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Biography of Yesenin — Sergey Alexandrovich (1895-1925), Russian poet.
From the first collections ("Radunitsa", 1916; "Rural Watchmaker", 1918), he acted as a subtle lyricist, a master of a deeply psychologized landscape, a singer of peasant Russia, a connoisseur of the folk language and the folk soul.
In 1919-23, he was a member of the imagist group.
The tragic attitude of the world, spiritual confusion are expressed in the cycles "Mare ships" (1920), "Moscow Kabatskaya" (1924), the poem "The Black Man" (1925).
In the poem "The Ballad of the Twenty Six" (1924), dedicated to the Baku commissars, the collection "Soviet Russia" (1925), the poem "Anna Snegina" (1925) Yesenin strove to comprehend the "commune reared Rus", although he continued to feel like a poet of "Outgoing Rus", "golden log hut".
The dramatic poem "Pugachev" (1921).
Childhood.
Youth
He was born in a peasant family, as a child he lived in his grandfather's family.
Among Yesenin's first impressions were spiritual poems sung by wandering blind people, and old wives ' tales.
Having graduated with honors from the Konstantinovsky four grade school (1909), he continued his studies at the Spas Klepikov Teacher's School (1909-12), from which he left as a "teacher of the school of literacy".
In the summer of 1912, Yesenin moved to Moscow, served for some time in a butcher shop, where his father worked as a clerk.
After the conflict with his father, he left the shop, worked in book publishing, then in the printing house of I. D. Sytin; during this period, he joined the revolutionary minded workers and found himself under the supervision of the police.
At the same time, Yesenin was studying at the Historical and Philosophical department of the Shanyavsky University (1913-15).
Literary debut.
Success Since childhood, who composed poems (mainly in imitation of A.V. Koltsov, I. S. Nikitin, S. D. Drozhzhin), Yesenin finds like minded people in the "Surikov Literary and Musical circle", of which he became a member in 1912.
It began to be published in 1914 in Moscow children's magazines (the poem "Birch" made its debut).
In the spring of 1915, Yesenin came to Petrograd, where he met A. A. Blok, S. M. Gorodetsky, A.M. Remizov, N. S. Gumilev, and others, and became close to N. A. Klyuev, who had a significant influence on him.
Their joint performances with poems and ditties, stylized in a "peasant", "folk" manner (Yesenin appeared to the public as a golden haired young man in an embroidered shirt and morocco boots), were a great success.
Military service
In the first half of 1916 Yesenin is conscripted into the army, but thanks to the efforts of friends, he receives an appointment ("with the highest permission") as an orderly in the Tsarskoye Selo military sanitary train No. 143 of Her Imperial Majesty the Empress Alexandra Feodorovna, which allows him to freely visit literary salons, attend receptions with patrons, perform at concerts.
At one of the concerts in the infirmary, to which he was attached (the Empress and the tsarevna also served here), he meets with the royal family.
At the same time, together with N. Klyuev, they perform, dressed in Old Russian costumes, sewn according to V. Vasnetsov's sketches, at the evenings of the "Society for the Revival of Artistic Russia" at the Feodorovsky Town in Tsarskoye Selo, and are also invited to visit the Grand Duchess Elizabeth in Moscow.
Together with the royal couple in May 1916, Yesenin visited Yevpatoria as a train attendant.
This was the last trip of Nicholas II to the Crimea.
"Radunitsa" The first collection of poems by Yesenin "Radunitsa" (1916) is enthusiastically welcomed by critics who found a fresh stream in it, noting the young spontaneity and natural taste of the author.
In the poems of "Radunitsa" and subsequent collections ("Goluben", "Transfiguration", "Rural Watchmaker", all 1918, etc.), a special Yesenin "anthropomorphism" develops: animals, plants, natural phenomena, etc.are humanized by the poet, forming together with people connected by their roots and all their nature with nature, a harmonious, integral, beautiful world.
At the junction of Christian imagery, pagan symbolism and folklore stylistics, paintings of Yesenin's Russia are born, painted with a subtle perception of nature, where everything: a burning stove and a dog's nook, uncut hay and swamp swamps, the hubbub of mowers and the snoring of a herd becomes the object of the poet's reverent, almost religious feeling ("I pray at the aly dawn, I take Communion by the stream").
Revolution At the beginning of 1918, Yesenin moved to Moscow.
Having met the revolution with enthusiasm, he writes several small poems ("The Jordan Dove", "Inonia", "The Heavenly Drummer", all 1918, etc.), imbued with a joyful premonition of the "transformation" of life.
They combine God fighting moods with biblical imagery to indicate the scale and significance of the events taking place.
Yesenin, singing the new reality and its heroes, tried to correspond to the time ("Cantata", 1919).
In later years, he wrote "The Song of the Great Campaign", 1924, "Captain of the Earth", 1925, etc.).
Reflecting on "where the fate of events takes us", the poet turns to history (the dramatic poem "Pugachev", 1921).
Imagism The search in the field of imagery brings Yesenin closer to A. B. Marienhof, V. G. Shershenevich, R. Ivnev, at the beginning of 1919 they united in a group of imagists; Yesenin becomes a regular at the "Pegasus Stall" of the imagist literary cafe at the Nikitsky Gate in Moscow.
However, the poet only partially shared their common desire to purify the form from the "dust of content".
His aesthetic interests are directed to the patriarchal village way of life, folk art, the spiritual basis of the artistic image (the treatise "The Keys of Mary", 1919).
Already in 1921, Yesenin appeared in print with criticism of the "buffoonish antics for the sake of the antics" of "fellow"imagists.
Gradually, pretentious metaphors disappear from his lyrics.
"Moscow Kabatskaya" In the early 1920s.
in Yesenin's poems, motifs of "life torn apart by a storm" (in 1920, the marriage with Z. N. Reich, which lasted for about three years, broke up), drunken prowess, replaced by anguish.
The poet appears as a hooligan, a brawler, a drunkard with a bloody soul, hobbling "from a den to a den", where he is surrounded by "a strange and laughing rabble" (collections "Confessions of a Hooligan", 1921; "Moscow Kabatskaya", 1924).
Isadora
An event in Yesenin's life was a meeting with the American dancer Isadora Duncan (autumn 1921), who six months later became his wife.
A joint trip to Europe (Germany, Belgium, France, Italy) and America (May 1922 August 1923), accompanied by noisy scandals, shocking antics of Isadora and Yesenin, exposed their "mutual understanding", aggravated by the literal lack of a common language (Yesenin did not speak foreign languages, Isadora learned several dozen Russian words).
After returning to Russia, they parted.
Yesenin returned to his homeland with joy, a sense of renewal, a desire to " be a singer and a citizen... in the great states of the USSR".
During this period (1923-25), his best lines were created: the poems " The golden grove dissuaded...", "A letter to my mother", " We are now leaving a little...", the cycle "Persian motifs", the poem "Anna Snegina", etc.
The main place in his poems still belongs to the theme of the motherland, which now takes on dramatic shades.
The once unified harmonious world of Yesenin Rus is bifurcated: "Rus Sovetskaya" "Rus outgoing".
Set in the poem "the Prayers" (1920) the motive of the contest old and new ("krasnolesy foal" and "the legs of iron train") is being developed in the poems of recent years: the locking signs of new life, welcoming "stone and steel", Yesenin increasingly feels like a singer "gold of log house", poetry which "are no longer needed here" (collections of "Soviet Russia", "Soviet", both 1925).
Dominant emotional lyrics of this period become autumn landscapes, motifs summarizing, farewell.
One of his last works was the poem "The Country of Scoundrels" in which he denounced the Soviet government.
After that, he was harassed in the newspapers, accusing him of drunkenness, fights, etc.
The last two years of Yesenin's life were spent in constant travel: hiding from prosecution, he travels to the Caucasus three times, goes to Leningrad several times, seven times to Konstantinovo.
At the same time, he is once again trying to start a family life, but his union with S. A. Tolstoy (the granddaughter of L. N. Tolstoy) was not happy.
At the end of November 1925, due to the threat of arrest, he had to go to a neuropsychiatric clinic.
Sofia Tolstaya agreed with Professor P. B. Gannushkin about the poet's hospitalization in a paid clinic of Moscow University.
The professor promised to provide him with a separate room where Yesenin could do literary work.
Employees of the GPU and the police lost their feet, looking for the poet.
Only a few people knew about his hospitalization in the clinic,but there were informants.
On November 28, the security officers rushed to the director of the clinic, Professor P. B. Gannushkin, and demanded the extradition of Yesenin, but he did not give out his fellow countryman for punishment.
The clinic is being monitored.
After waiting for the moment, Yesenin interrupts the course of treatment (he left the clinic in a group of visitors) and leaves for Leningrad on December 23.
On the night of December 28 at the hotel " Angleterre" Sergei Yesenin is killed by staging a suicide.
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