Yesenin - Sergei Alexandrovich (1895-1925), Russian poet. From his first collections (“Radunitsa”, 1916; “Rural Book of Hours”, 1918) he appeared as a subtle lyricist, a master of deeply psychologized landscape, a singer of peasant Rus', an expert on the folk language and the folk soul. In 1919-23 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).

Childhood and youth

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

Literary debut and success

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

Military service

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

"Radunitsa"

Yesenin’s first collection of poems, “Radunitsa” (1916), was enthusiastically welcomed by critics, who discovered a fresh spirit in it, noting the author’s youthful spontaneity and natural taste. In the poems of “Radunitsa” and subsequent collections (“Dove”, “Transfiguration”, “Rural Book of Hours”, all 1918, etc.) a special Yesenin “anthropomorphism” develops: animals, plants, natural phenomena, etc. are humanized by the poet, forming together with people connected by roots and all their being with nature, a harmonious, holistic, beautiful world. At the intersection of Christian imagery, pagan symbolism and folklore stylistics, paintings of Yesenin’s Rus', colored by a subtle perception of nature, are born, where everything: a burning stove and a dog’s nook, an uncut hayfield and swamps, the hubbub of mowers and the snoring of a herd becomes the object of the poet’s reverent, almost religious feeling (“I I pray for the red dawns, I take communion by the stream”).

Revolution

At the beginning of 1918 Yesenin moved to Moscow. Having met the revolution with enthusiasm, he wrote several short poems (“The Jordan Dove,” “Inonia,” “Heavenly Drummer,” all 1918, etc.), imbued with a joyful anticipation of the “transformation” of life. They combine godless sentiments with biblical imagery to indicate the scale and significance of the events taking place. Yesenin, glorifying the new reality and its heroes, tried to correspond to the times (“Cantata”, 1919). In later years, he wrote “Song of the Great March”, 1924, “Captain of the Earth”, 1925, etc.). Reflecting on “where the fate of events is taking us,” the poet turns to history (dramatic poem “Pugachev”, 1921).

Imagism

Searches in the field of imagery bring Yesenin together with A. B. Mariengof, V. G. Shershenevich, R. Ivnev, at the beginning of 1919 they united in a group of imagists; Yesenin becomes a regular at the Pegasus Stable, a literary café of Imagists at the Nikitsky Gate in Moscow. However, the poet only partly shared their platform, the desire to cleanse the form of the “dust of content.” His aesthetic interests are directed to the patriarchal village way of life, folk art and the spiritual fundamental basis of the artistic image (treatise “The Keys of Mary”, 1919). Already in 1921, Yesenin appeared in print criticizing the “buffoonish antics for the sake of antics” of his “brothers” Imagists. Gradually, fanciful metaphors are leaving his lyrics.

"Moscow Tavern"

In the early 1920s. in Yesenin’s poems there appear motifs of “a life torn apart by a storm” (in 1920, a marriage that lasted about three years with Z.N. Reich broke up), drunken prowess, giving way to hysterical melancholy. The poet appears as a hooligan, a brawler, a drunkard with a bloody soul, hobbling “from den to den,” where he is surrounded by “alien and laughing rabble” (collections “Confession of a Hooligan,” 1921; “Moscow Tavern,” 1924).

Isadora

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

Poems of recent years

Yesenin returned to his homeland with joy, a feeling of renewal, and the desire “to be a singer and a citizen... in the great states of the USSR.” During this period (1923-25) his best lines were written: the poems “The Golden Grove Dissuaded...”, “Letter to Mother”, “We are now leaving little by little...”, the cycle “Persian Motifs”, the poem “Anna Snegina” etc. The main place in his poems still belongs to the theme of the homeland, which now acquires dramatic shades. The once single harmonious world of Yesenin’s Rus' bifurcates: “Soviet Rus'”, “Leaving Rus'”. The motif of the competition between old and new (“a red-maned foal” and “a train on cast-iron paws”), outlined in the poem “Sorokoust” (1920), is being developed in the poems of recent years: recording the signs of a new life, welcoming “stone and steel,” Yesenin increasingly feels like a singer of a “golden log hut”, whose poetry “is no longer needed here” (collections “Soviet Rus'”, “Soviet Country”, both 1925). The emotional dominant of the lyrics of this period are autumn landscapes, motives of summing up, and farewells.

Tragic ending

One of his last works was the poem “Land of Scoundrels” in which he denounced the Soviet regime. After this, he began to be persecuted in the newspapers, accusing him of drunkenness, fighting, etc. The last two years of Yesenin’s life were spent in constant travel: hiding from prosecution, he travels to the Caucasus three times, goes to Leningrad several times, and Konstantinovo seven times. At the same time, he is once again trying to start a family life, but his union with S.A. Tolstoy (granddaughter of L.N. Tolstoy) was not happy. At the end of November 1925, due to the threat of arrest, he had to go to a psychoneurological clinic. Sofya Tolstaya agreed with Professor P.B. Gannushkin about the poet’s hospitalization in a paid clinic at Moscow University. The professor promised to provide him with a separate room where Yesenin could do literary work. The GPU and police officers went crazy looking for the poet. Only a few people knew about his hospitalization in the clinic, but informants were found. On November 28, security officers rushed to the director of the clinic, Professor P.B. They demanded the extradition of Yesenin to Gannushkin, but he did not hand over his fellow countryman to death. The clinic is under surveillance. Having waited a moment, Yesenin interrupts the course of treatment (he left the clinic in a group of visitors) and on December 23 leaves for Leningrad. On the night of December 28, at the Angleterre Hotel, Sergei Yesenin is killed by staging suicide.

Yesenin's autobiography dated May 14, 1922

I am the son of a peasant. Born in 1895 on September 21 in the Ryazan province. Ryazan district. Kuzminskaya volost. From the age of two, due to the poverty of my father and the large size of my family, I was given up to be raised by a rather wealthy maternal grandfather, who had three adult unmarried sons, with whom I spent almost my entire childhood. My uncles were mischievous and desperate guys. When I was three and a half years old, they put me on a horse without a saddle and immediately started galloping. I remember that I went crazy and held my withers very tightly. Then I was taught to swim. One uncle (Uncle Sasha) took me into a boat, drove away from the shore, took off my underwear and threw me into the water like a puppy. I flapped my hands ineptly and frightenedly, and until I was choking, he kept shouting: “Eh, bitch! Well, where are you good for?” “Bitch” was a term of endearment. After about eight years, I often replaced another uncle’s hunting dog, swimming around the lakes after shot ducks. I was very good at climbing trees. None of the boys could compete with me. For many people who were disturbed by rooks at noon after plowing, I removed nests from birch trees, for a ten-kopeck piece. Once he fell, but very successfully, scratching only his face and stomach and breaking a jug of milk that he was carrying to his grandfather for mowing.

Among the boys, I was always a horse breeder and a big fighter and always walked around with scratches. Only my grandmother scolded me for my mischief, and my grandfather sometimes egged me on to fistfights and often said to my grandmother: “You’re a fool, don’t touch him. He will be stronger this way.” Grandmother loved me with all her might, and her tenderness knew no bounds. On Saturdays they washed me, cut my nails and crimped my hair with cooking oil, because not a single comb could handle curly hair. But the oil didn’t help much either. I always yelled obscenities and even now I have some kind of unpleasant feeling about Saturday. On Sundays I was always sent to mass and... to check that I was at mass, they gave me 4 kopecks. Two kopecks for the prosphora and two for the priest taking out the parts. I bought a prosphora and, instead of the priest, made three marks on it with a penknife, and with the other two kopecks I went to the cemetery to play piggyback with the guys.

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

At the age of eighteen, I was surprised, having sent out my poems to magazines, that they were not published, and unexpectedly came to St. Petersburg. I was received very cordially there. The first person I saw was Blok, the second was Gorodetsky. When I looked at Blok, sweat dripped from me, because for the first time I saw a living poet. Gorodetsky introduced me to Klyuev, about whom I had never heard a word. With Klyuev, despite all our internal strife, we began a great friendship, which continues to this day, despite the fact that we have not seen each other for six years. He now lives in Vytegra, writes to me that he eats bread with chaff, washes it down with empty boiling water and prays to God for a shameless death.

During the years of war and revolution, fate pushed me from side to side. I have traveled the length and breadth of Russia, from the Arctic Ocean to the Black and Caspian Seas, from the West to China, Persia and India. I consider 1919 to be the best time in my life. Then we lived the winter in room cold of 5 degrees. We didn't have a log of firewood. I have never been a member of the RCP, because I feel much to the left. My favorite writer is Gogol. Books of my poems: “Radunitsa”, “Dove”, “Transfiguration”, “Rural Book of Hours”, “Treryadnitsa”, “Confession of a Hooligan” and “Pugachev”. Now I’m working on a big thing called “Land of Scoundrels.” In Russia, when there was no paper, I printed my poems together with Kusikov and Mariengof on the walls of the Strastnoy Monastery or simply read them somewhere on the boulevard. The best fans of our poetry are prostitutes and bandits. We are all in great friendship with them. The communists don't like us because of a misunderstanding. For this, my deepest greetings to all my readers and a little attention to the sign: “They ask you not to shoot!”

Yesenin's autobiography from 1923

Born 1895, October 4. The son of a peasant in Ryazan province, Ryazan district, village of Konstantinov. My childhood was spent among fields and steppes.

He grew up under the supervision of his grandmother and grandfather. My grandmother was religious and took me to monasteries. At home I gathered all the crippled people who sing spiritual poems in Russian villages from “Lazarus” to “Mikola”. He grew up mischievous and naughty. He was a brawler. My grandfather sometimes forced me to fight so that I would be stronger.

He started composing poetry early. The grandmother gave the pushes. She told stories. I didn’t like some fairy tales with bad endings, and I remade them in my own way. He began to write poetry, imitating ditties. He had little faith in God. I didn't like going to church. At home they knew this and, in order to test me, they gave me 4 kopecks for a prosphora, which I had to take to the altar to the priest for the ritual of removing the parts. The priest made 3 cuts on the prosphora and charged 2 kopecks for it. Then I learned to do this procedure myself with a pocket knife, and 2 kopecks. He put it in his pocket and went to play in the cemetery with the boys, play grandmas. Once the grandfather guessed. There was a scandal. I ran away to another village to visit my aunt and didn’t show up until they forgave me.

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

After school, from the age of 16 to 17, he lived in the village. At the age of 17 he left for Moscow and entered Shanyavsky University as a volunteer student. At the age of 19 I came to St. Petersburg on my way to Revel to visit my uncle. I went to Blok, Blok put him in touch with Gorodetsky, and Gorodetsky with Klyuev. My poems made a great impression. All the best magazines of that time (1915) began to publish me, and in the fall (1915) my first book “Radunitsa” appeared. Much has been written about her. Everyone unanimously said that I was talented. I knew this better than anyone. After “Radunitsa” I released “Dove”, “Transfiguration”, “Rural Book of Hours”, “Keys of Mary”, “Treryadnitsa”, “Confession of a Hooligan”, “Pugachev”. “Land of Scoundrels” and “Moscow Tavern” will soon be published.

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

In 1916 he was called up for military service. With some patronage of Colonel Loman, the empress's adjutant, he was granted many benefits. He lived in Tsarskoe not far from Razumnik Ivanov. At Loman's request, he once read poetry to the Empress. After reading my poems, she said that my poems were beautiful, but very sad. I told her that all of Russia is like that. He referred to poverty, climate, etc. The revolution found me at the front in one of the disciplinary battalions, where I ended up because I refused to write poetry in honor of the Tsar. He refused, consulting and seeking support from Ivanov-Razumnik. During the revolution, he left Kerensky’s army without permission and, living as a deserter, worked with the Socialist Revolutionaries not as a party member, but as a poet.

When the party split, I went with the left group and in October was in their fighting squad. He left Petrograd together with the Soviet regime. In Moscow in 1818 he met with Mariengof, Shershenevich and Ivnev.

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

1919-1921 traveled around Russia: Murman, Solovki, Arkhangelsk, Turkestan, Kyrgyz steppes, the Caucasus, Persia, Ukraine and Crimea. In '22 he flew on an airplane to Koenigsberg. Traveled all over Europe and North America. I am most pleased with the fact that I returned to Soviet Russia. What's next will be seen.

Yesenin's autobiography dated June 20, 1924

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

He spent his childhood with his maternal grandparents in another part of the village, which is called. Matt. My first memories date back to when I was three or four years old. I remember the forest, the big ditch road. Grandmother goes to the Radovetsky Monastery, which is about 40 miles from us. I, grabbing her stick, can barely drag my legs from fatigue, and my grandmother keeps saying: “Go, go, little berry, God will give you happiness.” Often blind men, wandering through the villages, gathered at our house and sang spiritual poems about a beautiful paradise, about Lazar, about Mikol and about the groom, a bright guest from an unknown city. The nanny was an old woman who looked after me and told me fairy tales, all those fairy tales that all peasant children listen to and know. Grandfather sang me old songs, so drawn-out and mournful. On Saturdays and Sundays he told me the Bible and sacred history.

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

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

I started writing poetry at the age of 9, and learned to read when I was 5. At the very beginning, village ditties had an influence on my creativity. The period of study did not leave any traces on me, except for a strong knowledge of the Church Slavonic language. That's all I took away. He did the rest himself under the guidance of a certain Klemenov. He introduced me to new literature and explained why there are some things to be afraid of the classics. Of the poets, I liked Lermontov and Koltsov the most. Later I moved on to Pushkin.

In 1913, I entered Shanyavsky University as a volunteer student. After staying there for 1.5 years, I had to go back to the village due to financial circumstances. At this time I wrote a book of poems “Radunitsa”. I sent some of them to St. Petersburg magazines and, not receiving a response, went there myself. I arrived and found Gorodetsky. He greeted me very cordially. Then almost all the poets gathered at his apartment. They started talking about me, and they started publishing me almost in great demand.

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

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

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

"About Me". October 1925

Born in 1895, September 21, in the Ryazan province, Ryazan district, Kuzminsk volost, in the village of Konstantinov. From the age of two I was raised by a rather wealthy maternal grandfather, who had three adult unmarried sons, with whom I spent almost my entire childhood. My uncles were mischievous and desperate guys. When I was three and a half years old, they put me on a horse without a saddle and immediately started galloping. I remember that I went crazy and held my withers very tightly. Then I was taught to swim. One uncle (Uncle Sasha) took me into a boat, drove away from the shore, took off my underwear and threw me into the water like a puppy. I flapped my hands ineptly and frightenedly, and until I choked, he kept shouting: “Eh! Bitch! Well, where are you good for?..” “Bitch” was a term of endearment. After about eight years, I often replaced another uncle’s hunting dog and swam around the lakes after shot ducks. He was very good at climbing trees. Among the boys he was always a horse breeder and a big fighter and always walked around with scratches. Only my grandmother scolded me for my mischief, and my grandfather sometimes encouraged me to fight with my fists and often said to my grandmother: “You’re a fool, don’t touch him, he’ll be stronger that way!” Grandmother loved me with all her might, and her tenderness knew no bounds. On Saturdays they washed me, cut my nails and crimped my hair with cooking oil, because not a single comb could handle curly hair. But the oil didn’t help much either. I always yelled obscenities and even now I have some kind of unpleasant feeling about Saturday.

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

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

In 1919, with a number of comrades, I published a manifesto of Imagism. Imagism was the formal school that we wanted to establish. But this school had no basis and died by itself, leaving the truth behind the organic image. I would gladly give up many of my religious poems and poems, but they are of great importance as a poet’s path to the revolution.

From the age of eight, my grandmother dragged me to different monasteries; because of her, all sorts of wanderers and pilgrims were always living with us. Various spiritual poems were chanted. Grandfather is opposite. He was not a fool to drink. On his part, eternal unmarried weddings were arranged. Afterwards, when I left the village, I had to understand my way of life for a long time.

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

Yesenin's life story

Some interesting facts from the life of Sergei Yesenin:

Sergei Yesenin graduated with honors from the Konstantinovsky Zemstvo School in 1909, then from the Church Teachers' School, but after studying for a year and a half, he left it - the profession of a teacher had little attraction for him. Already in Moscow, in September 1913, Yesenin began to attend the Shanyavsky People's University. A year and a half of university gave Yesenin the foundation of education that he so lacked.

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

On July 30, 1917, Yesenin married the beautiful actress Zinaida Reich in the Church of Kirik and Ulita, Vologda district. On May 29, 1918, their daughter Tatyana was born. Yesenin loved his daughter, blond and blue-eyed, very much. On February 3, 1920, after Yesenin separated from Zinaida Reich, their son Konstantin was born. One day he accidentally found out at the station that Reich and his children were on the train. A friend persuaded Yesenin to at least look at the child. Sergei reluctantly agreed. When Reich unwrapped her son, Yesenin, barely looking at him, said: “Yesenins are never black...” But according to contemporaries, Yesenin always carried photographs of Tatyana and Konstantin in his jacket pocket, constantly took care of them, sent them money. On October 2, 1921, the people's court of Orel ruled to dissolve Yesenin's marriage to Reich. Sometimes he met with Zinaida Nikolaevna, at that time already the wife of Vsevolod Meyerhold, which aroused Meyerhold’s jealousy. There is an opinion that of his wives, Yesenin loved Zinaida Reich most of all until the end of his days. Shortly before his death, in the late autumn of 1925, Yesenin visited Reich and the children. As if he were talking to an adult, Tanya was indignant at the mediocre children's books that his children were reading. Said: “You must know my poems.” The conversation with Reich ended in another scandal and tears. In the summer of 1939, after Meyerhold's death, Zinaida Reich was brutally murdered in her apartment. Many contemporaries did not believe that this was pure criminality. It was assumed (and now this assumption will increasingly develop into confidence) that she was killed by NKVD agents.

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

Autumn 1921 - meeting the “sandalfoot” Isadora Duncan. According to the memoirs of contemporaries, Isadora fell in love with Yesenin at first sight, and Yesenin was immediately carried away by her. On May 2, 1922, Sergei Yesenin and Isadora Duncan decided to consolidate their marriage according to Soviet laws, since they were about to travel to America. They signed at the registry office of the Khamovnichesky Council. When they were asked what surname they would choose, both wanted to have a double surname - “Duncan-Yesenin”. This is what was written down on the marriage certificate and in their passports. “Now I am Duncan,” Yesenin shouted when they went outside. This page of Sergei Yesenin’s life is the most chaotic, with endless quarrels and scandals. They diverged and came back together many times. Hundreds of volumes have been written about Yesenin’s romance with Duncan. Numerous attempts have been made to unravel the mystery of the relationship between these two such dissimilar people. But was there a secret? All his life, Yesenin, deprived of a real friendly family as a child (his parents constantly quarreled, often lived apart, Sergei grew up with his maternal grandparents), dreamed of family comfort and peace. He constantly said that he would marry such an artist - everyone would open their mouths, and would have a son who would become more famous than him. It is clear that Duncan, who was 18 years older than Yesenin and was constantly on tour, could not create for him the family he dreamed of. In addition, Yesenin, as soon as he found himself married, sought to break the shackles that bound him.

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

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

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

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

S.A. Yesenin is a name that is known far beyond the borders of the country where he was born. The talented poet remained forever in the hearts and thoughts of people who appreciate and love his masterpieces. The style in which Yesenin wrote cannot be confused with anyone else. A simple and light syllable can awaken the feelings of even the most callous reader.

Sergei was born on September 21, 1895 in the beautiful Ryazan village of Konstantinov. Although his parents were peasants, they were not poor. Moreover, they paid special attention to the child’s education. That is why Sergei not only graduated from the local school, but also attended school at a church in the village, which was located nearby. After graduating from school at the age of seventeen, Yesenin moved to the capital of Russia and got a job in a printing house. After some time, he enrolls in the circle named after. Surikov, which included both musical and literary figures of that time. At the same time, Sergei became a student at the People's University named after. Shanyavsky.

The poet began writing his first works at the age of nineteen, and even then he was noticed as a talented person. At the age of twenty, Yesenin goes to St. Petersburg and meets such famous people as Blok, Klyuev, Gorodetsky, and after some time he publishes his own book of poems “Radunitsa”.

Further, the poet’s life developed at a rather rapid pace. He returned to Moscow after the revolution, and despite the difficult situation in the country, he began to travel a lot. At first these were trips throughout Russia, and after meeting and marrying American dancer Isadora Duncan - all over the world. Together they visited many countries, but after returning to Russia they separated. This became a turning point in the poet’s life. His life style acquired a riotous character, and this could not but affect Sergei’s health and condition. Yesenin’s decline in creative inspiration prompted his friends to think about a change of environment. They sent him to travel around Georgia and Azerbaijan. He spent 1924 and 1925 searching for inspiration. It would seem that he found it: he married Sofya Tolstoy, who was the granddaughter of a poet already famous at that time. But not everything was so smooth. Yesenin did not like Soviet power and conveyed his dislike in poetry. Naturally, the authorities did not love him back, as they repeatedly hinted to him. As a result, either this long struggle, or the poet’s internal experiences led to Yesenin’s deep depression, which resulted in suicide. This happened on December 28, 1925 in one of the rooms of the Angletaire Hotel.

A short biography of Sergei Yesenin is the most important thing.

The poems of this great poet are especially melodious. They flow like a song, and in every line you can feel a great love for your native places. What a pity that he left us so young! After all, how many soulful and sincere works he could have created!

Yesenin's biography is short, but very rich. He seemed to be in a hurry to live, anticipating that he didn’t have much time. The future poet with a subtle and very vulnerable soul was born in the Ryazan province on September 21, 1895. The peasants were his parents, but from early childhood he was raised by his grandfather, his mother's father. He was wealthy, enterprising and very smart, he loved church books. He instilled in the boy a love of his native nature and art.

Sergei Yesenin: brief biography

The poet's education consisted of four classes at a rural school and a church and teachers' school in Spas-Klepiki. In 1912 he moved to Moscow, where he got a job. Yesenin's biography is a short story about an active life, about following a dream. Along with working in a bookstore and printing house, he is involved in a literary and musical circle and attends lectures.

The young poet's publications appeared in Moscow publications in 1914. A year later, already in Petrograd, he met the best poets of that time: A. Blok. He was enthusiastically accepted into the literary environment of the then capital. And in 1916, “Radunitsa”, Sergei’s first collection, was published. Yesenin, whose brief biography is discussed in this article, served in the tsarist army. But even then he continued to publish his poems and poems.

Biography of Yesenin: a brief history of personal life

It is worth noting that women always paid attention to a handsome guy who knew how to speak lyrical and beautiful words. He had a common-law wife, Anna Izryadnova, who bore him a son, Yuri. From 1917 to 1921, Yesenin was married to actress Zinaida Nikolaevna Reich, with whom he had a son and daughter, as well as to the famous dancer. There were women with whom he had close friendships, short-term relationships. But none of them could save the poet from depression and loneliness.

Working hard on his poems, Yesenin traveled a lot around Russia and the world. His last family with Sofia Tolstoy, the granddaughter of the great writer, fell apart very quickly, as Sergei was constantly leaving, running away from himself and from the authorities. But the woman devoted her entire future life to the memory of the poet, collecting information about him, his works, and writing her memoirs.

The mysterious death of a poet

Yesenin's biography is short: it ended in the thirtieth year of his life. On that cold December morning (and the poet died on December 28, 1925), he was found hanged in a hotel room in the Leningrad establishment Angleterre. The fatal noose was attached to the pipe. The investigation came to a consensus: suicide, especially since a week earlier Yesenin had been treated in a mental hospital. However, much later, assumptions were made about the deliberate murder of the poet. But how it actually happened is not known for certain. And establishing the historical truth will not bring back a very talented person, albeit one with a completely unsweetened character. Yesenin’s last refuge was a piece of land in Moscow.

Sergey Yesenin. The name of the great Russian poet - an expert on the people's soul, the singer of peasant Rus', is familiar to every person, his poems have long become Russian classics, and on Sergei Yesenin's birthday, admirers of his work gather.

Oh you sleigh! What a sleigh!

The sounds of frozen aspen trees.

My father is a peasant,

Well, I am a peasant's son.

Sergei Yesenin: biography of the Russian poet

Ryazan Oblast. In 1895, a poet was born, whose works are still admired by fans of his work today. October 3 is the birthday of Sergei Yesenin. From childhood, the boy was raised by a wealthy and enterprising maternal grandfather, a great connoisseur of church literature. Therefore, among the child’s first impressions are spiritual poems sung by wandering blind men and fairy tales of his beloved grandmother, which prompted the future poet to create his own creativity, which began at the age of 9.

Sergei graduated from the 4th grade of the local zemstvo school, although he studied for 5 years: due to unsatisfactory behavior, he was retained for the 2nd year. He continued to gain knowledge at the Spas-Klepikovsky parochial school, which trained rural teachers.

The capital of Russian cities: the beginning of a new life

At the age of 17, he left for Moscow and got a job in a butcher shop, where his father served as a clerk. After a conflict with a parent, he changed jobs: he moved to book publishing, and then to a printing house as a proofreader. There he met Anna Izryadnova, who gave birth to his 19-year-old son Yuri in December 1914, who was shot in 1937 under a false verdict of an attempt on Stalin’s life.

While in the capital, the poet took part in the literary and musical circle named after. Surikov, joined the rebellious workers, for which he received police attention. In 1912, he began to attend classes at the A. Shanyavsky People's University in Moscow as a volunteer. There Yesenin received the basics of a humanitarian education, listening to lectures on Western European and Russian literature. Sergei Yesenin's birthday is known to many admirers of his work - October 3, 1895. His works have been translated into many languages ​​and are included in the compulsory school curriculum. To this day, many are interested in what kind of relationship the poet built with the fair sex, did women love Sergei Yesenin, did he reciprocate? What (or who) inspired him to create; to create in such a way that after a century his poems are relevant, interesting, and loved.

Life and work of Sergei Yesenin

The first publication took place in 1914 in metropolitan magazines, and the beginning of a successful debut was the poem “Birch”. Literally in a century, Sergei Yesenin’s birthday will be known to almost every schoolchild, but for now the poet set foot on his thorny road leading to fame and recognition.

In Petrograd, where Sergei moved in the spring of 1915, believing that all literary life was concentrated in this city, he read his works to Blok, whom he personally came to meet. The warm welcome by the famous poet’s entourage and their approval of the poems inspired the envoy of the Russian village and endless fields for further creativity.

Recognized, published, read

Sergei Yesenin’s talent was recognized by Gorodetsky S.M., Remizov A.M., Gumilyov N.S., whose acquaintance the young man owed to Blok. Almost all the imported poems were published, and Sergei Yesenin, whose biography still arouses interest among fans of the poet’s work, became widely known. In joint poetic performances with Klyuev before the public, stylized in a folk, peasant manner, the young golden-haired poet appeared in morocco boots and an embroidered shirt. He became close to the society of “new peasant poets” and was himself interested in this trend. The key theme of Yesenin’s poetry was peasant Rus', the love for which permeates all his works.

In 1916, he was drafted into the army, but thanks to the concern and troubles of his friends, he was appointed as an orderly on the military hospital train of Empress Alexandra Feodorovna, which allowed the poet to attend literary salons, perform at concerts, and attend receptions with patrons without interference.

Peasant Rus' in the poet’s work

He accepted the October Revolution joyfully in his own way and enthusiastically wrote a number of short poems “Heavenly Drummer”, “Inonia”, “Dove of Jordan”, imbued with a premonition of future changes; The life and work of Sergei Yesenin were at the beginning of a new, yet unknown path - the path of fame and recognition.

In 1916, Yesenin’s debut book “Radunitsa” was published, enthusiastically received by critics who discovered in it a fresh direction, the author’s natural taste and his youthful spontaneity. Further, from 1914 to 1917, “Dove”, “Rus”, “Marfa-Posadnitsa”, “Mikola” were published, marked by some special, Yesenin style with the humanization of animals, plants, natural phenomena, which together with man form , connected by roots with nature, a holistic, harmonious and beautiful world. Pictures of Yesenin's Rus' - reverent, evoking an almost religious feeling in the poet, are colored with a subtle understanding of nature with a heating stove, a dog's coop, uncut hayfields, swampy swamps, the snoring of a herd and the hubbub of mowers.

Second marriage of Sergei Yesenin

In 1917, the poet married Nikolaevna, from whose marriage Sergei Yesenin’s children were born: son Konstantin and daughter Tatyana.

At this time, Yesenin gained real popularity, the poet became in demand, he was invited to various In 1918 - 1921, he traveled a lot around the country: Crimea, the Caucasus, Arkhangelsk, Murmansk, Turkestan, Bessarabia. He worked on the dramatic poem “Pugachev”, and in the spring he traveled to the Orenburg steppes.

In 1918-1920, the poet became close to Mariengof A.B., Shershenevich V.G., and became interested in imagism - a post-revolutionary literary and artistic movement based on futurism, which claimed to build an “art of the future”, completely new, denying everything previous artistic experience. Yesenin became a frequent visitor to the literary cafe “Stable of Pegasus”, located in Moscow near the Nikitsky Gate. The poet, who sought to understand the “commune-raised Rus',” only partially shared the desire of the newly created direction, the goal of which was to cleanse the form from the “dust of content.” He still continued to perceive himself as a poet of “Departing Rus'.” In his poems there appeared motifs of everyday life “destroyed by a storm”, drunken prowess, which is replaced by hysterical melancholy. The poet appears as a brawler, a hooligan, a drunkard with a bloody soul, wandering from den to den, where he is surrounded by “alien and laughing rabble” (collections “Moscow tavern”, “Confession of a hooligan” and “Poems of a brawler”).

In 1920, her three-year marriage to Z. Reich broke up. Sergei Yesenin's children each followed their own path: Konstantin became a famous football statistician, and Tatyana became the director of her father's museum and a member of the Writers' Union.

Isadora Duncan and Sergei Yesenin

In 1921, Yesenin met the dancer Isadora Duncan. She did not speak Russian, the poet, who read a lot and was highly educated, did not know foreign languages, but from the first meeting, when he looked at the dance of this woman, Sergei Yesenin was irreversibly drawn to her. The couple, in which Isadora was 18 years older, was not stopped by the age difference. She most often called her beloved “angel,” and he called her “Isidora.” Isadora's spontaneity and her fiery dances drove Yesenin crazy. She perceived him as a weak and unprotected child, treated Sergei with reverent tenderness, and even over time learned a dozen Russian words. In Russia, Isadora’s career did not work out because the Soviet authorities did not provide the field of activity that she expected. The couple registered their marriage and took the common surname Duncan-Yesenin.

After the wedding, Yesenin and his wife traveled a lot around Europe, visiting France, Germany, Canada, Italy, Belgium, and the USA. Duncan tried in every possible way to create PR for her husband: she organized translations of his poems and their publication, organized poetry evenings, but abroad he was recognized exclusively as an addition to a famous dancer. The poet was sad, felt unclaimed, unwanted, and became depressed. Yesenin began to drink, and frequent heartbreaking quarrels with departures and subsequent reconciliations occurred between the spouses. Over time, Yesenin’s attitude towards his wife, in whom he no longer saw an ideal, but an ordinary aging woman, changed. He still got drunk, occasionally beat Isadora, and complained to his friends that she was stuck to him and wouldn’t leave. The couple broke up in 1923, Yesenin returned to Moscow.

The last years of Yesenin's creativity

In his subsequent work, the poet very critically denounces the Soviet regime (“Country of Scoundrels,” 1925). After this, the persecution of the poet begins, accusing him of fighting and drunkenness. The last two years of my life were spent in regular travel; Sergei Yesenin is a Russian poet, hiding from judicial persecution, traveling to the Caucasus three times, traveling to Leningrad and constantly visiting Konstantinovo, never breaking ties with him.

During this period, the works “Poem of 26”, “Persian Motifs”, “Anna Snegina”, “The Golden Grove Dissuaded” were published. In the poems, the main place is still occupied by the theme of the homeland, now acquiring shades of drama. This period of lyricism is increasingly marked by autumn landscapes, motifs of drawing conclusions and farewells.

Goodbye, my friend, goodbye...

In the fall of 1925, the poet, trying to start his family life anew, married Sofia Andreevna, the granddaughter of Leo Tolstoy. But this union was not happy. Sergei Yesenin's life was going downhill: alcohol addiction, depression, pressure from leadership circles caused his wife to place the poet in a neuropsychiatric hospital. Only a narrow circle of people knew about this, but there were well-wishers who contributed to the establishment of round-the-clock surveillance of the clinic. The security officers began to demand from P.B. Gannushkin, a professor at this clinic, to extradite Yesenin. The latter refused, and Yesenin, having waited for an opportune moment, interrupted the course of treatment and, in a crowd of visitors, left the psychoneurological institution and left for Leningrad.

On December 14, I finished work on the poem “The Black Man,” which I spent 2 years on. The work was published after the poet’s death. On December 27, his final work “Goodbye, my friend, goodbye” was published from the pen of Sergei Yesenin. The life and work of Sergei Yesenin was coming to a terrible and incomprehensible end. The Russian poet died, whose body was found hanged in the Angleterre Hotel on the night of December 28, 1925.

On Sergei Yesenin’s birthday, people gather to honor his memory in all corners of Russia, but the most large-scale events take place in his native Konstantinov, where thousands of admirers of the poet’s work come from all over the world.

Sergei Aleksandrovich Yesenin was born on September 21, 1895 in the Ryazan village of Konstantinovo. Came from a peasant family. At the same time, his mother was forced into marriage, so when Seryozha was two years old, the family broke up. The boy was given to his maternal grandparents to be raised. Grandmother told Yesenin many folk songs, poems, ditties, fairy tales and legends, which became the “foundation” of his poetic nature.

Having graduated with honors from the Konstantinovsky four-year school (1909), he continued his studies at the Spas-Klepikovsky teacher's school (1909-12), from which he graduated as a “teacher of the literacy school.” In the summer of 1912, Yesenin moved to Moscow and for some time served in a butcher shop, where his father worked as a clerk. After a conflict with his father, he left the shop, worked in a book publishing house, then in the printing house of I. D. Sytin; during this period he joined the revolutionary-minded workers and found himself under police surveillance. At the same time, Yesenin studied at the historical and philosophical department of Shanyavsky University (1913-15).

Here, at the end of 1913, he became close to the Surikov literary and musical circle and, soon becoming a member of it, was elected to the editorial commission. Since 1914, he has published poems in children's magazines "Mirok", "Protalinka", "Good morning". Dissatisfied with his “Moscow” entry into literature, he arrived in Petrograd on March 9, 1915. Here he almost immediately receives high praise from the poets of the capital's elite: A. Blok, 3. Gippius, S. Gorodetsky. His poems appear in many metropolitan magazines; in the fall of 1915, he became a member of the literary group "Krasa" and the literary and artistic society "Strada", which became the first symbolic association of poets, according to Yesenin, "peasant merchants" (new peasants).

In 1916 he was called up for military service. The revolution found him in a disciplinary battalion, where he ended up for refusing to write poetry in honor of the Tsar. He left the army without permission and worked with the Social Revolutionaries (“not as a party member, but as a poet”). When the party split, I went with the left group and was in their fighting squad. Yesenin greeted the revolution with enthusiasm with hope for the “transformation” of Russia. But he soon realized that the revolution also meant devastation, hunger and terror.

In 1917 he met and on July 4 married Zinaida Reich, a Russian actress, the future wife of the outstanding director V. E. Meyerhold. At the end of 1919 (or in 1920), Yesenin left his 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, Sergei Yesenin repeatedly visited his children adopted by Meyerhold.

In 1918 he moved to Moscow again. Yesenin was at a loss from the events taking place: the changes affected all spheres of life, creative salons and societies were filled with a public far from literature.

In May, Yesenin’s second poetry collection “Dove” with poems from 1915-1916 was published, and in December the poet became a member of the Moscow Professional Union of Writers. In Moscow, he met A. Mariengof and V. Shershenevich. The result of this was the creation of the “Order of Imagists,” which also included Rurik Ivnev, G. Yakulov and B. Erdman. Yesenin actively participates in the collective collections published by the “Order”, in the organization of the Imagist publishing house and literary cafe “Stable of Pegasus”, sells in a bookstore owned by the Imagists, and writes a work on the theory of art “The Keys of Mary” (published in 1920).

However, the poet only partly shared their platform, the desire to cleanse the form of the “dust of content.” His aesthetic interests are directed to the patriarchal village way of life, folk art and the spiritual fundamental principle of the artistic image (treatise “The Keys of Mary”, 1919). Already in 1921, Yesenin appeared in print criticizing the “buffoonish antics for the sake of antics” of his “brothers” Imagists. Gradually, fanciful metaphors are leaving his lyrics.

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

Arriving in Russia, he began working on the cycles of poems “Hooligan”, “Confession of a Hooligan”, “Love of a Hooligan”. In 1924, a collection of poems by S.A. Yesenin “Moscow Tavern” was published in Leningrad (now St. Petersburg). Then Yesenin began working on the poem “Anna Snegina” and already in January 1925 he finished working on this poem and published it.

After separating from his ex-wife Isadora Duncan, Sergei Yesenin married Sofya Andreevna Tolstoy, who was the granddaughter of the famous writer of 19th century Russia - Leo Tolstoy. But this marriage lasted only a few months.

In August 1924, creative differences and personal motives (a quarrel with Mariengof) prompted Yesenin to break with imagism. In the fall, the Plat goes on a trip again - to Transcaucasia. Impressions from this trip are reflected in the collection of poems “Persian Motifs” (1925).

One of his last works was the poem “Country of Scoundrels,” in which he denounced the Soviet regime. After this, he began to be persecuted in the newspapers, accusing him of drunkenness, fighting, etc. The last two years of Yesenin’s life were spent in constant travel: hiding from prosecution, he travels to the Caucasus three times, goes to Leningrad several times, and Konstantinovo seven times.

At the end of 1925, Yesenin’s wife agreed to hospitalize the poet in a paid neurological clinic. Only a few people closest to the poet knew about this. There are two versions of the reasons for S. Yesenin’s hospitalization. The first is treatment of depression, including alcohol addiction, the second is constant monitoring by law enforcement agencies (imaginary or real). It was the second reason that forced the poet, in an atmosphere of haste and secrecy, to leave the clinic and move to Leningrad.

On December 14, 1925, Sergei Aleksandrovich Yesenin finished working on the poem “The Black Man,” which he had been working on for 2 years. This poem was published after the poet's death. On December 23 of the same year, Yesenin arrived in Leningrad and stayed at the Angleterre Hotel.

Yesenin died on December 28, 1925. The official cause of death is suicide. He was found hanging from a pipe in the Leningrad Angleterre Hotel. His last poem, “Goodbye, my friend, goodbye...”, written in blood, was also found there. In recent decades, many alternative versions have been put forward about the causes of Yesenin’s death. It is believed that the poet was killed. Yesenin is buried in Moscow at the Vagankovskoye cemetery.