You don't love me, you don't regret me,
Am I not a little handsome?
Without looking in the face, you are thrilled with passion,
He placed his hands on my shoulders.

Young, with a sensual grin,
I am neither gentle nor rude with you.
Tell me how many people have you caressed?
How many hands do you remember? How many lips?

I know they passed by like shadows
Without touching your fire,
You sat on the knees of many,
And now you're sitting here with me.

Let your eyes be half closed
And you're thinking about someone else
I don’t really love you very much myself,
Drowning in the distant dear.

Don't call this ardor fate
A frivolous hot-tempered connection, -
How I met you by chance,
I smile, calmly walking away.

Yes, and you will go your own way
Sprinkle joyless days
Just don’t touch those who haven’t been kissed,
Just don’t lure those who haven’t been burned.

And when with another in the alley
You'll walk by chatting about love
Maybe I'll go for a walk
And we will meet again with you.

Turning your shoulders closer to the other
And leaning down a little,
You will tell me quietly: “Good evening!”
I will answer: “Good evening, miss.”

And nothing will disturb the soul,
And nothing will make her tremble, -
He who loved cannot love,
You can't set fire to someone who's burned out.

Yesenin Sergei Aleksandrovich (1895-1925) is a great Russian poet, his lyric poems represented new peasant poetry, and his later work belongs to imagism.

Childhood

It is hardly possible to find a more Russian place in all of vast Russia than the Ryazan province. It was there, in the Kuzminskaya volost in the small village of Konstantinovo, that a brilliant man, the poet Sergei Yesenin, was born, who loved his Rus' to the point of aching pain in his heart. Only a true son of the Russian land, which turned out to be the little boy who was born on October 3, 1895, can love his Motherland so deeply and devote his entire life and creativity to it.

The Yesenin family was a poor peasant family. The head of the family, Alexander Nikitich, while still a child, sang in the choir at the church. And in adulthood he worked in a Moscow butcher shop, so he was at home on weekends. Such paternal service in Moscow served as a reason for discord in the family; mother Tatyana Fedorovna began working in Ryazan, where she met another man, Ivan Razgulyaev, from whom she later gave birth to a son, Alexander. Therefore, it was decided to send Seryozha to be raised by a wealthy Old Believer grandfather.

And so it turned out that Sergei spent his earliest childhood in the village with his maternal grandparents. Three more of their sons lived with his grandfather and grandmother; they were not married, and the poet’s carefree childhood years passed with them. These guys were full of desperation and mischief, so at the age of three and a half they put their little nephew on a horse without a saddle and galloped into the field. And then there was swimming training, when one of the uncles put little Seryozha with him in a boat, sailed away from the shore, took off his clothes and threw him into the river like a little dog.

Sergei began to compose his first, not yet entirely conscious, poems at an early age, the impetus for this was his grandmother’s fairy tales. In the evenings before going to bed, she told their little grandson a lot, but some had a bad ending, Seryozha didn’t like it, and he remade the endings of the fairy tales in his own way.

The grandfather insisted that the boy begin to learn to read and write early. Already at the age of five, Seryozha learned to read religious literature, for which among rural children he received the nickname Seryoga the Monk, although he was known as a terrible fidget, a fighter, and his whole body was constantly covered in abrasions and scratches.

And the future poet really liked it when his mother sang. Already in adulthood, he loved listening to her songs.

Studies

In 1904, when the boy was 9 years old, he was sent to the Konstantinovsky Zemstvo School. The training was four-year, but Yesenin studied for 5 years. Despite his excellent academic performance and constant reading of books, his behavior was unsatisfactory, for which he was retained for the second year. But I still passed my final exams with straight A’s.

By this time, Yesenin's parents got back together, and his sister Katya was born. Mom and dad wanted Sergei to become a teacher, so after the zemstvo school they took him to enter a church teacher’s school in the village of Spas-Klepiki. During this period he wrote his first poems:

• "Memories",
• "Stars",
• "My life".

A little later, he compiled two handwritten collections of poetry; his early work was distinguished by its spiritual orientation. During the holidays, Sergei came to his parents in Konstantinovo. Here he often visited the house of a local priest, who had an excellent church library; Seryozha used it, perhaps this played a role in the direction of his first works. In 1911, Sergei’s second sister, Alexandra, was born.

Moving to Moscow

In 1912, Sergei graduated from the Spaso-Klepikovskaya school, received a diploma as a “literacy school teacher” and immediately left for Moscow. He did not become a teacher; first he got a job in a butcher shop, then he joined the bookselling company “Kultura”, where he worked for a while in the office, after which he got a job as an assistant proofreader in a printing house. Working in such a position, he had the opportunity to fully engage in what he loved - reading books and writing poetry. Having some free time, Yesenin joined the Surikov Literary and Musical Association, and also began to freely listen to lectures at the historical and philosophical department at Shanyavsky Moscow University.

In 1913, at work, Sergei met Anna Izryadnova, who worked there as a proofreader. They began to live without formalizing their relationship, and in 1914 the couple had a boy, Yura (in 1937 he was falsely accused and shot). At the same time, the children's magazine Mirok published poems by Sergei Yesenin, this was the poet's first publication.

Petrograd, military service and marriage

Soon Yesenin left his common-law wife with their child and in 1915 went to Petrograd, where he met the poets Gorodetsky and Blok, and he read his poems to them. There he was drafted into the war, but his new friends worked hard and got the aspiring poet an appointment on the Tsarskoye Selo military-sanitary train, which belonged to the Empress Alexandra Feodorovna. During this service, Yesenin became especially close to the so-called new peasant poets.

In 1916, the poet’s first collection of poems, “Radunitsa,” was published, which brought him popularity. Yesenin was often invited to Tsarskoe Selo, where he read his poems to the empress and her daughters. These were beautiful lyrical works about Russian nature and old Rus', which emerged in his memory from his mother’s songs and grandmother’s fairy tales.

In 1917, Yesenin met actress Zinaida Reich, with whom he soon got married in a church in the Vologda province, and then the wedding took place in the St. Petersburg Passage Hotel. The marriage produced two children - a blue-eyed and blond daughter, Tanya, and a son, Kostya. However, Sergei left this family too when his wife was still pregnant with their second child. In 1921, they officially filed for divorce.

Imagism

During this period, largely thanks to his acquaintance with the poet Anatoly Mariengof, Yesenin became interested in such a trend in poetry as imagism. Several of his new collections have been released:

• "Confession of a Hooligan"
• "Treryadnitsa"
• "Poems of a Brawler"
• "Moscow Tavern"
• poem "Pugachev".

In 1921, Yesenin went to travel to Central Asia, visited Tashkent, Bukhara and Samarkand, then went to the Orenburg region and the Urals. He walked around the neighborhood there and admired the nature of the local area, listened to local music and poetry, took part in literary evenings, where he read his poems to the public.

Isadora Duncan

Returning from Tashkent at the end of 1921, with his friend Yakulov, Sergei met Isadora Duncan, a famous dancer from America. The poet did not know English, Isadora could not express herself fluently in Russian, nevertheless, feelings flared up between them, and very serious ones, because within six months they got married. When he read his poems to her, she did not understand the words, but characterized it this way: “I listened to them because they were music, and I felt in my heart that they were written by a genius.”.

Communicating only in the language of gestures and feelings, they were so fascinated by each other that their romance amazed even the poet’s closest friends, because Isadora was 18 years older than Sergei. In the spring of 1922, Duncan had a long tour of Europe ahead, where Sergei Alexandrovich also went with her, as Isadora always called Yesenina.

The poet visited France and Belgium, Germany and Italy, then lived in the USA for quite a long time. However, there he realized that here he was considered only a shadow of the great Isadora, and began to get too carried away with alcohol, which led to a quick break between the spouses. As Duncan herself said: “I took Yesenin from Russia to save his talent for humanity. “I’m letting him go back because I realized: he can’t live without Russia.”.

Return to Russia

At the end of the summer of 1923, Sergei Yesenin returned to his homeland. Here the poet had another short affair with translator Nadezhda Volpin, from whom his son Alexander was born. The newspaper “Izvestia” published the poet’s notes about America “Iron Mirgorod”.

In 1924, Yesenin again became interested in traveling around the country, traveled to his homeland in Konstantinovo many times, visited Leningrad several times a year, then there were trips to the Caucasus and Azerbaijan.

Returning to Moscow, Yesenin increasingly began to argue with Mariengof, disagreements began between them and Sergei declared that he was leaving imagism. After which he increasingly became the hero of local newspapers, which wrote about his fights, drunkenness and brawls.

In the fall of 1925, he officially married for the third time, his wife was Sophia Tolstaya, the granddaughter of the writer Lev Nikolaevich. But the marriage did not turn out to be a happy one from the beginning; the poet’s constant drinking led to quarrels. Not only his wife, but also the Soviet authorities were concerned about his condition. At the end of autumn, Sophia decided to admit Yesenin to a Moscow psychoneurological clinic; only those closest to the poet knew about this. But he escaped from the clinic, withdrew all the money from the book in the savings bank and went to Leningrad, where he settled in the Angleterre Hotel.

The death of the poet and his memory

In this hotel, in room No. 5, on December 28, 1925, Sergei was found dead.
Law enforcement agencies did not initiate a criminal case, despite the fact that the body showed signs of violent death. Until now, officially there is only one version - suicide. It is explained by the deep depression in which the poet was in the last months of his life.

Yesenin was buried on the last day of the year 1925 in Moscow at the Vagankovskoye cemetery.

In the 80s, versions appeared and began to develop more and more that the poet was killed and then staged a suicide. This crime is attributed to people who worked in the OGPU in those years. But for now, all of this remains just a version.

During his short life, the great poet managed to leave his descendants living on Earth an invaluable legacy in the form of his poetry. A subtle lyricist with knowledge of the people's soul masterfully described peasant Rus' in his poems. Many of his works were set to music, resulting in excellent romances.

Grateful Russia remembers its brilliant poet. Monuments to Sergei Yesenin have been erected in many cities, house museums are open and operating in Konstantinovo, Spas-Klepiki, St. Petersburg and Voronezh, Tashkent and Baku.

Sergei Alexandrovich Yesenin(1895 - 1925) was born on October 3, 1895 in the Ryazan province in the village of Konstantinovo (modern name - Yesenino) into a poor peasant family. Sergei spent his childhood in the house of his grandfather, an Old Believer reader.

In 1904, Yesenin entered the four-year zemstvo school, which he graduated in 1909 with honors. Then he continued his studies at a closed parochial school in the village of Spas-Klepiki. In 1912, Yesenin completed his studies and received a teacher's diploma.
Soon Sergei Alexandrovich moved to Moscow, working in the office of the book publishing house "Culture", in the printing house of I.D. Sytin.
Yesenin does a lot of self-education, reads a lot, goes to lectures at the A. Shanyavsky People's University. In 1914, Yesenin’s first poem, “Birch,” was published in the children’s magazine “Mirok.”

In 1915, the poet moved to St. Petersburg to be in the thick of literary life. In St. Petersburg, Yesenin became close to members of the literary group “Krasa” N.A. Klyuev, A.M. Remizov, S.M. Gorodetsky, who in their work glorified the life of the Russian village.

In 1916, Sergei Yesenin published the first collection of his poems, “Radunitsa,” in which peasant Rus' was the central image. At this time, the poet met Gorky and Blok.

Sergei Yesenin enthusiastically accepted the October Revolution; the poet expressed his attitude towards it in the poems “Father” (1917), “Octoechos” (1918), “Inonia” (1918), “Pantocrator” (1919).

In 1919, Yesenin, together with V. Shershenevich, R. Ivnev, A. Mariengof, created a new literary movement - imagism. In his work, Sergei Yesenin makes extensive use of folk poetic traditions; his poems are imbued with extraordinary lyricism.

At the same time, Yesenin also wrote epic works - the poem "Pugachev" (1920 - 21), then, after a trip to Europe and the USA in 1922 - 23, the poet wrote "The Ballad of Twenty-Six" (1924), "Anna Snegina" ( 1925).

The last days of Sergei Yesenin’s life are filled with a feeling of doom; it seems to the poet that he is becoming a poetic anachronism, for which there is no place left in the world around him. This depression led to Yesenin committing suicide on December 28, in Leningrad. The poet was buried in Moscow, at the Vagankovskoye cemetery.

With Sergei, Yesenin did not immediately find his literary credo: he rushed from one direction to another. At first he performed in bast shoes and a shirt with the new peasant poets, then, dressed in a jacket and tie, he created new literature with the Imagists. In the end, he abandoned all schools and became a free artist, declaring: “I am not a peasant poet or an imagist, I am just a poet.”

“I won my freedom”: the childhood and youth of Sergei Yesenin

Sergei Yesenin was born on October 3, 1895 in the village of Konstantinov, Ryazan province. Life in the Russian outback inspired the boy from early childhood, and at the age of nine he wrote his first poems.

The poet's parents are Alexander Nikitich and Tatyana Fedorovna. 1905. Photo: cameralabs.org

Sergei Yesenin (third from right) among fellow villagers. 1909-1910. Photo: cameralabs.org

Sergei Yesenin with his sisters Katya and Shura. 1912. Photo: cameralabs.org

Sergei Yesenin received his primary education at the zemstvo school - the future poet graduated with honors. However, as he later recalled, his studies did not affect his development in any way and left nothing “except for a strong knowledge of the Church Slavonic language”. When the boy turned 14 years old, he was sent to the Spas-Klepikovsky teacher's school: his parents wanted their son to become a rural teacher. But Yesenin saw his calling in poetry, so he continued to write poems at school. He even tried to publish his collection “Sick Thoughts” in Ryazan, but the book was not published.

After graduating from school, in the summer of 1912, Sergei Yesenin came to Moscow: in the fall he was supposed to enter the Moscow Teachers' Institute. But in defiance of his parents’ decision, he got a job at the Kultura book publishing house and refused to study. “Now it’s decided. I am alone. Now I will live without outside help.<...>Eh, now I probably won’t see anything dear to me. Well! I won my freedom", he wrote to his friend Grigory Panfilov.

Yesenin sent his poems to Moscow magazines, but they were not published. In one of his letters to Panfilov, the poet admitted: “Lack of money especially choked me, but I still firmly endured the blow of fate, did not turn to anyone and did not curry favor with anyone.”. To have a livelihood, the young poet worked as a salesman in a bookstore.

In 1913, he became a volunteer student of the historical and philosophical cycle at the Moscow City People's University named after Alfons Shanyavsky. Classes were held in the evenings, so Yesenin easily combined them with daytime work. At this time he served in the printing house of the Ivan Sytin Partnership. First he worked as a freight forwarder, then as an assistant proofreader.

During this period, Yesenin became interested in the ideas of the Social Democratic Party. The poet distributed political leaflets, spoke to workers in factory areas and encouraged them to fight for their rights. On September 23, 1913, Yesenin took part in the all-Moscow strike against the persecution of the proletarian press. The poet reported to Panfilov about what was happening: “There, near you, blissful days flow peacefully and smoothly, alternating, but here cold time boils, seethes and drills, picking up all sorts of germs of truth in its flow, squeezing it into its icy embrace and carrying God knows where to distant lands, from where no one comes ».

Arrests of demonstrators, police repression, persecution of the workers' press - the young poet was acutely aware of all this and reflected it in his poems. By that time, Yesenin had collected a book of poems “Radunitsa”. He sent some essays from the collection to St. Petersburg magazines, but never received a single response. But Moscow publications began to publish the poet: the children's magazine "Mirok" published the poems "Birch", "Sparrows", "Powder", "Village", "Easter Blagovest", and the Bolshevik newspaper "The Path of Truth" published the poem "Blacksmith".

The poet's wanderings in the capital

Sergei Yesenin (left) with friends. 1913. Photo: cameralabs.org

Sergey Yesenin. 1914. Photo: cameralabs.org

Sergey Yesenin. Photo: cameralabs.org

Soon life in Moscow began to depress Yesenin. The city increasingly seemed to the poet to be a literary province, past which the real social and cultural life of the country passed. In a letter to Panfilov, he complained: “Moscow is a soulless city, and everyone who strives for sun and light mostly runs away from it. Moscow is not the engine of literary development, but it uses everything ready-made from St. Petersburg". Thus was born the decision to move to the capital.

In 1915 Yesenin arrived in Petrograd. He immediately went to his authority in the world of literature - Alexander Blok. He introduced him to the writer Mikhail Murashev and the poet Sergei Gorodetsky. Famous Petrograd authors gave the young man letters of recommendation to the editors of magazines, and finally Yesenin’s poems appeared in metropolitan publications.

The poet spent the summer of 1915 in his native village. Here he prepared the manuscript of the collection "Radunitsa", wrote the poems "White Scroll and Scarlet Sash...", "Robber", the story "Yar", the stories "Bobyl and Druzhok" and "By the White Water". The poet collected folk songs, fairy tales, ditties and riddles - later they were included in the collection “Ryazan Baskets, Ditches and Sufferings”.

Returning to Petrograd, Sergei Yesenin became a member of the Krasa association of peasant writers. Together with its participants, the poet spoke for the first time at an open literary evening. According to Gorodetsky, it was “Yesenin’s first public success”. Soon "Krasa" disbanded, and Sergei Yesenin moved to the literary and artistic society "Strada". Despite his great success, he could barely make ends meet: his performances brought in almost nothing.

Poetry of Sergei Yesenin

In 1916, the first collection, “Radunitsa,” was published. They started talking about Yesenin as an original lyric poet, an artist of “wonderful colors,” a creator who has a future. The poet himself wrote: “My poems made a great impression. All the best magazines of that time began to publish me, and in the fall my first book, “Radunitsa,” appeared. Much has been written about her. Everyone unanimously said that I was talented. I knew this better than others.".

Soon after the book was published, Yesenin was drafted into the army. Thanks to the petition of Colonel Dmitry Loman, the poet went not to the front of the First World War, but to the Petrograd reserve of military orderlies, and from there to the Tsarskoye Selo hospital. With his patronage, Loman hoped to bring Yesenin closer to himself and make him a court poet. However, this calculation did not come true. The poet wrote a number of freedom-loving poems: “Behind the dark strand of copse trees,” “Blue sky, colored arc...”, “Mikola.”

“Trouble” overtook Yesenin in February 1917, when he again “refused to write poetry in honor of the king”, - the freedom-loving poet was sent to the front to a disciplinary battalion. However, he did not have time to get to the war: the February Revolution began, after which all decisions of the tsarist regime were canceled. During this period, Yesenin created a cycle of poems “Comrade”, “The Singing Call”, “Father” and “Oktoich”, in which the image of the revolution arose. The poet himself admitted that “I met the first period of the revolution with sympathy, but more spontaneously than consciously”.

In March 1918, Yesenin arrived in Moscow. Here the poet prepared for publication collections of poems “Dove”, “Transfiguration” and “Rural Book of Hours”, wrote a theoretical treatise “The Keys of Mary” on creativity and literature, and composed poems “Inonia” and “Dove of Jordan” with biblical motifs. Despite the fact that Sergei Yesenin enthusiastically accepted the October Revolution, he had a hard time experiencing the breakdown of peasant life. These sad, nostalgic moods formed the basis of the poem “Sorokoust”.

Poet in the “front line of imagism”

Sergei Yesenin (left) and poet Sergei Gorodetsky. 1915. Photo: cameralabs.org

Sergei Yesenin (right) and poet Leonid Kannegiser. 1915. Photo: cameralabs.org

Sergei Yesenin (right) and poet Nikolai Klyuev. 1916. Photo: cameralabs.org

At one of the poetry evenings in 1918, Sergei Yesenin, together with Anatoly Mariengof, Vadim Shershenevich and Rurik Ivnev, decided to create a new school of poetry - imagism. The main idea of ​​this literary movement was the independence of the image (in Latin imago) from reality. In 1919, the poets published a declaration of imagism. They described the main point of the program as follows: “Image as an end in itself. The word requires liberation from the idea.<...>Eating meaning by an image is the path to the development of the poetic word.”.

The ideas of the Imagists sounded provocative, but not fresh: the decadents promoted the liberation of poetry from meaning even before the revolution. Yesenin quickly became convinced of the inconsistency of the new program, and later criticized its main provisions in the article “Life and Art.”

However, Yesenin did not immediately succeed in breaking off relations with the Imagists - he was too accustomed to constant joint revelry. The riotous lifestyle was reflected in the poet’s work: he created a cycle of poems “Moscow Tavern”. Cheerfulness and village sketches disappeared from the lyrics, replaced by gloomy landscapes of the night city, where the lost lyrical hero wanders.

Everyday life oppressed the poet: “I live like a bivouac,- he complained in one of his letters, - without shelter and without refuge, because various idlers began to come home and bother. They, you see, are pleased to drink with me! I don’t even know how to get rid of such bungling, but I’ve become ashamed and pathetic about wasting myself.”.

Yesenin found a way out of this situation in creativity. The poet was working on the dramatic poem “Pugachev” and decided to go on a trip to the places of the Pugachev movement. In 1921, Yesenin left Moscow for Central Asia and the Volga region. During the trip, the poet finished the poem and was able to distract himself. The public received the new work warmly. Maxim Gorky wrote: “I couldn’t even believe that this little man had such enormous power of feeling, such perfect expressiveness.”, and director Vsevolod Meyerhold planned to stage the poem at the RSFSR-1 Theater.

In the spring of 1922, Sergei Yesenin went abroad. He visited Germany, Belgium, France, Italy, America. The poet's impressions from his trip abroad were contradictory. In his letters he noted external beauty - “after our devastation, everything here is tidied up and ironed”. But at the same time, he did not feel spirituality in this: “I haven’t met the person yet and I don’t know where he smells.<...>We may be beggars, we may have hunger, cold and cannibalism, but we have a soul, which was rented out here as unnecessary for Smerdyakovism.”. While traveling, Yesenin continued to work. He began writing the dramatic poem “The Country of Scoundrels” and made sketches of the poem “The Black Man”.

Personal life of Sergei Yesenin

Sergei Yesenin met Anna Izryadnova in 1913 at Sytin’s printing house. Together they not only worked, but studied at Shanyavsky University. Soon they began an affair. Izryadnova recalled: “He became very attached to me, read poetry. He was terribly demanding, he didn’t even order me to talk to women - “they are not good.” He was in a depressed mood - he is a poet, no one wants to understand him, editors don’t accept him for publication, his father scolds him... He spent all his salary on books, magazines, and didn’t think at all about how to live.”.

A few months after they met, Yesenin and Izryadnova began to live together. Yesenin almost immediately became disillusioned with family life: he saw his destiny in literature and poetic success. Izryadnova felt like a nuisance: “Yesenin had to mess with me a lot (we lived only together)”. In 1915, their son Yuri was born, and Yesenin left Anna.

Yesenin's first official wife was Zinaida Reich. They met in the spring of 1917. By that time, Yesenin was already a famous poet, and she worked as a secretary-typist in the newspaper Delo Naroda. The Yesenins lived in Orel, then moved to Petrograd, and from there in 1918 to Moscow. Family life again did not go well, and the poet left Reich. They officially divorced only in 1921. In their marriage, the Yesenins had two children - daughter Tatyana and son Konstantin.

Sergei Yesenin with his wife Isadora Duncan. Photo: cameralabs.org

Sergei Yesenin with his wife Isadora Duncan. Photo: cameralabs.org

In the fall of 1921, Sergei Yesenin met Isadora Duncan. The American dancer came to the country on tour. Feelings flared up between the poet and the artist almost immediately. “It was deep mutual love”, wrote Sergei Gorodetsky. "Certainly,- he added, - Yesenin was as much in love with Duncan as with her fame, but he was no less in love than he could fall in love at all.”.

In 1922, Sergei Yesenin and Isadora Duncan got married. The writer decided to accompany his wife on tour in Western Europe and the USA. He himself planned to conduct creative propaganda of his homeland abroad. The poet declared to his friends: “I am going to the West in order to show the West what a Russian poet is”. He promised the authorities to establish publishing of books by Russian poets in Berlin, and in America to regulate relations between the Soviet state and the States.

The couple returned to the Soviet Union in 1923, and the couple soon separated. Yesenin and Duncan shared a lot: the age difference (the dancer was 17 years older than the poet), the language barrier, the difference in worldview. A common comrade, Sergei Konenkov, wrote: “Duncan was a bright, unusual figure. She gave Yesenin a lot, but took away even more of his moral and spiritual strength.”.

Sergei Yesenin “I was always burdened by family instability and the lack of my own corner”, wrote the poet’s sister Alexandra. This feeling did not leave the writer even with new relationships. In 1925, Yesenin met Sofia Tolstoy, the granddaughter of Leo Tolstoy. A few months later they got married. But this marriage did not make Yesenin happy either: “Everything I hoped for and dreamed about is going to waste. Apparently, I won’t be able to settle down in Moscow. Family life is not going well, I want to run away". The poet divorced Sofia Tolstoy after six months of marriage.

Illness and death of Sergei Yesenin

The poet returned to his homeland only a year later. He said goodbye to all literary movements to which he once considered himself and declared: “I’m not a peasant poet or an imagist, I’m just a poet”. He decided to become a “singer of a new life” and wrote the historical-revolutionary poem “Song of the Great March”, the heroic story “Poem of 36”, and the poem about the revolution “Memory”.

In September 1924, Yesenin went to the Transcaucasian republics. During the six months of his journey, he published two books of poetry - “Soviet Rus'” and “Soviet Country”, wrote “The Ballad of Twenty-Six”, the poems “Letter to a Woman”, “My Path”, “Captain of the Earth”, “Departing Rus'”, “Homeless Rus'”, “Flowers”, “In Memory of Bryusov”, began the poem “Anna Snegina” and the cycle of poems “Persian Motifs”.

Sometimes the poet came to his native village. Here he created the poems “Returning to the Homeland”, “The golden grove dissuaded...”, “A low house with blue shutters...”, “Apparently, this is how it has been done forever...”. Village impressions later formed the basis for other works of the poet: “This sadness cannot be scattered now...”, “I will not return to my father’s house...”, “The feather grass is sleeping. Dear plain...", "Rash, talyanka, ringing, rash, talyanka, boldly...".

By mid-1925, Yesenin’s fruitful creative period was replaced by a period of mental crisis. Pessimistic moods and frayed nerves were complicated by physical illness. The doctors insisted that the poet undergo a course of treatment in a neuropsychiatric clinic.

Yesenin continued to work in the hospital. Here he wrote “Don’t look at me reproachfully...”, “You don’t love me, don’t feel sorry for me...”, “Maybe it’s too late, maybe it’s too early...”, “Who am I? What am I? Only a dreamer...", which were included in the cycle "Poems about which...". Having not completed his treatment at the clinic, the writer decided to make a sharp break with the past and left for Leningrad. However, the writer failed to find peace: old acquaintances constantly visited him. On December 28, 1925, weakened by illness and depressive thoughts, the poet committed suicide. He was buried at the Vagankovskoye cemetery in Moscow.

1. At his first public appearances, Sergei Yesenin behaved like an uneducated village peasant and spoke with a voice, as Vladimir Mayakovsky said in his essay, like “living lamp oil”: “We are villagers, we don’t understand this of yours... we somehow... in our way... in the primordial, eternal way.”. In literary salons, the poet imitated a village boy in appearance: most often he was dressed in a white shirt with embroidery, bast shoes or felt boots, and with an accordion in his hands. Mayakovsky believed that in this way Yesenin “advertised” his peasant poetry, and even argued with him that he would soon leave “all these bast shoes and cockerel combs.” And indeed, as soon as Yesenin’s relationship with peasant poets went wrong, his clothing style also changed. Having met the young poet after the revolution in a tie and jacket, Mayakovsky demanded that he give up the loss.

2. In his work “Pugachev” Sergei Yesenin loved Khlopushi’s monologue most of all. He always read it with special ecstasy. Maxim Gorky, who was present at one of the readings, recalled: “I cannot call his reading artistic, skillful, and so on; all these epithets say nothing about the nature of the reading. The poet’s voice sounded somewhat hoarse, loud, hysterical, and this most sharply emphasized Khlopushi’s stony words.”.

3. Khlopushi’s monologue has long been Yesenin’s calling card - the author’s performance was even recorded on a phonograph. On the surviving audio recording of Yesenin’s speech, the Ryazan accent is clearly audible: the author pronounces “e” as “ey”, “o” as “ou”.

4. After returning to Moscow from a trip abroad, Sergei Yesenin published his poetry collection “Moscow Tavern” in the Imagist magazine “Hotel for Travelers in Beauty.” In the two previous issues of the publication, the works were arranged in alphabetical order by the names of the authors; in the same issue, the Yesenin cycle followed the poems of Anatoly Mariengof. This fact hurt Yesenin, as he reported to the Association of Freethinkers: “Out of aesthetic feelings and feelings of personal resentment, I completely refuse to participate in the magazine “Hotel”, especially since it is Mariengof. I capriciously declare why Mariengof published himself on the first page, and not me.”.

5. Once, in a conversation with Mariengof, Yesenin boasted: “But I, Anatoly, have had three thousand women in my entire life.”. To the incredulous phrase: “Vyatka, don’t make a mistake!”- corrected: "Well, three hundred<...>Well, thirty". When talking about his victories of the heart, the poet often lied about numbers, but he had few real loves. Yesenin himself justified his failure in family life with his love of poetry and art.

6. Despite the fact that Yesenin often wrote about the village in his poems, the poet rarely visited his native Konstantinov. Anatoly Mariengof recalled: “In the four years that we lived together, only once did he [Yesenin] get out to his Konstantinovo. I was going to live there for a week and a half, but three days later I galloped back, spitting, kicking and telling, laughing, how the next day in the morning I didn’t know what to do with myself out of green melancholy.”. The poet strove to become a city dweller both in his clothes and in his lifestyle. Even on trips abroad, he liked “civilization” most of all.

Date of Birth:
Place of Birth:	The village of Konstantinovo, Kuzminskaya volost, Ryazan district, Ryazan province, Russian Empire
Date of death:
A place of death:	Leningrad, USSR
Citizenship:
Occupation:
Years of creativity:
Direction:	New Peasant Poets (1914-1918), Imagism (1918-1923)
Language of works:

Professional life

Yesenin symbolism

Personal life

Streets, boulevards

Monuments

Lifetime

Basic

Film incarnations

(September 21 (October 3) 1895, village of Konstantinovo, Ryazan province - December 28, 1925, Leningrad) - Russian poet, representative of new peasant poetry and (in a later period of creativity) imagism.

Biography

Born in the village of Konstantinovo, Ryazan province, into a peasant family, father - Alexander Nikitich Yesenin (1873-1931), mother - Tatyana Fedorovna Titova (1875-1955). In 1904, Yesenin went to the Konstantinovsky Zemstvo School, then began studying at a closed church-teachers school.

Upon graduation, in the fall of 1912, Yesenin arrived in Moscow, worked in a bookstore, 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 had contacts with poets of the Surikov literary and musical circle.

Professional life

In 1914, Yesenin's poems were first published in the children's magazine Mirok.

In 1915, Yesenin came from Moscow to Petrograd, read his poems to A. A. Blok, S. M. Gorodetsky and other poets. In January 1916, Yesenin was called up for military service and assigned to the Tsarskoye Selo military hospital as an orderly. 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 Klyuyev, he often performed in stylized “folk” clothing, including in front of 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.

In 1917, he met and on July 4 of the same year married Zinaida Nikolaevna 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.

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 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. Despite the informal nature of the visit, 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), where he stayed 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 one of his last poems, “The Country of Scoundrels,” the poet writes very harshly about the leaders of contemporary Russia, which could be perceived by some as an indictment of Soviet power. This attracted increased attention to him from law enforcement agencies, including police officers and the OGPU. Sharply critical articles about him began to appear in newspapers, accusing him of drunkenness, fights and other antisocial behavior, although the poet, with his behavior (especially in the second quarter of the 1920s), sometimes himself gave grounds for this kind of criticism from his ill-wishers. The board of the USSR Writers' Union tried to take part in the poet's treatment, repeatedly forcing him to undergo treatment in psychiatric clinics and resorts, but apparently this did not produce results. 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 the poet’s 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 in 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. Lived in the village of Mardakan (a suburb of Baku). Currently, his house-museum and memorial plaque are located here.

In 1924, Sergei Yesenin decided to break with imagism due to disagreements with A. B. Mariengof. Yesenin and Ivan Gruzinov published an open letter about the dissolution of the group.

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 23, 1925, Yesenin left the clinic and went to Leningrad, where he stayed at No. 5 of the Angleterre Hotel.

Yesenin symbolism

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 his homeland 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 attitudes towards the world, developed even before him by his fathers and ancestors, who subjugated the intangible and distant world by comparing 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 the big world by forests and swamps, “lost... in Mordva and Chud.” And further:

Yesenin later said: “I would ask readers to treat all my Jesuses, Mothers of God and Mykolas as fabulous in poetry.” The hero of the lyrics prays to the “smoking earth”, “On the bright dawns”, “on 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:

But even in these pre-revolutionary years, the poet believed that the vicious circle would be broken. He believed because he considered everyone “close relatives”: this means that the time must come when all people will become “brothers”.

The poet's desire for universal harmony, for the unity of all things on earth is the most important principle of Yesenin's artistic composition. Hence one of the basic laws of his world is universal metaphorism. People, animals, plants, elements and objects - all of them, according to Yesenin, are children of a single matter-nature. His pre-revolutionary work was marked by the search for his own concept of the world and man, which the revolution helped the poet to finally formulate. In his poetry we see both humanized nature and “naturalized” man, who is characterized by “vegetative”, “animal” and “cosmic” features.

Personal life

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 in 1937).

In 1917-1921, Yesenin was married to actress Zinaida Nikolaevna Reich, later the wife of Vsevolod Meyerhold. Sergei Yesenin organized his “bachelor party” before the wedding in Vologda, in a wooden house on Malaya Dukhovskaya Street (now Pushkinskaya Street, 50). The wedding of Sergei Yesenin and Zinaida Reich took place on July 30, 1917 in the Church of Kirik and Iulitta in the village of Tolstikovo, Vologda district. 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. And the wedding took place in the building of the Passage Hotel. From this marriage were born a daughter, Tatyana, and a son, Konstantin, who later became a football journalist.

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. Immediately after the wedding, Yesenin accompanied Duncan on tours in Europe and the USA. Their marriage was short and in 1923 Yesenin returned to Moscow.

On May 12, 1924, Yesenin had a son, Alexander, from translator Nadezhda Volpin, who later became a famous mathematician and figure in the dissident movement.

In the fall of 1925, Yesenin married for the third (and last) time - to Sofya Andreevna Tolstoy, the granddaughter of L.N. Tolstoy.

Death

The Soviet government was worried about Yesenin's condition. Thus, in a letter from Kh. G. Rakovsky to F. E. 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, sort him out well and send him together with him to the sanatorium of a comrade from the GPU, 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.”

On December 28, 1925, Yesenin was found hanging from a steam heating pipe in the Leningrad Angleterre Hotel. His last poem - “Goodbye, my friend, goodbye...” - was written in this hotel in blood, and according to the testimony of the poet’s friends, Yesenin complained that there was no ink in the room, and he was forced to write in blood.

According to the version accepted by most of the poet’s biographers, Yesenin, in a state of depression (a month after treatment in a psychoneurological hospital), committed suicide (hanged himself). Neither contemporaries of the event, nor in the next few decades after the poet’s death, other versions of the event were expressed. In the 1970-1980s, mainly in nationalist circles, versions also arose about the murder of the poet followed by the staging of his suicide: motivated by jealousy, selfish motives, murder by OGPU officers.

In 1989, under the auspices of the Gorky IMLI, the Yesenin Commission was created under the chairmanship of Yu. L. Prokushev; at her request, a series of examinations were carried out, which led to the following conclusion: “... the now published “versions” of the murder of the poet with the subsequent staging of hanging, despite some discrepancies... are a vulgar, incompetent interpretation of special information, sometimes falsifying the results of the examination” (from the official response Professor in the Department of Forensic Medicine, Doctor of Medical Sciences B. S. Svadkovsky at the request of the chairman of the commission Yu. L. Prokushev).

Poetry

From his first collections of poetry (“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 1919-1923 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).

List of songs based on poems by Sergei Yesenin

Many songs have been written based on Yesenin’s poems:

In 2005, a collection of songs “In this world I am only a passerby...” based on the verses of Sergei Yesenin, performed by Honored Artist of Russia Anatoly Tukish, was published.

Memory

• Yesenin Park in the Nevsky district of St. Petersburg on the territory of the Vesyoly settlement next to the Ulitsa Dybenko metro station.
• Yesenin Museum in Spas-Klepiki
• Ryazan State University named after. S. A. Yesenina

• Socionic type (IEI)

Streets, boulevards

• Yesenina Street in the Vyborg district of St. Petersburg.
• Yesenina Street in Novomoskovsk
• Yesenina street in Novosibirsk
• Yesenina street in Bryansk
• Yesenin street in Ryazan
• Yesenina Street in Naberezhnye Chelny
• Yesenina Street in Kharkov
• Yesenin Street in Nikolaev (Korabelny district)
• Yesenin Boulevard in Yekaterinburg
• Yesenin Boulevard in Lipetsk
• Yeseninsky Boulevard in Moscow, SEAD, Kuzminki
• Yeseninskaya street in Kursk
• Yesenina Street in Minsk
• Yesenin street in Syzran
• Yesenina Street in Krivoy Rog
• Yesenina Street in Nizhny Novgorod
• Yesenina Street in Stavropol
• Yesenina Street in Belgorod
• Yesenina street in Saransk
• Yesenina street in Perm
• Yesenina Street in Rossoshi
• Yesenina Street in Prokopyevsk
• Yesenina Street in Krasnodar
• Yesenin street in Baku
• Yesenina Street in Tyumen
• Yesenin street in Tashkent
• Yesenina Street in Yuzhno-Sakhalinsk
• Yesenina Street in Podgorodenka, a suburb of Vladivostok

Monuments

• Monument in Voronezh
• Monument on Tverskoy Boulevard in Moscow
• Bas-relief in Moscow
• Monument on Yeseninsky Boulevard in Moscow
• Monument in Ryazan
• Monument on Yesenin Street in St. Petersburg
• Monument in the Tauride Garden in St. Petersburg
• Monument in Krasnodar
• Monument in Irkutsk
• Monument in the village of Konstantinovo
• Monument in Tashkent
• Bust in Ivanovo
• Bust in Spas-Klepiki

Editions

Lifetime

• Yesenin S. A. Radunitsa. - Petrograd: Publication by M. V. Averyanov, 1916. - 62 p.

• Yesenin S. A. Baby Jesus. - M.: Today, 1918. - ??? With.
• Yesenin S. A. Goluben. - M.: Revolutionary socialism, 1918. - ??? With.
• Yesenin S. A. Radunitsa. - 2nd ed. - M.: Moscow Labor Artel of Word Artists, 1918. - ??? With.
• Yesenin S. A. Rural Book of Hours. - M.: Moscow Labor Artel of Word Artists, 1918. - ??? With.
• Yesenin S. A. Transfiguration. - M.: Moscow Labor Artel of Word Artists, 1918. - ??? With.

• Yesenin S. A. Goluben. - 2nd ed. - M.: Moscow labor artel of word artists, 1920. - ??? With.
• Yesenin S. A. Keys of Mary. - M.: Moscow labor artel of word artists, 1920. - ??? With.
• Yesenin S. A. Treryadnitsa (publisher, year and place of publication not indicated)
• Yesenin S. A. Triptych. Poems. - Berlin: Scythians, 1920. - ??? With.
• Yesenin S. A. Russia and Inonia. - Berlin: Scythians, 1920. - ??? With.

• Yesenin S.A. Confession of a hooligan. - 1921. - ??? With.
• Yesenin S. A. Transfiguration. - 2nd ed. - M.: Imagists, 1921. - ??? With.
• Yesenin S. A. Treyadnitsa. - 2nd ed. - M.: Imagists, 1921. - ??? With.
• Yesenin S. A. Radunitsa. - 3rd ed. - M.: Imagists, 1921. - ??? With.
• Yesenin S. A. Pugachev. - M.: Imagists, 1922. - ??? With. (the year of publication is indicated incorrectly)

• Yesenin S. A. Pugachev. - 2nd ed. - Petrograd: Elsevier, 1922. - ??? With.
• Yesenin S. A. Pugachev. - 3rd ed. - Berlin: Russian Universal Publishing House, 1922. - ??? With.
• Yesenin S. A. Favorites. - M.: Gosizdat, 1922. - ??? With.
• Yesenin S. A. Collection of poems and poems. - T. 1. - Berlin: Z. I. Grzhebin Publishing House, 1922. - ??? With. (The second volume was never published.)
• Esenin S. Confssion d’un voyou. - Paris, 1922. - ??? (translations into French by Franz Ellens and Maria Miloslavskaya)

• Yesenin S. A. Poems of a brawler. - Berlin: I. T. Blagov Publishing House, 1923. - ??? With.

• Yesenin S. A. Moscow tavern. - L., 1924. - ??? With. (publisher not indicated)
• Yesenin S. A. Poems (1920-24). - M.: Circle, 1924. - ??? With.
• Yesenin S. A. Soviet Rus'. - Baku: Baku worker, 1924. - ??? With.

• Yesenin S. A. Soviet country. - Tiflis: Soviet Caucasus, 1925. - ??? With.
• Yesenin S.A. Song of the Great March. - M.: Gosizdat, 1925. - ??? With.
• Yesenin S.A. About Russia and the revolution. - M.: Modern Russia, 1925. - S.
• Yesenin S. A. Birch chintz. - M.: Gosizdat, 1925. - ??? With.
• Yesenin S. A. Selected poems. - M.: Ogonyok, 1925. - ??? With. (Ogonyok Library No. 40)
• Yesenin S. A. Persian motifs. - M.: Modern Russia, 1925. - ??? With.

Basic

• Yesenin S. A. Collected poems in 3 volumes. - M.: Gosizdat, 1926.
• Yesenin S. A. Poems and prose / Compiled by I. V. Evdokimov, 1927. - ??? With.
• Yesenin S. A. Poems. - L.: Sov. writer, 1953. - 392 p. (Poet's Library. Small series. Third edition.)
• Yesenin S. A. Poems and poems. - L.: Sov. writer, 1956. - 438 p. (The Poet's Library. Large series. Second edition.)
• Yesenin S. A. Collected works in 5 volumes. - M.: GIHL, 1960-1962.
• Yesenin S. A. Collected works in 5 volumes. - 2nd ed. - M.: GIHL, 1966-1968.
• Yesenin S. A. Collected works in 6 volumes. - M.: Artist. lit., 1978.
• Yesenin S. A. Poems and poems / Comp. and preparation text by I. S. Eventov and I. V. Aleksakhina, note. I. V. Aleksakhina. - L.: Sov. writer, 1986. - 464 p. (The Poet's Library. Large series. Third edition.)
• Yesenin S. A. Complete works. In 7 volumes / Chief editor Yu. L. Prokushev. - M.: Science, Voice, 1995-2000. (Russian Academy of Sciences. A. M. Gorky Institute of World Literature) (T. 1.: Poems; T. 2.: Poems (“little poems”); T. 3.: Poems; T. 4.: Poems , not included in the “Collected Poems”; T. 5.: Prose; T. 6.: Letters; T. 7.: Autobiographies, dedicatory inscriptions, folklore records, literary manifestos, etc., chronological outline of the life and work of S. A Yesenin, reference materials) ISBN 5-02-011245-3.

About the poet

• Belousov V. G. Sergei Yesenin. Literary chronicle. In 2 parts. - M.: Sov. Russia, 1969-1970.

• Petr Epifanov. Duel by moonlight. Once again about the spiritual world of Sergei Yesenin’s poetry.

Almanac “DOVE WINGS” issue 1/2007, pp. 50 - 79.

Addresses in Petrograd - Leningrad

• 1915 - apartment of S. M. Gorodetsky - Malaya Posadskaya street, 14, apt. 8;
• December 1915 - March 1916 - Apartment of K. A. Rasshepina in an apartment building - Fontanka River embankment, 149, apt. 9;
• 1917 - apartment building - Liteiny Prospekt, 49;
• 1917-1918 - apartment of P.V. Oreshin - 7th Sovetskaya Street, 40;
• early 1922 - Angleterre Hotel - Gogol Street, 24;
• April 1924 - European Hotel - Lasalya Street, 1;
• April - July 1924 - apartment of A. M. Zakharov - Gagarinskaya street, 1, apt. 12;
• December 24-28, 1925 - Angleterre Hotel - Gogol Street, 24.

Film incarnations

• Ivan Chenko “Isadora” (Great Britain - France, 1968)
• Sergei Nikonenko - “Sing a Song, Poet” (USSR, 1971)
• Dmitry Mulyar - “The Golden Head on the Block” (Russia, 2004)
• Sergey Bezrukov - “Yesenin” (Russia, 2005)