Has Yesenin's work always been officially recognized? Isadora Duncan

Sergei Yesenin lived a short life (1895-1925), but he is alive in the memory and consciousness of the people. His poetry has become an integral part of the spiritual culture of the nation. Yesenin belongs to those artists whose works are characterized by great simplicity. They are clear to any reader. The poet's poems enter the soul, merge with a feeling of love for the motherland. Perhaps it is this feeling of indissoluble connection with the native land that is the essence of Yesenin's poetic world. Russia is in the heart of the poet, and that is why this declaration of love for his native land is so piercing and loud! One of the successors of the Yesenin tradition in modern poetry, Nikolai Rubtsov, conveyed this quality of Yesenin's work in precise and expressive lines:

Versts of all the shaken earth,

All earthly shrines and bonds

As if the nervous system entered

In the waywardness of Yesenin's muse!

Yesenin was born in the Ryazan region, in the village of Konstantinovo, freely spread among wide fields on the steep bank of the Oka. But the poet left the Ryazan village very young, then lived in Moscow, and in St. Petersburg, and abroad, came to his native village from time to time as a guest.

Childhood memory - "I was born with songs in a grassy blanket" - nourished the roots of his poetry and life itself. In one of his autobiographies, the poet notes that he had "a childhood like that of all rural children." It left an indelible mark on his work.

How good

that I saved you

All the feelings of childhood.

Yesenin was destined to spend most of his life in the city, only he visited endlessly expensive places where he spent his childhood and youth. The soul remained forever attached to the father's house, native family, beloved Ryazan expanses. Russian nature, the peasant way of life, folk art, great Russian literature - these are the true sources of his poetry. It was the separation from his native land that gave his poems about her that warmth of memories that distinguishes them. In the very descriptions of nature, the poet has that measure of detachment, which allows this beauty to be seen and felt more sharply.

For a poet, his native village in Russia is something unified, his homeland, especially in his early work, is, first of all, his native land, his native village, something that later, at the end of the 20th century, literary critics defined as the concept of "small homeland ". With the lyrical tendency inherent in S. Yesenin to animate all living things, everything around him, he also addresses Russia as a person close to him:

Oh, you, Russia, my meek homeland,

Only for you I save love ...

Sometimes the poet's poems take on a note of aching sadness, a feeling of restlessness arises in them, their lyrical hero is a wanderer who left his native hut, rejected and forgotten by everyone. And the only thing that remains unchanged, that preserves the eternal value, is nature and Russia:

And the month will swim and swim,

Dropping oars across the lakes...

And Russia will also live,

Dance and cry at the fence.

It is the folk ideas about beauty and goodness that are embodied in Yesenin's work. In his poems, poetry accompanies man in everything - in hard peasant labor and in cheerful village festivities.

Oh arable land, arable land, arable land,

Kolomna sadness,

Yesterday in my heart

And Russia shines in the heart .

Nature itself is the center of beauty. Yesenin drew poetry from this pantry. And it is difficult to name another poet whose poetic perception would be so directly and deeply connected with the world of native nature:

I wander through the first snow,

In the heart are lilies of the valley of flashing forces.

Evening blue candle star

He lit up my road.

Man and nature are merged in the attitude of the poet. They have a common life and a common destiny. Nature in Yesenin's lyrics is really alive, endowed with reason and feeling, capable of responding to the pains and joys of a person.

Yesenin's poetic vision is concrete, therefore his poems are so visible, sonorous and multicolored. The poet creates a harmonious world where everything is coordinated and has its place:

Quietly, squatting, in the patches of dawn

They listen to the tale of the old mower...

Such vivid imagery can only be born from a deep and true feeling. Yesenin searched and found unexpected images, his amazing comparisons and metaphors came, as a rule, from everyday peasant life: “a frosty evening, like a wolf, a dark storm”; “birch milk is pouring across the plain”; "dawn with a dewy hand of coolness knocks down the apples of dawn."

The image was never an end in itself for him. Reflecting on the poets who sinned with form-creation, he accurately identified the source of their delusions: “My brethren do not have a sense of homeland in the entire broad sense of the word, therefore everything is inconsistent with them.”

Yesenin was endowed, as noted by almost all who wrote about him, with an exceptional, phenomenal impressionability. He discovered the beautiful in the usual, spiritualized the everyday with his word:

Weaved out on the lake the scarlet light of dawn.

Capercaillie are crying on the forest with bells .

And this same increased impressionability did not allow him to pass by someone else's grief, endowed his Muse with responsiveness, which really extended to all living things:

They did not give the mother a son, The first joy is not for the future. And on the stake under the aspen, the breeze ruffled the skin .

Sometimes his poetic revelations, the accuracy of his vision, seem like a miracle born not of man, but of nature itself. It is no coincidence that M. Gorky in his essay on Yesenin emphasized precisely this idea: “Yesenin is not so much a person as an organ created by nature exclusively for poetry, to express the inexhaustible“ sadness of the fields ”, love for all living things in the world and mercy, which - more than anything else - deserved by man.

Yes, the poet's natural gift is enormous. But it would not be entirely fair to consider Yesenin a kind of careless village shepherd singing on the flute, Lel. By the way, the poet himself has always been uncomfortable with such an interpretation of his work. Behind each of his poetic insights was a serious literary work. Yesenin did not come to the city as a naive "natural person". He knew classical literature well, he traced his poetic pedigree from A. Koltsov. And in his final autobiography (October 1925) he emphasized the great importance of Pushkin for him: “In terms of formal development, now I am drawn more and more to Pushkin.” Yesenin's interest in Russian classics woke up during his studies at the Spas-Klepikovskaya teacher's school. And later in Moscow, in the classroom at the Shanyavsky People's University, he continued its in-depth study. The poet especially loved Gogol. And just like the author of Evenings on a Farm near Dikanka, Yesenin not only organically felt and remembered the fairy tales, songs, ditties he heard in childhood, but also thoughtfully studied oral folk art. The poet studied with the people, in folklore he saw the “nodal ties” of the figurative expression of the world.

It is known that Yesenin collected and recorded four thousand ditties. Already it was a peculiar, but, undoubtedly, a living and serious poetic school. Yesenin was not alone in his interest in this form of folk art. At that time, the ditty was actively included in the works of Blok, Mayakovsky, D. Poor. In 1918, 107 ditties recorded by Yesenin appeared on the pages of the Moscow newspaper Voice of the Working Peasantry. And in 1920 he published the book "Keys of Mary" - an interpretation of the worldview and creativity of the people.

Already in the first youthful poems that appeared in print in January 1914, Yesenin is an outstanding poet, his poetic feeling is so rich and fresh, his figurative vision is so precise and expressive! But his life in great Russian literature began, perhaps, on March 9, 1915, after a significant meeting with A. Blok. Yesenin, an aspiring poet, did not accidentally come to Blok. He knew well the work of his older contemporary and felt a certain poetic affinity with him. Subsequently, comprehending his path in art, Yesenin accurately outlined the range of his interests and poetic origins: “Of the contemporary poets, I liked Blok, Bely and Klyuev the most. Bely gave me a lot in terms of form, while Blok and Klyuev taught me lyricism.” Blok instantly felt the original sonorous gift of the “young Ryazan guy” and spoke to him as to a fellow writer. He did not teach and instruct, but invited Yesenin to think about creativity, as if foreseeing the difficult poetic fate of the young poet: “... I think that your path may not be short, and in order not to stray from it, you must not hurry up, don't be nervous. Sooner or later, you will have to give an answer for your every step, and it is difficult to walk now, in literature, perhaps, the most difficult thing. Blok does for Yesenin, perhaps, the most necessary thing for him at that moment: it helps to strengthen the feeling of self-confidence and brings closer, through letters of recommendation to magazines, the meeting of Yesenin's poems with his reader.

Readers of Petrograd magazines, in which Yesenin's poems began to appear one after another, were literally stunned by the sincerity of his poetry. A rush to people, closeness to nature, love for the Motherland, poetization of simple human feelings - these moods and thoughts, voiced in Yesenin's poems, captivated contemporaries. Before the revolution, only one book of the poet was published - "Radunitsa" (1916), but Yesenin's fame was enormous. Contemporaries were waiting for his new poems, they treated them as an unparalleled document of life, addressed and addressed directly to each reader. The poet rapidly reduced the distance between the author, the lyrical hero and the reader. Giving himself entirely to the reader's judgment, sharing his innermost feelings, he could rightfully write later: "... as for the rest of the biographical information, they are in my poems." The poetry of Sergei Yesenin is deeply patriotic. Already in the first verses, with merciless sincerity, he sang the high civic love for the Motherland:

If the holy army shouts:

"Throw you Russia, live in paradise!"

I will say: “There is no need for paradise,

Give me my country."

Motherland, in essence, is the main human and creative theme of the poet. With all the inevitability, Yesenin's filial love for the world around him turns into a great love for the Motherland, its past and present. The poetic perception of the Motherland by the poet is as concrete and direct as his depiction of nature. First of all, this is peasant Russia, the width of the Ryazan fields, fellow villagers, relatives. The joy of communicating with your beloved land does not obscure the pictures of the difficult peasant life.

The drought drowned out the sowing,

Rye dries, and oats do not sprout,

At a prayer service with banners girls

Stripes dragged in butts.

A thorough knowledge of peasant life, the aspirations of rural workers makes Yesenin a singer of the people, of Russia. With all his heart, he wants the life of the peasants to become more joyful and happy. In pre-revolutionary Russia, the poet cannot but see the bleak downtroddenness and deprivation of the village (“You are my abandoned land, you are my wasteland”). The poet angrily does not accept the First World War, which brings new troubles to the people. But, perhaps, the feeling of hopelessness of what is happening depresses the compassionate soul most of all:

And Russia will still live,

Dance and cry at the fence.

A sharp social vision allows Yesenin to perceive the February Revolution in an expanded historical perspective. He calls for a further and deeper renewal of the country in his very first poetic response after February 1917:

O Russia, flap your wings, Put up a different support!

With particular enthusiasm, in The Heavenly Drummer, the poet will express his attitude to the transformative power of the October Revolution. Its truly popular character, the scale of social changes cannot but attract the rebellious soul of the poet to it. Even his theomachic poems of those years "Transfiguration", "Jordan Dove", "Inonia", permeated with a vague understanding of the revolution, a naive idea of ​​​​the coming "peasant's paradise", were still a tangible blow to the old world. Yesenin's voice, praising the revolution, sounds in unison with the poetic anthem of the revolution in Blok's poem "The Twelve", with the revolutionary poems of Mayakovsky and D. Poor. A truly new kind of Soviet poetry is being born.

And, nevertheless, it is pointless, and it is not necessary to deny the complexity and inconsistency of the poet's perception of a radical break in the patriarchal way of life. Yesenin noted in his autobiography: “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.”

Reflections on the fate of the modern peasantry lead Yesenin to history. He turns to the peasant war of the XVIII century and creates a poignant dramatic poem about the outstanding leader of the peasant masses Emelyan Pugachev. The element of popular revolt splashed out powerfully in the lines of Pugachev. He draws the hero of the poem as a great sympathizer of national disasters, but at the same time a historically doomed political figure.

During the civil war and the first post-war years, the country is undergoing colossal changes, the village is being transformed before our eyes. The unheard-of depth of perestroika at times frightens the poet. These fluctuations were especially significant in 1919-1920. The village seems to him to be sacrificed to an alien city. The poet's lines in Sorokoust sound poignant:

Dear, dear, funny fool

Well, where is he, where is he chasing?

Doesn't he know that living horses

Did the steel cavalry win?

And yet the new inevitably captures the soul of the poet. He feels that patriarchal foundations can no longer be perceived as the unconditional and the only ideal principle. Time gives birth to other values.

A trip with his wife, the famous American dancer Isadora Duncan, to Europe and the United States of America (1922-1923) helps to fully understand the legitimacy and prospects of the country's social reorganization. A true patriot, Yesenin cannot see without pain the irrefutable evidence of Russia's technical backwardness. At the same time, he keenly felt the wretchedness of the spiritual life of the West, the all-consuming power of money. Pride is born in the heart for the grandeur of the revolutionary transformations taking place in the Motherland. There is a turning point in the mood of the poet, there is a steady desire to discover, as it were, anew his own country:

Nice publisher! In this book

I indulge in new feelings

Learning to comprehend in every moment

Commune rearing Russia.

Sergei Yesenin is the son of Russia. Her new, social choice of the majority of the people becomes native for him too. The poet clearly understands “what the peasants gossip about,” he fully shares the decision of his fellow villagers: “We live according to our guts with Soviet power.” Farewell to the old village is inevitable:

Field Russia! Enough

Drag along the fields.

It hurts to see your poverty

And birches and poplars.

How palpable in these lines is the pain for Russia, the spiritual continuity of Yesenin's work to the Russian classics!

The selfless feeling of love for the Motherland leads Yesenin to a revolutionary theme. An amazing revolutionary epic “Song of the Great Campaign” appears, written in the form of a ditty. He pays a grateful tribute to the heroes of the revolution (“The Ballad of Twenty-Six”, “Captain of the Earth”, etc.), bowing to selfless fighters for a great idea, to people who opened up new horizons for Russia. Their life for the poet is an example of civic service to the Fatherland:

I envy that

Who spent his life in battle

Who defended the great idea...

Comprehension of the revolution and social transformations in the country reaches true historicism in the poem "Anna Onegin" (1925). And in mastering this topic, Yesenin is again on a par with Mayakovsky and D. Poor. In "Anna Snegina" surprisingly accurate and expressive words were heard about Lenin as a truly popular leader:

Trembling, swaying steps

Under the ringing of the head:

Who is Lenin?

I answered quietly:

"He is you"...

The revolutionary theme in Yesenin's poetry objectively introduced the poet into a common circle with the people, gave a life perspective. However, finding a place in the new reality turned out to be very difficult for him. That new, which with such artistic power was embodied in his art, was hardly affirmed in his own destiny. The new is accepted and sung, but somewhere in the recesses of the soul, longing is hidden, the poet is burdened by a feeling of spiritual fatigue:

I'm not new!

What to hide?

I stayed in the past with one foot,

In an effort to catch up with the steel army,

I slide and fall another.

Personal life is also difficult. Always surrounded by admirers and friends, Yesenin is essentially lonely. A bitter line breaks out of him - "I do not find shelter in anyone's eyes", - but how much he needs a "friendly smile"! All his life, Yesenin dreamed of a family, of "his own home." The family didn't work out. For many years his life was disorderly. Such a way of life is alien to the nature of the poet. “With unprecedented cruelty to himself” (P. Oreshin), Yesenin exposes his delusions and doubts in the “Moscow Tavern” cycle. Not the ecstasy of revelry in these verses, but painful philosophical reflections on the meaning of life, on one's own destiny.

He sought salvation from "the dark forces that torment and destroy" in the images of his native nature, in turning to people dear to him - mother, sister, beloved women, friends. Yesenin's messages of recent years open up new possibilities for the epistolary poetic genre, traditional in Russian literature. This poetic form of confidential appeal is filled with a special lyrical confession and patriotic sound. Behind the image of a woman dear to him stands the "iconic and strict face" of the Motherland, his beloved sister is compared with a birch tree, "that stands behind the birth window." Yesenin's intense confession, in many verses addressed to a specific addressee, turns out to be universally significant. From the personal experience grows the universal. The fusion of the personal and the public in Yesenin's poetry leads to the fact that in the lyrics he acts as a poet "with a big epic theme", and in poems, especially in "Anna Snegina", his lyrical voice sounds fully.

The famous lines of "Letters to a Woman" speak not only about the complexity of the poet's fate, but also about the drama of history:

You didn't know

That I'm in solid smoke

In a life torn apart by a storm

That's why I'm tormented that I don't understand -

Where the rock of events takes us.

Indeed, in every image, in every line, we feel the naked Yesenin "I". Such sincerity requires wisdom and courage. Yesenin rushed to people, immersion in himself, "desert and breakaway" were for him a dead end, creative and human (this is one of his last works - the tragic poem "The Black Man", completed on November 14, 1925). The poet hoped to find a new creative life:

And let another life of the village

Will fill me

New strength.

Like before

Led to fame

Native Russian mare.

The poets of the circle of S. Yesenin of that time are N. Klyuev, P. Oreshin, S. Klychkov. These hopes are expressed in the words of N. Klyuev, a close friend and poetic mentor of S. Yesenin: "The peasant land is now, / And the church will not hire a government official." In Yesenin's poetry in 1917, a new feeling of Russia appears: "Already washed away, wiped off the tar / Resurrected Russia." The feelings and moods of the poet of this time are very complex and contradictory - these are both hopes and expectations of the bright and new, but this is also anxiety for the fate of his native land, philosophical reflections on eternal topics. One of them - the theme of the collision of nature and the human mind, invading it and destroying its harmony - sounds in S. Yesenin's poem "Sorokoust". In it, the competition between the foal and the train, which acquires a deeply symbolic meaning, becomes central. At the same time, the foal, as it were, embodies all the beauty of nature, its touching defenselessness.

The locomotive takes on the features of an ominous monster. In Esenin's "Sorokoust" the eternal theme of confrontation between nature and reason, technological progress merges with reflections on the fate of Russia. In the post-revolutionary poetry of S. Yesenin, the theme of the motherland is saturated with difficult thoughts about the poet's place in the new life, he is painfully experiencing alienation from his native land, it is difficult for him to find a common language with the new generation, for whom the calendar Lenin on the wall replaces the icon, and "pot-bellied" Capital " - The Bible It is especially bitter for the poet to realize that the new generation sings new songs: “Poor Demyan's agitation girls sing.” This is all the more sad because S. Yesenin rightly remarks: “I am a poet! And not like some Demyan there."

Therefore, his lines sound so sad: "My poetry is no longer needed here, / Yes, and, perhaps, I myself am not needed here either." But even the desire to merge with a new life does not force S. Yesenin to abandon his calling as a Russian poet; he writes: "I will give my whole soul to October and May, / But I will not give only my dear lyre."

Today, it is difficult for us, living in Russia, to fully understand the meaning of these lines, and yet they were written in 1924, when the very name - Rus - was almost forbidden, and citizens were supposed to live in "Resefeser". With the theme of the motherland, S. Yesenin understands his poetic mission, his position as "the last singer of the village", the keeper of her precepts, her memory. One of the programmatic, important for understanding the theme of the motherland, the poet has become the poem "The feather grass is sleeping":

The feather grass is sleeping.

Plain dear

And the lead freshness of wormwood!

No other homeland

Do not pour my warmth into my chest.

Know that we all have such a fate,

And, perhaps, ask everyone -

Rejoicing, raging and tormented,

Life is good in Russia.

The light of the moon, mysterious and long,

Willows are crying, poplars are whispering,

But no one under the cry of a crane

He will not stop loving his father's fields.

And now that behold the new light

And my life touched fate,

I still remain a poet

Golden log cabin.

At night, clinging to the headboard,

I see a strong enemy

How someone else's youth splashes with new

To my glades and meadows.

But still cramped by the new,

I can sing heartily:

Give me in the homeland of my beloved,

Loving everything, die in peace."

This poem is dated 1925, refers to the mature lyrics of the poet. It expresses his innermost thoughts. In the line "rejoicing, raging and tormented" is a difficult historical experience that fell to the lot of Yesenin's generation. The poem is built on traditionally poetic images: feather grass as a symbol of the Russian landscape and at the same time a symbol of longing, wormwood with its rich symbolism and a crane cry as a sign of separation. The traditional landscape, in which the no less traditional "light of the moon" is the personification of poetry, is opposed by the "new light", rather abstract, inanimate, devoid of poetry. And in contrast to it, the recognition of the lyrical hero of Yesenin's poem in adherence to the age-old rural way of life sounds. The poet's epithet "golden" is especially significant: "I will still remain a poet / of the Golden Log Cabin."

It is one of the most frequently encountered in the lyrics of S. Yesenin, but usually it is associated with a color concept: golden - that is, yellow, but certainly with a touch of the highest value: "golden grove", "golden frog moon". In this poem, the shade of value prevails: gold is not only the color of the hut, but a symbol of its enduring value as a symbol of the way of village life with its inherent beauty and harmony. The village hut is a whole world, its destruction is not redeemed for the poet by any tempting news. The finale of the poem sounds somewhat rhetorical, but in the general context of S. Yesenin's poetry, it is perceived as a deep and sincere recognition of the author.

In the last years of his life, human and creative maturity comes to the poet. The years 1924-1925 are perhaps the most significant in terms of what he created. From September 1924 to August 1925, Yesenin made three rather long trips to Georgia and Azerbaijan. As a result of these trips, in particular, an amazing cycle of poems "Persian Motives" was born. The Georgian poet Titian Tabidze noted that “... The Caucasus, as once for Pushkin, and for Yesenin, turned out to be a new source of inspiration. In the distance, the poet had to rethink a lot ... He felt the influx of new topics ... ". The scale of the poet's vision is enlarged. His civic feeling is able to glorify not only his native Ryazan corner, but the entire "sixth of the earth" - the greater Motherland:

I will chant

With the whole being in the poet

sixth of the earth

With a short name "Rus".

Yesenin's poetry lives in time, appeals to empathy. His poems breathe love for everything, "that clothes the soul in flesh." The earthly simplicity of the subject of the image turns into high poetry:

Bless each work, good luck!

To a fisherman - so that a net with fish.

Plowman - so that his plow and nag

They got bread for a year.

The poet strove for the fullness of being, hence this cheerful line was born: “Oh, I believe, I believe, there is happiness!” And even the picturesqueness of many of his works, especially in his early work, is due to this desire to include all the diversity of the surrounding life in his poetic world. Yesenin comprehends the deep laws of human life and nature and wisely blesses everything that "came to flourish and die." In his heartfelt “I am happy that I breathed and lived” - a generous gratitude to the world that filled the soul with inexhaustible impressions.

Sergei Yesenin always lived and wrote on the extreme strain of mental strength. That is his nature. Filled with love for the Motherland, for man, nature, Yesenin did not spare only himself. He did not know another way for the artist:

Being a poet means the same

If the truth of life is not violated,

Scarring your soft skin

To caress other people's souls with the blood of feelings.

The reader, feeling this generous dedication of the poet, submits to the emotional power of Yesenin's poems.

Today Yesenin's poetry is well known and loved in all the republics of our country, in many foreign countries. So profoundly Russian, glorifying native nature, native country with great lyrical power - it turned out to be truly international. And that is why the words of the Lithuanian writer Justinas Marcinkyavichus about the Russian poet are so organic: “Yesenin is a miracle of poetry. And like any miracle, it's hard to talk about it. A miracle must be experienced. And we must believe in him ... "Thus, the theme of the motherland in the poetry of S. Yesenin develops from an unconscious, almost childishly natural attachment to the native land to a conscious, withstood the test of hard times, changes and fractures of the author's position.

Sergey Alexandrovich Yesenin was born on September 21 (October 4), 1895 in the village of Konstantinovo, Ryazan province, in the family of a peasant Alexander Yesenin. The mother of the future poet, Tatyana Titova, was married against her will, and soon, together with her three-year-old son, she went to her parents. Then she went to work in Ryazan, and Yesenin remained in the care of his grandparents (Fedor Titov), ​​a connoisseur of church books. Yesenin's grandmother knew many fairy tales and ditties, and, according to the poet himself, it was she who gave the "impulses" to write the first poems.

In 1904, Yesenin was sent to study at the Konstantinovsky Zemstvo School, and then a church teacher's school in the city of Spas-Klepiki.
In 1910-1912, Yesenin wrote quite a lot, and among the poems of these years there are already quite mature, perfect ones. Yesenin's first collection "Radunitsa" was published in 1916. The song warehouse of the poems included in the book, their ingenuously sincere intonations, the melody that refers to folk songs and ditties is evidence that the umbilical cord connecting the poet with the rural world of childhood was still very strong at the time of their writing.

The very name of the book Radunitsa is often associated with the song warehouse of Yesenin's poems. On the one hand, Radunitsa is the day of commemoration of the dead; on the other hand, this word is associated with a cycle of spring folk songs, which have long been called Radovitsky or Radonitsky stoneflies. In essence, one thing does not contradict the other, at least in Yesenin's poems, the distinguishing feature of which is hidden sadness and aching pity for everything living, beautiful, doomed to disappear: May you be blessed forever that it has come to flourish and die ... Poetic the language already in the early poems of the poet is peculiar and subtle, the metaphors are sometimes unexpectedly expressive, and the person (the author) feels, perceives nature as living, spiritualized (Where the cabbage beds ... Imitation of the song, The scarlet light of dawn wove out on the lake ..., The flood licked with smoke ill. ., Tanyusha was good, there was no more beautiful in the village. .).

After graduating from the Spaso-Klepikovsky School in 1912, Yesenin and his father came to Moscow to work. In March 1913, Yesenin again went to Moscow. Here he gets a job as an assistant proofreader in the printing house of I.D. Sytin. Anna Izryadnova, the poet's first wife, describes Yesenin in those years as follows: "He was in a depressive mood - he is a poet, no one wants to understand this, editorial boards are not accepted for publication, his father scolds that he is not doing business, he has to work: He was reputed to be a leader, attended meetings, distributed illegal literature, pounced on books, read all his free time, spent all his salary on books, magazines, did not at all think about how to live ... ". In December 1914, Yesenin quit his job and, according to the same Izryadnova, "gives himself all over to poetry. He writes all day long. In January, his poems are published in the newspapers Nov, Parus, Zarya ..."

The mention of Izryadnova, about the distribution of illegal literature, is associated with Yesenin's participation in the literary and musical circle of the peasant poet I. Surikov - a very colorful meeting, both in aesthetic and political respects (its members included Socialist-Revolutionaries, Mensheviks, and Bolshevik-minded workers ). The poet also goes to the classes of the Shanyavsky People's University - the first educational institution in the country, which could be visited free of charge by volunteers. There, Yesenin receives the basics of a humanitarian education - he listens to lectures on Western European literature, on Russian writers.

Meanwhile, Yesenin's verse is becoming more confident, more original, sometimes civil motives begin to occupy him (Kuznets, Belgium, etc.). And the poems of those years - Marfa Posadnitsa, Us, the Song of Evpatiy Kolovratka - are both a stylization of ancient speech, and an appeal to the origins of patriarchal wisdom, in which Yesenin saw both the source of the figurative musicality of the Russian language, and the secret of "the naturalness of human relations." The theme of the doomed transience of being begins to sound in Yesenin's poems of that time in full voice:

I meet everything, I accept everything,
Glad and happy to take out the soul.
I came to this earth
To leave her soon.

It is known that in 1916 in Tsarskoye Selo Yesenin visited N. Gumilyov and A. Akhmatova and read to them this poem, which struck Anna Andreevna with its prophetic character. And she was not mistaken - Yesenin's life really turned out to be both fleeting and tragic ...
Meanwhile, Moscow seems close to Yesenin, in his opinion, all the main events of literary life take place in St. Petersburg, and in the spring of 1915 the poet decides to move there.

In St. Petersburg, Yesenin visited A. Blok. Not finding him at home, he left him a note and poems tied in a rustic scarf. The note was preserved with Blok's note: "Poems are fresh, clean, vociferous...". So, thanks to the participation of Blok and the poet S. Gorodetsky, Yesenin became a member of all the most prestigious literary salons and living rooms, where he very soon became a welcome guest. His poems spoke for themselves - their special simplicity, combined with images that “burn through the soul”, the touching immediacy of the “village boy”, as well as the abundance of words from the dialect and the Old Russian language, had a bewitching effect on many leaders of literary fashion. Some saw in Yesenin a simple young man from the village, endowed with a remarkable poetic gift by a twist of fate. Others - for example, Merezhkovsky and Gippius, were ready to consider him the bearer of the saving, in their opinion, for Russia, mystical folk Orthodoxy, a man from the ancient sunken "City of Kitezh", in every possible way emphasizing and cultivating religious motifs in his poems (Child Jesus, Scarlet darkness in the blackness of heaven., Clouds from the hare) (Neigh like a hundred mares.).

In late 1915 - early 1917, Yesenin's poems appeared on the pages of many metropolitan publications. At this time, the poet also converges quite closely with N. Klyuev, a native of Old Believer peasants. Together with him, Yesenin performs in the salons to the accordion, dressed in morocco boots, a blue silk shirt, girded with a gold lace. The two poets really had a lot in common - longing for the patriarchal village way of life, passion for folklore, antiquity. But at the same time, Klyuev always consciously fenced himself off from the modern world, and Yesenin, who was restless and aspiring to the future, was irritated by the feigned humility and deliberately didactic unctuousness of his "friend-enemy". It is no coincidence that a few years later, Yesenin advised a poet in a letter: "Stop singing this stylized Klyuev Rus: Life, the real life of Russia is much better than the frozen drawing of the Old Believers ..."

And this "real life of Russia" carried Yesenin and his fellow travelers on the "ship of modernity" farther and farther. In full swing. The First World War, disturbing rumors are spreading around St. Petersburg, people are dying at the front: Yesenin serves as an orderly in the Tsarskoye Selo military hospital, reads his poems in front of the Grand Duchess Elizabeth Feodorovna, in front of the Empress. What causes criticism from his St. Petersburg literary patrons. In that "deaf breath of fire" about which A. Akhmatova wrote, all values, both human and political, turned out to be mixed, and the "coming boor" (D. Merezhkovsky's expression) revolted no less than reverence for the reigning persons .. .

At first, in the revolutionary turbulent events, Yesenin saw the hope for a speedy and profound transformation of his entire former life. It seemed that the transformed lands and sky were calling out to the country and man, and Yesenin wrote: O Rus, flap your wings, / Set up a different support! / With other times. / A different steppe rises... (1917). Yesenin is overwhelmed with hopes for building a new, peasant paradise on earth, a different, just life. The Christian worldview at that time is intertwined in his poems with theomachy and pantheistic motifs, with admiring exclamations addressed to the new government:

The sky is like a bell
The month is the language
My mother is the motherland
I am a Bolshevik.

He writes several short poems: Transfiguration, Otchar, Octoechos, Ionia. Many lines from them, sometimes sounding defiantly scandalous, shocked contemporaries:

I will lick on the icons with my tongue
Faces of martyrs and saints.
I promise you the city of Inonia,
Where the deity of the living lives.

No less famous are the lines from the poem Transfiguration:

The clouds are barking
The golden-toothed heights roar...
I sing and call:
Lord, recline!

In the same revolutionary years, in times of devastation, famine and terror, Yesenin reflects on the origins of figurative thinking, which he sees in folklore, in ancient Russian art, in the "nodal tie of nature with the essence of man", in folk art. He expresses these thoughts in the article Keys of Mary, in which he expresses hope for the resurrection of the secret signs of ancient life, for the restoration of harmony between man and nature, while relying on the same rural way of life: "The only wasteful and slovenly, but still the keeper of this secrets was a village half-broken by seasonal work and factories.

Very soon, Yesenin realizes that the Bolsheviks are not at all the ones they would like to pretend to be. According to S. Makovsky, an art critic and publisher, Yesenin “understood, or rather, felt with his peasant heart, with his pity: that it was not a“ great bloodless one ”, but a dark and merciless time began ... ". And now the mood of elation and hope is replaced by Yesenin's confusion, bewilderment before what is happening. Peasant life is being destroyed, famine and devastation are marching across the country, and the regulars of the former literary salons, many of whom have already emigrated, are being replaced by a very diverse literary and near-literary public.

In 1919, Yesenin turned out to be one of the organizers and leaders of a new literary group - the Imagists. (IMAGINISM [from the French image - image] is a trend in literature and painting. It arose in England shortly before the war of 1914-1918 (its founders were Ezra Pound and Windham Lewis, who broke away from the Futurists), it developed on Russian soil in the first years of the revolution. The Imagists published their declaration in the journals Sirena (Voronezh) and Sovietskaya Strana (Moscow) at the beginning of 1919. The core of the group was V. Shershenevich, A. Mariengof, S. Yesenin, A. Kusikov, R. Ivnev, and I. Gruzinov and some others. Organizationally, they united around the publishing house "Imaginists", "Chikhi-Pihi", a bookstore and the well-known Lithuanian cafe "Stall of Pegasus" in their time. number 4. Shortly thereafter, the group disbanded.

The theory of the Imagists is based on the principle of poetry, proclaiming the primacy of the "image as such". Not a word-symbol with an infinite number of meanings (symbolism), not a word-sound (cubo-futurism), not a word-name of a thing (acmeism), but a word-metaphor with one specific meaning is the basis of I. "The only law of art, the only and incomparable method is to reveal life through the image and the rhythm of images" ("Declaration" of the Imagists). The theoretical substantiation of this principle comes down to likening poetic creativity to the process of language development through metaphor. The poetic image is identified with what Potebnya called "the inner form of the word." "The birth of the word of speech and language from the womb of the image," says Mariengof, "predetermined once and for all the figurative beginning of future poetry." "You must always remember the original image of the word." If in practical speech the "conceptuality" of a word displaces its "figurativeness", then in poetry the image excludes meaning, content: "eating the meaning with the image is the way of development of the poetic word" (Shershenevich). In this regard, there is a breakdown of grammar, a call for agrammaticity: "the meaning of the word lies not only in the root of the word, but also in the grammatical form. The image of the word is only at the root. By breaking the grammar, we destroy the potential power of the content, while maintaining the former power of the image" (Shershenevich , 2×2=5). The poem, which is an agrammatic "catalog of images", naturally does not fit into the correct metrical forms: "vers libre of images" requires rhythmic "vers libre": "Free verse is the essential essence of Imagist poetry, which is distinguished by the extreme sharpness of figurative transitions" (Marienhof) . "A poem is not an organism, but a crowd of images, one image can be taken out of it, ten more can be inserted" (Shershenevich)).

Their slogans, it would seem, are completely alien to Yesenin's poetry, his views on the nature of poetic creativity. What are, for example, the words from the Declaration of Imagism: "Art built on content ... should have perished from hysteria." In Imagism, Yesenin drew close attention to the artistic image, a significant role in his participation in the group was played by the general domestic disorder, attempts to share the hardships of the revolutionary time together.

The painful feeling of duality, the impossibility of living and creating, being cut off from the folk peasant roots, coupled with disappointment in finding a "new city - Inonia" give Yesenin's lyrics a tragic mood. The leaves in his poems are already whispering "in autumn", whistling all over the country, like Autumn, a charlatan, a murderer and a villain, and sighted eyes. Only death closes...

I am the last poet of the village - Yesenin writes in a poem (1920) dedicated to his friend the writer Mariengof. Yesenin saw that the former village life was disappearing into oblivion, it seemed to him that a mechanized, dead life was coming to replace the living, natural. In one of his letters in 1920, he admitted: “I am very sad now that history is going through a difficult era of killing the individual as a living person, because there is absolutely not the socialism that I thought about ... Closely in it is living, closely building a bridge to the invisible world, for they cut and blow up these bridges from under the feet of future generations.

At the same time, Yesenin was working on the poems Pugachev and Nomakh. He had been interested in the figure of Pugachev for several years, collecting materials, dreaming of a theatrical production. The surname Nomakh was formed on behalf of Makhno, the leader of the Insurgent Army during the Civil War. Both images are related by the motif of rebellion, a rebellious spirit, characteristic of folklore robbers-truth-seekers. The poems clearly sound a protest against contemporary reality, in which Yesenin did not see even a hint of justice. So the "country of scoundrels" for Nomakh is the region in which he lives, and in general any state where ... if it is criminal to be a bandit here, / That is no more criminal than to be a king ...

In the autumn of 1921, the famous dancer Isadora Duncan arrived in Moscow, with whom Yesenin soon married.

Spouses go abroad, to Europe, then to the USA. At first, European impressions lead Yesenin to the idea that he "has fallen out of love with impoverished Russia, but very soon both the West and industrial America begin to seem to him a kingdom of philistinism and boredom.

At this time, Yesenin was already drinking heavily, often falling into a rage, and in his poems the motifs of hopeless loneliness, drunken revelry, hooliganism and a ruined life, partly related to some of his poems with the genre of urban romance, sound more and more often. Not without reason, even in Berlin, Yesenin wrote his first poems from the Moscow Tavern cycle:

Again they drink here, fight and cry.
Under harmonica yellow sadness...

The marriage with Duncan soon broke up, and Yesenin again found himself in Moscow, not finding a place for himself in the new Bolshevik Russia.
According to contemporaries, when he fell into hard drinking, he could terribly "cover" the Soviet government. But they did not touch him and, having kept him for some time in the police, they were soon released - by that time Yesenin was famous in society as a folk, "peasant" poet.

Despite the difficult physical and moral condition, Yesenin continues to write - even more tragic, even deeper, even more perfect.
Among the best poems of his last years are a Letter to a woman, Persian motifs, small poems, Russia is leaving, Russia is homeless, Return to the Motherland, Letter to mother (Are you still alive, my old woman?.), We are now leaving little by little to that country where there is silence grace...

And, finally, the poem "The Golden Grove Dissuaded", which combines a truly folk song element, and the skill of a mature, experienced poet, and a poignant, pure simplicity, for which he was so loved by people who were far from elegant literature:

The golden grove dissuaded
Birch, cheerful language,
And the cranes, sadly flying,
No more regrets for anyone.
Whom to pity? After all, every wanderer in the world -
Pass, enter and leave the house again.
Hemp dreams about all the departed
With a wide moon over the blue pond...

On December 28, 1925, Yesenin was found dead in the Angleterre Hotel in Leningrad. His last poem - "Goodbye, my friend, goodbye ..." - was written in this hotel in blood. According to the poet's friends, Yesenin complained that there was no ink in the room, and he was forced to write in blood.

According to the version accepted by most of the poet's biographers, Yesenin, in a state of depression (a month after treatment in a psychoneurological hospital), committed suicide (hanged himself). Neither contemporaries of the event, nor in the next few decades after the death of the poet, other versions of the event were expressed.

In the 1970s and 1980s, mainly in nationalist circles, there were also versions about the murder of the poet, followed by a staged suicide: on the basis of jealousy, mercenary motives, murder by the OGPU. In 1989, under the auspices of the Gorky IMLI, the Yesenin Commission was established under the chairmanship of Yu. L. Prokushev; at her request, a number of examinations were carried out, which led to the following conclusion: “the now published ‘versions’ about the murder of the poet with 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 at the department of forensic medicine, doctor of medical sciences B. S. Svadkovsky at the request of the chairman of the commission Yu. L. Prokushev). In the 1990s, various authors continued to put forward both new arguments in support of the murder version and counterarguments. The version of Yesenin's murder is presented in the TV series Yesenin.
He was buried on December 31, 1925 in Moscow at the Vagankovsky cemetery.

The work of Sergei Alexandrovich Yesenin, uniquely bright and deep, is now firmly established in our literature and enjoys great success with numerous Soviet and foreign readers.
The poet's poems are full of heartfelt warmth and sincerity, passionate love for the boundless expanses of his native fields, the "inexhaustible sadness" of which he was able to convey so emotionally and so loudly.

Sergei Yesenin entered our literature as an outstanding lyricist. It is in the lyrics that everything that makes up the soul of Yesenin's creativity is expressed. It contains the full-blooded, sparkling joy of a young man who rediscovers the wonderful world, subtly feeling the fullness of earthly charms, and the deep tragedy of a man who has remained too long in the "narrow gap" of old feelings and views. And if in the best poems of Sergei Yesenin - "flood" of the most intimate , the most intimate human feelings, they are filled to the brim with the freshness of pictures of native nature, then in his other works - despair, decay, hopeless sadness. Sergei Yesenin is primarily a singer of Russia, and in his poems,

sincere and frank in Russian, we feel the beating of a restless tender heart. They have a "Russian spirit", they have a "smell of Russia". They absorbed the great traditions of national poetry, the traditions of Pushkin, Nekrasov, Blok. Even in Yesenin's love lyrics, the theme of love merges with the theme of the Motherland. The author of "Persian Motives" is convinced of the fragility of serene happiness away from his native land. And distant Russia becomes the main character of the cycle: "No matter how beautiful Shiraz is, it is no better than the expanses of Ryazan." Yesenin met the October Revolution with joy and ardent sympathy. Together with Blok, Mayakovsky, he took her side without hesitation. The works written by Yesenin at that time ("Transfiguration", "Inonia", "Heavenly Drummer") are imbued with rebellious moods. The poet is captured by the storm of the revolution, its greatness and is eager for the new, for the future. In one of his works, Yesenin exclaimed: "My Motherland, I am a Bolshevik!" But Yesenin, as he himself wrote, took the revolution in his own way, "with a peasant bias", "more spontaneously than consciously." This left a special imprint on the poet's work and largely predetermined his future path. Characteristic were the poet's ideas about the purpose of the revolution, about the future, about socialism. In the poem "Inonia" he draws the future as a kind of idyllic kingdom of peasant prosperity, socialism seems to him a blissful "peasant's paradise". Such ideas also affected other works of Yesenin of that time:

I see you, green fields,
With a herd of brown horses.
With a shepherd's pipe in the willows
Apostle Andrew is wandering.

But the fantastic visions of the peasant Inonia, of course, were not destined to come true. The revolution was led by the proletariat, the village was led by the city. "After all, there is absolutely not the socialism that I thought about," says Yesenin in one of the letters of that time. Yesenin begins to curse the "iron guest", bringing death to the patriarchal rural way of life, and mourn the old, outgoing "wooden Russia". This explains the inconsistency of Yesenin's poetry, who has gone through a difficult path from a singer of patriarchal, impoverished, destitute Russia to a singer of socialist Russia, Lenin's Russia. After Yesenin's trip abroad and to the Caucasus, a turning point occurs in the life and work of the poet and a new period is marked. It makes him fall in love with his socialist fatherland more strongly and more strongly and evaluate everything that happens in it in a different way. "... I fell in love even more in communist construction," Yesenin wrote on his return to his homeland in the essay "Iron Mirgorod". Already in the cycle "Love of a bully", written immediately upon arrival from abroad, the mood of loss and hopelessness is replaced by hope for happiness, faith in love and the future. love, gives a clear idea of ​​the new motives in Yesenin's lyrics:

A blue fire swept
Forgotten relatives gave.
For the first time I sang about love,
For the first time I refuse to scandal.
I was all like a neglected garden,
He was greedy for women and potion.
Enjoyed singing and dancing
And lose your life without looking back.

Yesenin's work is one of the brightest, deeply moving pages in the history of Soviet literature. Yesenin's era has passed away, but his poetry continues to live, awakening a feeling of love for his native land, for everything close and different. We are concerned about the sincerity and spirituality of the poet, for whom Russia was the most precious thing on the entire planet...

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Born September 21 (October 3), 1895 in the village. Konstantinovo, Ryazan province, in a peasant family.

Education in Yesenin's biography was received at the local zemstvo school (1904-1909), then until 1912 - in the class of the parochial school. In 1913 he entered the Shanyavsky City People's University in Moscow.

The beginning of the literary path

In Petrograd, Yesenin reads his poems to Alexander Blok and other poets. He approaches a group of "new peasant poets", and he himself is fond of this direction. After the publication of the first collections ("Radunitsa", 1916), the poet became widely known.

In the lyrics, Yesenin could psychologically approach the description of landscapes. Another theme of Yesenin's poetry is peasant Russia, love for which is felt in many of his works.

Since 1914, Sergei Alexandrovich has been published in children's publications, writing poems for children (poems "The Orphan", 1914, "The Beggar", 1915, the story "Yar", 1916, "The Tale of the Shepherd Petya ...", 1925 .).

At this time, real popularity comes to Yesenin, he is invited to various poetic meetings. Maxim Gorky wrote: “The city met him with the same admiration as a glutton meets strawberries in January. His poems began to be praised, excessively and insincerely, as hypocrites and envious people know how to praise.

In 1918-1920, Yesenin was fond of imagism, published collections of poems: "Confession of a Hooligan" (1921), "Treryadnitsa" (1921), "Poems of a Brawler" (1923), "Moscow Tavern" (1924).

Personal life

After meeting the dancer Isadora Duncan in 1921, Yesenin soon married her. Before that, he lived with A.R. Izryadnova (had a son Yuri with her), Z.N. Reich (son Konstantin, daughter Tatyana), N. Volpina (son Alexander). After his marriage to Duncan, he traveled around Europe and the USA. Their marriage was short - in 1923 the couple broke up, and Yesenin returned to Moscow.

Last years of life and death

In the further work of Yesenin, Russian leaders were very critically described (1925, "Country of Scoundrels"). In the same year, in the life of Yesenin, the publication "Soviet Rus" was published.

In the autumn of 1925, the poet marries Leo Tolstoy's granddaughter, Sofya Andreevna. Depression, alcohol addiction, pressure from the authorities caused the new wife to place Sergei in a neuropsychiatric hospital.

Then in the biography of Sergei Yesenin there was an escape to Leningrad. And on December 28, 1925, Yesenin died, his body was found hanged in the Angleterre Hotel.

Your attention is invited short biography of Sergei Yesenin. We will briefly talk about the main thing from the short but vibrant life of the wonderful Russian poet, whose name is on a par with, and.

Short biography of Yesenin

Sergei Alexandrovich Yesenin was born in 1895 in the village of Konstantinovo, Ryazan province. His parents were peasants, and in addition to Sergei had two daughters: Ekaterina and Alexandra.

In 1904, Sergei Yesenin entered the zemstvo school in his native village, and in 1909 he began his studies at the parochial school in Spas-Klepiki.

Having a quick-tempered and restless character, Yesenin arrived in Moscow on an autumn day in 1912 in search of happiness. First, he got a job in a butcher's shop, and then began working in the printing house of I.D. Sytin.

Since 1913, he became a volunteer at the University named after A. L. Shanyavsky and made friends with the poets of the Surikov literary and musical circle. I must say that this was of greater importance in the further formation of the personality of the future star in the horizon of Russian literature.

Special signs of Sergei Yesenin

The beginning of creativity

The first poems by Sergei Yesenin were published in the children's magazine Mirok in 1914.

This seriously influenced his biography, but after a few months he left for Petrograd, where he made important acquaintances with A. Blok, S. Gorodetsky, N. Klyuev and other outstanding poets of his time.

Yesenin reads his mother's poems

After a short time, a collection of poems called "Radunitsa" is published. Yesenin also collaborates with Socialist-Revolutionary magazines. The poems "Transfiguration", "Oktoih" and "Inonia" are printed in them.

After three years, that is, in 1918, the poet returns to, where, together with Anatoly Mariengof, he becomes one of the founders of the Imagists.

Starting to write the famous poem "Pugachev", he traveled to many significant and historical places: the Caucasus, Solovki, Murmansk, Crimea, and even reached Tashkent, where he visited his friend, the poet Alexander Shiryaevts.

It is believed that it was from Tashkent that his performances before the public at poetry evenings began.

It is difficult to fit all the adventures that happened to him during these travels into a short biography of Sergei Yesenin.

In 1921, a serious change took place in Yesenin's life, as he married the famous dancer Isadora Duncan.

After the wedding, the couple went on a trip to Europe and America. However, soon after returning from abroad, the marriage with Duncan broke up.

Yesenin's last days

The last few years of his life, the poet worked hard, as if foreseeing his imminent death. He traveled a lot around the country and went to the Caucasus three times.

In 1924, he traveled to Azerbaijan, and then to Georgia, where his works “The Poem of Twenty-Six”, “Anna Snegina”, “Persian Motifs” and the collection of poems “Red East” were published.

When the October Revolution took place, it gave the work of Sergei Yesenin a new, special force. Singing love for the motherland, he, one way or another, touches on the theme of revolution and freedom.

It is conventionally believed that in the post-revolutionary period there were two great poets: Sergei Yesenin and. During their lives, they were stubborn rivals, constantly competing in talent.

Although no one allowed himself to make mean statements about his opponent. The compilers of Yesenin's biography often quote his words:

“I am still Koltsov, and I love Blok. I am only learning from them and from Pushkin. What can you say about Mayakovsky? He knows how to write - that's true, but is it poetry, poetry? I don't love him. He has no order. Things are falling on things. From poetry, there should be order in life, but with Mayakovsky everything is like after an earthquake, and the corners of all things are so sharp that it hurts the eyes.

Yesenin's death

On December 28, 1925, Sergei Yesenin was found dead in the Angleterre Hotel in Leningrad. According to the official version, he hanged himself after being treated in a neuropsychiatric hospital for some time.

I must say that, given the long depression of the poet, such a death was not news to anyone.

However, at the end of the twentieth century, thanks to lovers of Yesenin's work, new data began to emerge from the biography and death of Yesenin.

Due to the prescription of time, it is difficult to establish the exact events of those days, but the version that Yesenin was killed, and then only staged suicide, looks quite reliable. As it was in fact, we will probably never know.

Yesenin's biography, like his poems, is filled with a deep experience of life and all its paradoxes. The poet managed to feel and convey on paper all the features of the Russian soul.

Undoubtedly, he can be safely attributed to the great Russian poets, called a fine connoisseur of Russian life, as well as an amazing artist of the word.

Every student understands the meaning of Yesenin's name in Russian literature. It is no coincidence that it is rated so highly, because the poet had a significant impact on the development of Russian culture and morality. During his career, Sergei managed to create a unique poetic fund that covers many topics related to the life of ordinary people. His lines have long been cited, and his works are actively studied in schools and other educational institutions, as an example of the art of the Russian style. Masterpieces of poetic skill are thoroughly saturated with incredible sincerity and passionate feelings that tend to be transmitted to the reader.

The poetry of Sergei Yesenin is imbued with a sense of patriotism and love for his homeland. He describes the beauty of Russian nature and awakens in the souls of people the hidden strings of awareness of belonging to a great people. He does not get tired of describing the natural beauty of his lands and singing respectful feelings for the successes of the working class. Yesenin's poems about nature can never be confused with the poems of other authors. He describes her so subtly and so accurately. Sergey put in the first place the primitiveness of life and its everyday moments, describing them gently with a soul full of spirituality and kindness.

The words that fly from the poet's lips are masterpieces each separately, and together they create an incredible composition imbued with love for their native lands. Reading skillfully composed poems, the layman involuntarily experiences feelings of empathy and responsibility to the heroes of the works. Yesenin had an amazing gift to revive the simplest scenes from a person's everyday life and turn them into something meaningful and really important.

Sergei always showed a special love for animals, which is typical for his poetry. The experiences of animals are conveyed with truly human warmth, which is given in every line of the reporting works. Yesenin endows animals with human feelings and on the pages of books they tend to feel sad, experience joy and other emotions characteristic of a person. It does not matter at all who represents the world of animals, in any poem they have a special drama and genuine sincerity. Plus, the poet emphasizes the full depth of suffering of our smaller brothers through the fault of a person who does not always deal with them with dignity.

Among other things, the theme of maternal love has a rather great influence on the poet's work. This is not surprising, given that Yesenin attaches great importance to this aspect.

Sergei's work does not lie on the surface and is far from accessible to every layman, because the meaning of the poems is revealed only as a result of hard mental work. His style cannot be confused with anything else, because the penetration resonates with many generations of readers. Yesenin possessed the soul of a Russian free man and zealously defending the essence of his native people, which was reflected in his work.

The lyric of an incredibly broad soul has gained immense popularity, mixing sincerity and relevance in the vessels of poetry, which is not lost over time.