoted her life to collecting, preserving, describing and preparing for publication Yesenin’s works, and left memoirs about him.
According to the memoirs of N. Sardanovsky and the poet’s letters, Yesenin was a vegetarian for some time.
On December 28, 1925, Yesenin was found dead in the Leningrad Angleterre Hotel by his friend G. F. Ustinov and his wife. The poet's last poem - "Goodbye, my friend, goodbye..." - according to Wolf Ehrlich, was given to him the day before: Yesenin complained that there was no ink in the room, and he was forced to write with his own blood.
According to the version that is now generally accepted among academic researchers of Yesenin’s life, the poet, in a state of depression (a week after finishing treatment in a psychoneurological hospital), committed suicide (hanged himself).
After a civil funeral service at the Union of Poets in Leningrad, Yesenin’s body was transported by train to Moscow, where a farewell ceremony was also held at the House of Press with the participation of relatives and friends of the deceased. He was buried on December 31, 1925 in Moscow at the Vagankovskoye cemetery.
Funeral. On the left are Yesenin’s second wife Zinaida Reich (with her hand raised) and Vsevolod Meyerhold, on the right are sister Ekaterina and mother Tatyana Fedorovna
In the 1970-1980s, versions arose about the murder of the poet, followed by the staging of Yesenin’s suicide (as a rule, OGPU employees are accused of organizing the murder). Investigator of the Moscow Criminal Investigation Department, retired colonel Eduard Khlystalov, contributed to the development of this version. The version of Yesenin's murder penetrated into popular culture: in particular, presented in artistic form in the television series “Yesenin” (2005). Supporters of this version argue that if we examine in detail the posthumous high-resolution photos of the poet, we can confidently assume that the poet was severely beaten before his death. In their opinion, this version is supported by a well-known fact: Sergei Yesenin, who was fond of fist fights from his youth, was, according to the recollections of his contemporaries, a fairly strong fighter who could provide active resistance to the killers who attacked him.
The grave of Sergei Yesenin in 1983
In 1989, under the auspices of the Gorky IMLI, the Yesenin Commission was created under the chairmanship of the Soviet and Russian Yesenin scholar Yu. L. Prokushev; At his request, a series of examinations were carried out, which, in his opinion, led to the following conclusion: “ the published “versions” of 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 of the professor at the Department of Forensic Medicine, Doctor of Medical Sciences B. S. Svadkovsky to the request of the chairman of the commission Yu. L. Prokushev). Versions of Yesenin's murder are considered late fiction or unconvincing by other biographers of the poet.
From his first collections of poetry (“Radunitsa”, 1916; “Rural Book of Hours”, 1918) he appeared as a subtle lyricist, a master of deeply psychologized landscapes, a singer of peasant Rus', an expert vernacular and the people's soul.
In 1919-1923 he was a member of the Imagist group. A tragic attitude and mental confusion are expressed in the cycles “Mare’s Ships” (1920), “Moscow Tavern” (1924), and the poem “The Black Man” (1925). In the poem “The Ballad of Twenty-Six” (1924), dedicated to the Baku commissars, the collection “Soviet Rus'” (1925), and the poem “Anna Snegina” (1925), Yesenin sought to comprehend “the commune-raised Rus',” although he continued to feel like a poet of “Leaving Rus'” ", "golden log hut". Dramatic poem “Pugachev” (1921).
After the article “Evil Notes” published by N.I. Bukharin in the central party organ of the newspaper Pravda, which claimed that Yesenin “represents the most negative traits Russian village”, and calling for a “good salvo” to be given to the “class alien” Yeseninism, a wide campaign of persecution unfolded around the name of the poet. As a result, the poet's books were not published for a long time. However, this did not prevent his recognition by the people. Songs based on Yesenin’s poems were sung everywhere, and his handwritten collections were distributed.
From Yesenin's letters of 1911-1913, the complex life of the aspiring poet and his spiritual maturation emerge. All this was reflected in the poetic world of his lyrics of 1910-1913, when he wrote over 60 poems and poems. Here his love for all living things, for life, for the Motherland is expressed. The surrounding nature especially sets the poet in this mood (“The scarlet light of dawn is woven on the lake...”, “Smoke-filled flood...”, “Birch,” “Spring Evening,” “Night,” “Sunrise,” “Winter Sings and Calls...” , “Stars”, “It’s dark at night, I can’t sleep...”, etc.).
From the very first verses, Yesenin’s poetry includes themes of homeland and revolution. Since January 1914, Yesenin’s poems have appeared in print (“Birch”, “Blacksmith”, etc.). “In December, he quits work and devotes himself entirely to poetry, writing all day long,” recalls Izryadnova. The poetic world becomes more complex, multidimensional, and biblical images and Christian motifs begin to occupy a significant place in it. In 1913, in a letter to Panfilov, he writes: “Grisha, I am currently reading the Gospel and am finding a lot that is new to me.” Later, the poet noted: “Religious doubts visited me early. As a child, I had very sharp transitions: sometimes a period of prayer, sometimes of extraordinary mischief, right up to blasphemy. And then there were such streaks in my work.”
In March 1915, Yesenin came to Petrograd, met with Blok, who highly appreciated the “fresh, pure, vociferous,” albeit “verbose” poems of the “talented peasant nugget poet,” helped him, introduced him to writers and publishers. In a letter to Nikolai Klyuev, Yesenin said: “My poetry in St. Petersburg was successful. Out of 60, 51 were accepted.” In the same year, Yesenin joined the group of “peasant” poets “Krasa”.
Yesenin becomes famous, he is invited to poetry evenings and literary salons. M. Gorky wrote to R. Rolland: “The city greeted him with the same admiration as a glutton greets strawberries in January. His poems began to be praised, excessively and insincerely, as hypocrites and envious people can praise.”
At the beginning of 1916, Yesenin’s first book, “Radunitsa,” was published. In the title, the content of most of the poems (1910-1915) and in their selection, Yesenin’s dependence on the moods and tastes of the public is visible.
Yesenin’s work of 1914-1917 appears complex and contradictory (“Mikola”, “Egory”, “Rus”, “Martha Posadnitsa”, “Us”, “Baby Jesus”, “Dove” and other poems). These works present his poetic concept of the world and man. The basis of the Yesenin universe is the hut with all its attributes. In the book “The Keys of Mary” (1918), the poet wrote: “The hut of a commoner is a symbol of concepts and relationships to the world, developed before him by his fathers and ancestors, which are intangible and distant world subjugated themselves by likening them to the things of their meek hearths.” The huts, surrounded by courtyards, fenced with fences and “connected” to each other by a road, form a village. And the village, limited by the outskirts, is Yesenin’s Rus', which is cut off from big world forests and swamps, “lost... in Mordva and Chud.” And further:
No end in sight,
Only blue sucks his eyes...
Yesenin later said: “I would ask readers to treat all my Jesuses, Mothers of God and Mikolam, as to the fabulous in poetry." The hero of the lyrics prays to the “smoking earth”, “to the scarlet dawns”, “to the haystacks and haystacks”, he worships his homeland: “My lyrics,” Yesenin later said, “are alive with one great love, love for the homeland. The feeling of homeland is the main thing in my work.”
In the pre-revolutionary poetic world of Yesenin, Rus' has many faces: “thoughtful and tender,” humble and violent, poor and cheerful, celebrating “victorious holidays.” In the poem “You Didn’t Believe in My God...” (1916), the poet calls Rus', the “sleepy princess” located “on the foggy shore,” to the “cheerful faith” to which he himself is now committed. In the poem “Clouds from the Fall…” (1916), the poet seems to predict a revolution - the “transformation” of Russia through “torment and the cross”, and a civil war.
Both on earth and in heaven, Yesenin contrasts only the good and the evil, the “clean” and the “impure.” Along with God and his servants, heavenly and earthly, in Yesenin in 1914-1918 possible “evil spirits” were active: forest, water and domestic. Evil fate, as the poet thought, also touched his homeland and left its mark on its image:
You didn’t believe in my God,
Russia, my homeland!
You, like a sorceress, gave me a measure,
And I was like your stepson.
First collection of poems
S. Yesenina, 1916
S. A. Yesenin in 1922
The lines of Sergei Yesenin’s poem “Letter to a Mother” (published in the spring of 1924 in the magazine “Krasnaya Nov”) also impressed the young composer Vasily Lipatov (1897-1965). Since then, the romance to Lipatov's music has been performed by Dmitry Gnatyuk, Yuri Gulyaev, Vadim Kozin, Klavdiya Shulzhenko, Alexander Malinin, and other performers. Lipatov wrote this song in just one day. Lipatov also authored the first musical version of the poem “You are my fallen maple.”
Yesenin's lyrics turned into romances thanks to the composer, People's Artist USSR Grigory Ponomarenko (1921-1996). His works “The golden grove dissuaded”, “Don’t wander, don’t crush in the crimson bushes”, “Let you be drunk by others”, “I don’t regret, I don’t call, I don’t cry”, “Weaved on the lake”, “You are my Shagane, Shagane” , “The Blue Fire Has Swept Up,” “To Kachalov’s Dog” were included in the repertoire of Joseph Kobzon, Vladimir Troshin, Arkady Severny, the ensemble “Radunitsa”, VIA “Orera” and others.
Alexander Vertinsky (“In the land where the yellow nettle is”, “Goodbye, my friend, goodbye”), Ivan Kozlovsky (“You watered the horse”, “I’m on the first snow”), Muslim Magomayev (“You watered the horse”, “I’m on the first snow”) turned to Yesenin’s work (“ Queen", "Farewell, Baku"), Evgeny Martynov ("Birch"), Valery Obodzinsky ("Goodbye, my friend, goodbye"), Vladimir Vysotsky (an excerpt from the fairy tale "The Orphan" was preserved on amateur film).
Songs based on Yesenin’s poems were included in the repertoire of Honored Artist of Russia Klavdia Khabarova. With the music of Alexei Karelin, the songs “Flowers Tell Me Goodbye”, “Scented Bird Cherry”, “Here it is - Stupid Happiness” and others became famous. Arkady Severny included in his performances the romances “You Don’t Love Me,” “White Scroll and Scarlet Sash,” “Evening Dark Eyebrows,” “Goodbye, My Friend, Goodbye,” and others. Alexey Pokrovsky performed “The Last Letter” and many other songs to the music of Alexander Vertinsky. Composer Sergei Sarychev and the group “Alfa” turned the song “I am a Moscow mischievous reveler” into an all-Union hit, and the tandem of composer Sergei Belyaev and performer Alexander Malinin made the song “Fun” popular.
Yesenin’s lines also found their resonance in the female performances of Lyudmila Zykina (“Hear, the sleigh is rushing”), Galina Nenasheva (“Birch”), Nina Panteleeva (“I don’t regret, I don’t call, I don’t cry”), Irina Ponarovskaya (“Drops”) , Nadezhda Babkina (“The golden grove dissuaded”) and others.
Sergei Yesenin's poems are closely intertwined with cinema. Romances were included in the creative evenings of the actors (“I lit my fire” to the music of Yuri Erikona performed by Nikolai Karachentsov, “Queen” in the television benefit performance of Larisa Golubkina). The songs were woven into the plot of the film (“You are my fallen maple” performed by singing teacher Andrei Popov with a guitar in the film of the same name). Original readings of famous songs are offered for feature films (“Under the window there is a month” to the music of Ian Frenkel for the film “The Crown of the Russian Empire, or Elusive Again”, “You are my fallen maple” performed by the group “Chaif” for the film “Beyond the Wolves” and others).
Yesenin's poems can also be heard in translation. Italian singer and composer Angelo Branduardi includes a song based on "Confessions of a Bully" on his 1975 album La luna. Polish pop singer and composer Krzysztof Krawczyk recorded a record in 1977, where Yesenin’s poems are translated by Vladislav Bronevsky. In 1979, a record based on Yesenin’s poems was recorded by the Bulgarian performer Nikolai Lyubenov.
Sergei Yesenin's poems continue to be relevant: songs based on his poems are performed by Oleg Pogudin, Pavel Pikalov, Andrei Misin, Stas Mikhailov, Vika Tsyganova, Alexander Novikov, Valery Vlasov, Zemfira, Elena Vaenga, Nikita Dzhigurda, Zhenya Maksimova, Prokhor Shalyapin, the Relic trio ", the trio "Nightingale", the groups "Mongol Shuudan", "Kukryniksy" and many others. The soundtrack to the series “Yesenin” was released on Sergei Bezrukov’s album entitled “Hooligan”, in which the artist first acted as the author of the music.
Yesenin’s poems are heard in the genre of rap - “Letter to a Woman”, “Moscow Mischievous Reveler” (Misha Mavashi) and “Letter to a Woman” performed by ST, pagan metal - “I will not deceive myself” (group “Nevid”), indie folk - “The Blue Fire Has Swept Up” (The Retuses group), deathcore - “Goodbye, my friend, goodbye” (Bring Me the Horizon group), rock suite “Sergey Yesenin” was released by “Igor Kovalev’s Workshop” . The 1988 album “O Jesenjinu” by the Yugoslav rock band “Bolero” is dedicated to Yesenin’s work.
Yesenin Museum in Spas-Klepiki (branch of GMZE)
Tombstone of S. A. Yesenin at the Vagankovskoye cemetery in Moscow. Photo July 26, 2015
Outstanding Russian poet,
1958, 40 kopecks
Stamp dedicated to S. A. Yesenin, 1975, 6 kopecks (DFA 4505, Scott 4369)
In 1975, the USSR Ministry of Communications issued an envelope with a portrait of S. A. Yesenin (artist A. Yar-Kravchenko). Price 5 kopecks.
In 1995, the Central Bank of the Russian Federation issued a commemorative coin (2 rubles, silver, proof) in the series “Outstanding Personalities of Russia”, dedicated to the 100th anniversary of the birth of S. A. Yesenin.
S.A. Yesenin is a poet who lived a very short life, only 30 years old. But over the years he wrote hundreds of beautiful poems, many “small” poems and large epic works, fiction, as well as an extensive epistolary heritage, which included the reflections of S.A. Yesenin about spiritual life, philosophy and religion, Russia and the revolution, the poet’s responses to events cultural life Russia and foreign countries, thoughts about the greatest works of world literature. “I don’t live in vain...” wrote Sergei Yesenin in 1914. His bright and impetuous life left a deep mark in the history of Russian literature and in the heart of every person.
S.A. was born. Yesenin on October 3, 1895 in the village of Konstantinovo, Kuzminsky volost, Ryazan province, in a family of peasants - Alexander Nikitich and Tatyana Fedorovna Yesenin. In one of his autobiographies, the poet wrote: “I started writing poetry at the age of 9, I learned to read at 5” (vol. 7, p. 15). Own education S.A. Yesenin began in his native village, graduating from the Konstantinovsky Zemstvo 4-year school (1904-1909). In 1911 he entered the Second-Class Teachers' School (1909-1912). By 1912, the poem “The Legend of Evpatiy Kolovrat, of Khan Batu, the Flower of the Three Hands, of the Black Idol and Our Savior Jesus Christ” was written, as well as the preparation of a book of poems “Sick Thoughts”.
In July 1912, S.A. Yesenin moves to Moscow. Here he settled at Bolshoy Strochenovsky Lane, building 24 (now the Moscow State Museum of S.A. Yesenin). The young poet was full of strength and desire to make himself known. It was in Moscow that the first known publication of S.A. took place in the children's magazine Mirok. Yesenin - the poem “Birch” under the pseudonym “Ariston”. The poet also published in the magazines “Protalinka”, “ Milky Way", "Niva".
In March 1913, he went to work at the printing house of the partnership I.D. Sytin as an assistant proofreader. At the printing house he met Anna Romanovna Izryadnova, with whom he entered into a civil marriage in the fall of 1913. This year the poet is working on the poem “Tosca” and the dramatic poem “The Prophet,” the texts of which are unknown.
During his stay in Moscow S.A. Yesenin enrolls as a volunteer student at the historical and philosophical department of the A.L. Shanyavsky People's University, but also listens to lectures on the history of Russian literature given by Yu.I. Aikhenvald, P.N. Sakulin. Professor P.N. The young poet brought his poems to Sakulin, wanting to hear his opinion. The scientist especially highly appreciated the poem “The scarlet light of dawn was woven on the lake...”.
S.A. Yesenin took part in meetings of the Surikov literary and musical circle, officially established in 1905. However, the literary situation in Moscow seemed insufficiently rich to the young poet; he believed that success could be achieved in Petrograd. In 1915 S.A. Yesenin leaves Moscow. Arriving in the northern capital, the poet goes to Alexander Blok, hoping for his support. The meeting of the two poets took place on March 15, 1915 and left a deep mark on the lives of each. In his 1925 autobiography, S.A. Yesenin wrote: “When I looked at Blok, sweat dripped from me, because for the first time I saw a living poet” (vol. 7, p. 19). A.A. Block left positive feedback about the poems of S.A. Yesenina: “The poems are fresh, clean, vociferous.” Blok introduced the young poet to the literary environment of Petrograd, introducing him to famous poets (S.M. Gorodetsky, N.A. Klyuev, Z.N. Gippius, D.S. Merezhkovsky, etc.), publishers. Poems by S.A. Yesenin's works are published in St. Petersburg magazines ("Voice of Life", "Monthly Magazine", "Chronicle"), the poet is invited to literary salons. A particularly important and joyful event for the poet was the publication of his first collection of poems, “Radunitsa” (1916).
In 1917, the poet married Z.N. Reich.
The poet initially enthusiastically welcomes the revolution that took place in 1917, hoping that the time of “peasant paradise” is coming. But it cannot be said that the poet’s attitude towards the revolution was unambiguous. He understands that the changes taking place are taking the lives of many thousands of people. In the poem “Mare's Ships” by S.A. Yesenin writes: “With the oars of severed hands / You row into the land of the future.” (vol. 2, p. 77). By 1917-1918 includes the poet’s work on the works “Otchari”, “Advent”, “Transfiguration”, “Inonia”.
The year 1918 is connected in the life of S.A. Yesenin with Moscow. Here, together with the poets A.B. Mariengof, V.G. Shershenevich, A.B. Kusikov, I.V. Gruzinov, he founded the literary movement of the Imagists, from English word"image" - image. The poetry of the Imagists is filled with complex, metaphorical images.
However, S.A. Yesenin did not accept some of the provisions of his “brothers.” He was sure that a poem cannot be simply a “catalogue of images”; the image must be meaningful. The poet defends the meaning and harmony of the image in the article “Life and Art.”
The highest manifestation of his imagism S.A. Yesenin called the poem "Pugachev", which he worked on in 1920-1921. The poem was highly appreciated by Russian and foreign readers.
In the fall of 1921, in the studio of the artist G.B. Yakulova S.A. Yesenin meets the American dancer Isadora Duncan, with whom he married on May 2, 1922. Together with his wife S.A. Yesenin traveled through Europe and America. While staying abroad S.A. Yesenin is working on the cycle “Moscow Tavern”, the dramatic poem “Country of Scoundrels”, the first edition of the poem “The Black Man”. In Paris in 1922 French The book “Confession of a Hooligan” is published, and in Berlin in 1923 - “Poems of a Brawler”. The poet returned to Moscow in August 1923.
In the late period of creativity (1923-1925) S.A. Yesenin is experiencing a creative takeoff. A true masterpiece of the poet’s lyrics is the cycle “Persian Motifs”, written by S.A. Yesenin during a trip to the Caucasus. Also in the Caucasus, the lyric-epic poem “Anna Snegina” and the philosophical poem “Flowers” were written. The birth of many poetic masterpieces was witnessed by the wife of the poet S.A. Tolstaya, with whom he married in 1925. During these years, “Poem of 36”, “Song of the Great March”, books “Moscow Tavern”, “Birch Calico”, and the collection “About Russia and the Revolution” were published. Creativity S.A. Yesenina late period has a special, philosophical character. The poet looks back on the path of life, reflects on the meaning of life, tries to comprehend the events that changed the history of his homeland, to find his place in new Russia. The poet often thought about death. Having finished work on the poem “Black Man” and sending it to his friend, P.I. Chagin, S.A. Yesenin wrote to him: “I am sending you “The Black Man.” Read it and think about what we are fighting for when we lie in bed?..”
Life of S.A. Yesenin's life ended in St. Petersburg on the night of December 27-28, 1925. The poet was buried in Moscow at the Vagankovskoye cemetery.
Perhaps this is one of the most famous poetic names in Russia of the 20th century. In his short thirty years, the poet reflected in his work the most dramatic and turning points in the life of peasant Russia, which is why the red line in his work is a kind of tragic worldview and at the same time a surprisingly subtle vision of the nature of his vast homeland. This peculiarity of creativity can be explained by the fact that he was born and lived at the junction of two eras - the outgoing Russian Empire and the birth of a new state, a new world, where the old orders and foundations had no place. , First World War, the February and October revolutions, difficult - all these events tormented the long-suffering country and its people, leading to the collapse of the old world. The poet, better than anyone, felt the tragedy of this situation, reflecting it in his work. However, one of the most bitter confessions sounds in his poem “I am the last poet of the village.” This work reveals the deep pain of the beginning of the death of that peasant life, whose singer he was throughout his life. , of which he was a supporter, did not bring freedom and prosperity to the life of the village, but, on the contrary, aggravated its situation, making the peasants even more powerless than in tsarist times. The premonition of the future death of the village is best reflected in these lines:
On the blue field path
The Iron Guest will be out soon.
Oatmeal, spilled by dawn,
A black handful will collect it.
The poet says goodbye to the village that is beginning to die and at the same time feels that his time has also passed. This is especially heard in such bitter lines:
Soon, soon wooden clock
They will wheeze my twelfth hour!
Yesenin became the last poet, glorifying the past peasant Russia, which now remains forever in that old era. He has a conflict with a new Soviet Russia, where the poet feels like an absolute stranger here. Moreover, he does not know where future events are leading the country, and especially his beloved village, which he idolized so much. Such a work, where the poet forever says goodbye to his old life and rural Russia, was the poem - “Yes! Now it's decided! No return...", where he bitterly writes that he "left his native fields" and now he is destined to die on the "crooked streets of Moscow." Afterwards, the poet no longer refers to the village and peasant life in his works. And in the poems of the last years of his life there are mainly love lyrics and amazing poetic praise of nature, where, however, there is the bitterness of memories of that past happy life.
The poems of 1925 are imbued with special tragedy, last year poet's life. Sergei Alexandrovich seems to feel his imminent death, so he writes “A Letter to his Sister,” where he turns to his past life and already says goodbye to his close relatives, admitting that he is ready to leave forever. But, perhaps, the feeling of imminent death was most clearly reflected in the poem “Goodbye, my friend, goodbye...”, where the poet says goodbye to an unknown friend and at the end utters the phrase: “In this life, dying is not new, But living, of course, not newer.” On December 28, 1925, he died in Leningrad, leaving behind a trail of unsolvable mysteries with his passing. He was the last poet of a bygone era with its peasant patriarchal way of life and careful attitude towards nature, which he deified. And the Yesenin village was replaced by a new way of life, which the poet was so afraid of, which completely changed the life of the peasants.
