Yesenin biography by quotes

A bright character, inclined to shocking, as well as Shchegol and Lovelas, during his lifetime, Sergei Yesenin became one of the most famous poets of his time. Two years of living together with Isadora Duncan, a lot of scandals, fights and drunken brawls made his name a legend. A separate chapter in noisy fame was his personal conflicts with representatives of the new Soviet power and the mystery of his death of suicide or murder in the Angletter hotel.

This article should be added quotes of other authors about life, the personality of Sergei Yesenin and his work. Quotes in prose [edit] peasant of the Ryazan lips Fresh, clean, vocal, verbose. On March 9, I came to me true, I never saw a cylinder, although I believe that this is not an image of an “imaginist”, but reality. But the varnished shoes watched with his own eyes, also a colorful tie and a fashionable jacket.

All this decorates a bright, pretty guy who speaks a license, Ryazan Lelya, Ivan-Sustlivz of our fairy tales. But, let the portraitter be allowed, neglecting the painting of the costume, the cylinder, the “imag forces” and the chronicle of the Moscow scandals, to engage in the face of the poet. Immediately from the cattle breeding of heaven, we move to the earthly, to the touching and dull life, to the hooliganism of the mischief on the outskirts of the village, to the animal love, simple, in simplicity of wise.

Ah, how good it is after Abyssinia or Versailles to get directly to Ryazan. Yesenin proudly, but also sorrowfully calls himself "the last poet of the village." In vain poor fools, the foal wants to overtake the steam locomotive. The last fight and the end is clear. His poems hit the hearts of despair from his hearts, fought hopeless tenderness and unbridled determination to protect their right to sadness, song and death with fists and blood.

In the original: the impressions of one of Yesenin’s last speeches in St. Petersburg in Chernyavsky “Three Eras of Meetings” [3] Yesenin I knew for a long time - about ten years, twelve. The sky is a bell, a month - Yesenin's language was chosen from an idealized village industry, but I got out, of course, with the failures, and next to my mother’s mother, I needed a Bolshevik instead of the “Monument to Marx” a cow monument was required [6].

Not a marshmallow cow A la Sosnovsky, but a cow-cow, a cow, resting with horns on a steam locomotive. We cursed with Yesenin often, cutting him mainly over the Imazhinism overgrown around him. Then Yesenin left for America and somewhere else and returned with a clear craving for the new. Unfortunately, during this period, he often had to meet with him in a police chronicle than in poetry.

He quickly and correctly knocked out of the list of healthy, I am talking about a minimum, which is required from the poet. At this time, I met with Yesenin several times, the meetings were elegic, without the slightest strife. I met a man rushing towards me with a swollen face, with a struck tie, with a hat, accidentally holding on a brush, clinging behind a brush, a strand.

From him and his two dark ones for me, in any case, the satellites carried an alcohol fume. I literally with difficulty recognized Yesenin. With difficulty, he drew from the immediate demand to drink, reinforced by waves with thick wormes. All day I returned to his heavy look and in the evening, of course, for a long time I spoke, unfortunately, everyone has always been limited to this thing with my comrades that we must somehow take up Yesenin.

Those and I scolded the "Wednesday" and dispersed with the conviction that his friends - Yesenins watch Yesenin. It turned out wrong. Yesenin's end upset, usually upset, humanly. But immediately this end seemed completely natural and logical. I learned about this at night, the chagrin must have remained upset, and it should have been disgusting by morning, but in the morning the newspapers brought dying lines: in this life it was not new to die, but also to live, of course, not to News.

Imazhinism at that time flourished with a greenhouse, but rather magnificent flower. Dozens of poets and poets were passionate about this fashionable direction. Yesenin, with the appearance of a young prophet, ardently and inspiredly proved to me the inviolability and eternity of the theoretical foundations of imag forces. The words were erased like old coins, they lost their original poetic power.

We cannot create new words. But we found a way to revive dead words, enclosing them in bright poetic images. This was created by us, the imaginists. This movement is known under the name of Imazhinism. In a passionate article in the Red Newspaper, Boris Lavrenev fell upon the then company of Yesenin, to the imazhinists, calling them “degenerates”, and Yesenin “executed” them. This is not a very true concept, and even completely incorrect.

Of course, the then and later life of Yesenin played a role in his premature death. Breathable to see in imazhinism and imagers only destructive life. Imazhinism played a much larger role in the development of Yesenin. Imazhinism was a kind of university for Yesenin, which he built himself. He could not stand it when he was called a shepherd, Lel, when they made an exclusively peasant poet out of him.

I remember perfectly his rage, with whom he told me in the year about such an interpretation of him. He wanted to be a European.In a word, his talent did not fit within the song of the village shepherd. It was even then that he deliberately went to be the first Russian poet. And in Imazhinism, he just found an antidote against the village, against shepherds, against the person who reduces the personality of the sides of the village life.

In Imazhinism, there was another side for Yesenin, no less important: household. Everyone who sees here only cafes, rampant and mischief is stigmatized by stupidity. The life of Imazhinism needed Yesenin more than the yellow jacket to the young Mayakovsky. It was a way out of his shepherd, from a peasant, from a subordinate with an accordion. It was his revolution, his liberation.

There was a kind of Wildeism. We are a party of four. We go to one prominent Soviet worker. Brave about the case. Yesenin does not miss a single kiosk with waters. For each kiosk, he offers us to drink kvass. Igor Seversyanin is better: he wrote two or three times that he was a genius, and stopped. Do you know who you borrowed the word "famous"?

You borrowed it, of course, unconsciously, from the textbook of church history Archpriest Smirnov. Archpriest Smirnov loves this word! Then I bring from Yesenin a whole heap of Church Slavonic words. He is silent for a long time. Finally it does not withstand, begins to defend himself. In anticipation of the reception from the Soviet worker, we continue the interrupted conversation. Now I sing and will sing about trifles.

Yesenin talks about literature and art ”, summer. Beer near the monument to Gogol. For example, I taught me to write lyric poems Blok when I met him in St. Petersburg and read his early verses to him. The lyrical poem should not be too long, the block told me. The ideal measure of the lyrical poem of twenty lines. If the poem of the novice poet is very long, longer than twenty lines, it will certainly lose lyrical tension, it will become pale and watery.

Learn to be brief! In a poem that has from three to five quatrains, you can say everything that you feel, you can express a certain mood, you can develop one or another idea. This is at first. The funeral of one of us. His funeral, Yesenin. He was answered that it was impossible, that a certificate from the doctor was needed that this person really died. Yesenin did not calm down: and if you put a cow or doll in the coffin and with all the signs of the funeral honors that adhere to the deceased poet, they will carry a coffin along the streets of Moscow?

He was answered that this could not be done: it is necessary to have proper permission to arrange a similar procession. They explain again: it is supposed to have permission to have a procession. Yesenin talks about literature and art, ”Yesenin caught up with fame the day after his death. But the essence of death is not yet clear to him. This concept is included with the development of the mind.

In the lower floors of the psyche, death, apparently, is not considered as an act most terrible or more “dangerous” of all acts of human state. In the year, when the disaster was too close to me, when the contradictions and conflicts horrified me and I could not find a way out, I saw a strange dream.