Sergei Yesenin Research Articles

THE CREATIVE PERSONALITY OF SERGEI YESENIN IN PERCEPTION OF THE RUSSIAN PHILOSOPHER ALEKSANDR KONSTANTINOVICH GORSKIY

The article offers the first experience of studying the reception of the creative personality of Sergei Yesenin by one of the prominent representatives of Russian religious cosmism, philosopher, poet, publicist Aleksandr Konstantinovich Gorskiy (1886–1943), whose legacy only recently became publicly available to researchers. The main milestones of Aleksandr Gorskiy’s creative biography, the formation and key aspects of his philosophical teaching are traced; the reasons for Aleksandr Gorskiy’s interest in Yesenin’s poetry are explained, despite the lack of personal contacts between them, the philosopher’s appeals, recorded in his works and letters, to selected pages of the poet’s life are explicated and commented on. It is indicated that in Aleksandr Gorskiy’s philosophical constructions, a significant place is occupied by criticism of the death-worshipping attitude both in literature and in religion. The authors of the article pay special attention to the analysis of Aleksandr Gorskiy’s memorial poem “Yesenin”, where this attitude is clearly manifested. It is shown that in this work the philosopher creates an ambiguous image of the late poet, who not only thoughtlessly squandered his God-given talent, but also subordinated all his power to the idea of self-destruction. The author’s dating of the memorial text – 1925 – is disputed due to the presence in the content of the lyrical epitaph of reminiscences from the poem “The Black Man”, published only in January 1926. It is established that in Gorskiy’s later works, references to Yesenin’s work could potentially indicate a revaluation of the philosopher’s previous judgments about the poet. The materials of this article will be in demand with preparing the section “Yesenin and His Contemporaries” in “Yesenin Encyclopedia”.

О влиянии романа «Что делать?» Н. Г. Чернышевского на творчество С. А. Есенина

The article discusses the origins of Sergei Yesenin’s acquaintance with the novel What Is to Be Done? by N. G. Chernyshevsky: this happened in Spas-Klepikovskaya second-class teacher’s school in 1909-1912. The work was read among the intellectuals, and students outside of school hours argued about it and embraced the ideals of the “new people”. Later Yesenin encountered Chernyshevsky’s novel at the lectures on Russian literature by P. N. Sakulin at Moscow City People’s University named after A. L. Shanyavsky. As a result, a number of elements of Chernyshevsky’s poetics were associatively reflected in Yesenin’s long and short poems as well as in his story Yar. In the works of Yesenin figurative echoes with Chernyshevsky are noticeable. The main ideological moments that worried both writers include: the wonderful future of the Fatherland, the conscious creative arrangement of the earthly paradise in the country. Among artistic means, the writers used the epithet “new”, applied it to the re-interpretation of the biblical laws of human society in terms of freedom, e quality and brotherhood. Both writers considered this epithet to be the main element in describing both the process of building a just state system, and in characterizing the creators of a better life. Understanding the importance of the nuances of psychology for each person, Chernyshevsky and Yesenin developed the concept of mystery. Chernyshevsky used the successfully found philosophical solution to create reliable everyday pictures, and Yesenin endowed it with further biblical and mythological meanings, asserting the “mystery” as a comprehensive postulate of sophianis m. In his personal life, Yesenin in his youth followed the example of the everyday habits of Rakhmetov, but without repeating the entire line of behavior of Chernyshevsky’s literary character. Yesenin gave his main characters in the story At the White Water (<1915>) unusual names that appear in minor characters and characters mentioned in passing in Chernyshevsky’s novel. However, in order not to assert the comprehensive nature of Yesenin’s borrowings of Chernyshevsky’s creative findings, the article presents other possi ble sources of na mes and biographical foundations for some of the poet’s behavioral lines.

Поэтический цикл С.А. Есенина «Москва кабацкая» и его оценка в критике 1920-х гг.

The paper addresses Sergei Yesenin’s poem cycle Tavern Moscow, characterized by a set of motifs and images which dominate his 1921–1923 poems, and its critical reception in the 1920s. It looks into the history of the creation of the cycle as the poet’s fictional autobiography and enumerates the main principles of cyclisation Yesenin used. The author analyses multidimensional and controversial protagonist figure, whose mask (the poet-ruffian) is a form of protest against everyday life. Tavern Moscow, as an incarnation of the Russian rebellious soul, also acts as the document of a spiritual crisis caused by the clash between the romantic ideal and current life, and the overcoming of this crisis. No other work by Yesenin caused such an animated discussion and controversy as Tavern Moscow. The study analyses literary and critical material presenting mixed reviews, which can be explained by political and group preferences. The critical responses fall under three large categories: critics praising Tavern Moscow as “having a high aesthetic value”; critics speaking favourably of the cycle as an important step in Yesenin’s work but at the same time warning of their “corrupt influence”; critics describing the poem cycle as a “sinister drunken poem sequence”.

Using the folklore and poetry by Sergei Yesenin in Russian as a foreign language lessons: an online class

Object of the article: Russian as a foreign language classes. Subject of the article: the method of creating an artificial language environment in classes with students from Asia and Africa who study Russian as a foreign language. Material of the article: an online experiment on the use of materials of Russian folklore and the artistic heritage of the poet of the early XX century Sergei Esenin in classes with foreign students. The purpose of the article is to identify the national axiology in Russian poetry. The purpose of the article is to show the features of the online lesson of Russian as a foreign language. Methodology: holistic hermeneutic analysis of the song on the poet's verses "Above the window the moon" with the involvement of biographical commentary and historical-literary context. The results of the study consist in the development of a methodology for analyzing the text with foreign students, aimed at a holistic perception and understanding of the poetic text.

Поэтическая интонация в творчестве С. А. Есенина (на примере цикла «Персидские мотивы» и поэмы «Мой путь»

The paper looks into the specificities of poetic intonation in Sergey Yesenin’s poems. Yesenin’s making as a poet took place in the Silver Age of Russian literature, which explains a syncretism of arts in his work. This concerns primarily a synthesis of poetry and music. The study focuses on poems from the “Persian motifs” cycle and a “short poem” “My Way” (“Moy put”). In songlike poems an intonational component, being the dominant one, finds its realization in the poem’s syntax. The analysis of the poems’ melody allows us to detect numerous chorus variations, which order the verses and underline their melodic cohesion. Melodic harmony is visible on the semantic as well as on the intonation and syntactic levels, including the composition, while alliterations and assonances account for the harmony of sound instrumentation of the poems. The paper also studies facture, an important concept which closely concerns the intonational component. The facture character of Yesenin’s poems is made up of the specificities of the metrics and rhythm, compositional-stylistic and rhythmic-intonational devices, pauses, stresses, author’s punctuation, etc.

"The Black Man" by Sergei Yesenin: Motive-figurative Constants and Artistic Genealogy (Mystical Aspect)

The article is devoted to the analysis of the last poem by the bright representative of the Silver Age of Russian poetry Sergey Yesenin. The poem "The Black Man" is not only and not so much the poet's confession before his death, but the result of the poet's work, the logical, albeit tragic, completion of his artistic and life searches. The article examines the key images and motifs of the Yesenin poem in trans-literary and trans-cultural aspects, including references to medieval mysticism, mediated by the Russian literary tradition of the XIX-early XX century. The reception of mystical experience in the artistic world of Yesenin takes place through a rethinking of the traditions of Orthodox spirituality, the European Christian worldview and the romantic picture of the world.

Contrasts in the letters of Sergei Yesenin: from the prose of reality to spiritual life

The article describes and analyses some of the important contrasts contained in the epistolary of Sergei Yesenin, conveying the features of his nature and perception of the world. The author addresses the problem of sincerity / pretence, widely presented in the poet's letters, which makes it possible to assess the process of his getting used to a difficult reality. It is noted that in Sergei Yesenin’s messages to various addressees, experiments were made with the word, a search was conducted for successful combinations of lexemes. Particular attention is paid to comprehending the poet's statements about the soul, his assessment of Western life. Sergei Yesenin’s mood changed often, and the letters included those facts that were directly or indirectly marked by his emotional-evaluative attitude towards himself and the people around him. Sergei Yesenin’s epistolary reveals the depth of his experience of various events in his personal and social life, the inescapable loneliness of the poet.

Феномен двойничества в лирике С.Есенина и А.Блока

This article examines the problem of duality, characteristic of the mentality of Russian culture, especially intensified at critical moments of cultural and historical development. The general decline of the turn of the XIX-XX centuries, impermanence, and the aggravation of the mystical principle contribute to the strengthening of the phenomenon of duality in the cultural consciousness of the Russian spiritual and cultural Renaissance, primarily in the works of such poets as A.Blok and S.Yesenin. The purpose of the study is to determine the functions of the duality motif in the poetry of A.Blok and S.Yesenin, since the phenomenon of duality is an important feature of their artistic world. The authors pay special attention to the term «duality» itself, which is already emerging in folklore and developing in the subsequent cultural tradition. It is shown that in studies the double can be viewed both positively and negatively. The article pays considerable attention to the function of images and motives of duality in S.Yesenin's poetry. Based on the analysis of the poem «The Black Man», which is the most striking example of the embodiment of the theme of duality, as well as the involvement of a number of other lyrical works of the poet, where the duality of his inner world is also traced, it is established that the motive of the double in Yesenin has a demonic nature, therefore he often plays the role of the enemy of the lyrical hero. The author substantiates the idea that this is one of the most significant works, which can certainly be called the key to understanding the entire artistic world of Sergei Yesenin and his life as a whole. This article is also devoted to a comprehensive study of the problem of «duality» in the lyrics of A.Blok. In the artistic world of A.Blok, there is also a split of consciousness, a mental conflict of opposite sides, which causes the appearance of doubles. Duality in Blok's work is a phenomenon of the poet's personality formation. It is connected to a greater extent with the romantic orientation of the poet. His philosophy of the existence of «other worlds» is very similar to the idea of a romantic «two worlds» embodied in the works of A.Fet and V.Zhukovsky. As a result, the authors come to the conclusion that the embodiment of the duality motif in the poetry of S.Yesenin and A.Blok was much deeper and more contradictory than just the appearance of the image of a double in the text of the work. We can talk about the split consciousness of the personality of poets. In their work, there is a trace of the spiritual duality of the poets, generated by the painful need to understand themselves, the world around them, to find their place in this world.

Сергей Есенин и Райнер Мария Рильке: опыт сравнительно-типологического исследования художественных систем

The article presents the comparative-typological analysis of the artistic systems of Sergei Yesenin and Rainer Maria Rilke. The author considers the motif and image parallels, states and proves the hypothesis that the creative search of the poets is typologically correlated in a number of artistic parameters, including the nature of the lyrical character, the specificity of the metaphorical imagery, pantheistic sense of nature, confessionalism, the specific character of lyrical reflection. The poetic world view in the lyrics of Yesenin and Rilke is largely based on the model of the world as a temple. The similarity between the lyrists can be also seen in the principles of their artistic thinking. The assertion of universal connection of natural phenomena is based on the “philosophy of omniscience”, on the idea of the interreversibility of the world-tree and man-tree, macrocosm and microcosm. The spiritual and aesthetic closeness of the two poets at certain stages of their creative development is motivated by the conceptual significance of the “Russian experience” in Rilke’s artistic world perception and work. The poets were close to each other in their artistic search as they met the objective aesthetic needs of the verbal world art in the formation of a new poetic language, in strengthening the role of expressive metaphor, in the return to myth on the basis of its individual-author rethinking, in finding the lost unity of man with the natural space and its divine originality.

ПАРАДИГМАТИЧНА СИСТЕМА ЛЕКСИЧНИХ ОДИНИЦЬ (НА МАТЕРІАЛІ ПОЕТИЧНИХ ТЕКСТІВ)

Paradigmatic relations between units of poetic text have been a matter of researcher interest for a long time. But scientists usually focus their attention on the semantics level. Commonly, systems of synonyms, antonyms, and lexical and semantic groups are being analysed in terms of the function they have in the text. The holistic paradigmatic system of text lexical units was never the subject of special study. This article purpose is a description of specific paradigmatic systems, that are formed by lexical units functioning in a poetic text. The research is conducted within the framework of functional linguistics, which involves considering the content of the text to be an active mental activity of the author and the perceiver, interacting in the communicative act AUTHOR - TEXT - READER, from the standpoint of the recipient. In the chosen anthropocentric model, paradigmatic text analysis is an attempt to model the process of text perception by the recipient. In contrast to the traditional description of lexical paradigms, the subject of paradigmatic analysis are words and more voluminous intertextual verbal complexes that form a system series as a definition of one or similar concepts or form interconnected perceptual “subject” images in the process of a text or group of texts perception. The study is based on a comparative analysis of Sergei Yesenin's poems “The grove of golden trees has fallen silent” and “Birch”. The presented analysis of the poems shows that the strengthening of the conceptuality entails an increase in the dependence of private paradigms in the hyper paradigm of the text. If we follow a strict analogy with syntax, we can say that the paradigmatic organization of projective texts is closer to parataxis, and conceptual is closer to hypostasis. The study of the paradigmatic organization of the works of Sergei Yesenin proves the expediency of lexical units paradigmatic analysis of the literary text, which opens up the possibility for a more complete interpretation.

Окказиональное слово- и фразеотворчество в художественной прозе С. А. Есенина

The language of Sergei Yesenin’s prose is still poorly studied. The article aims to analyze Yesenin’s individual authorial formations extracted by the method of continuous sampling from the story Yar, the short story “Bobyl and Druzhok” and the novella At White Water. The main methods of analysis were descriptive, component, and contextual ones. As a result of the study, we identified Yesenin’s individual authorial lexemes, bilexemes and phraseological units. We recorded occasional names of everyday objects, natural phenomena, as well as names of people, animals and body parts formed by suffixation, prefixation and suffixation, and composition. For the derivation of adjectives the writer uses suffixation (with various suffixes, sometimes unproductive), occasional patterns (with missing stages in the derivation chain), and composition. To coin verbs, Yesenin chooses mainly prefixation-suffixation and prefixation-suffixation-postfixation methods. He also adds a derivational morpheme to an onomatopoetic word, which is occasional by nature. When coining participles and adverbs, Yesenin uses mainly traditional schemes, but takes the stems of occasional and dialect verbs as generating ones. His adverbs are mostly lexical occasionalisms and are formed mainly by prefixation-suffixation. We also recorded authorial particles and interjections in Yesenin’s prose. A features of the writer’s individual creative manner is the presence of the so-called bilexemes his works. Yesenin’s prose contains occasional phraseological units, in which a unit’s component is replaced, a unit is part of a comparative construction with a completely replaced predicative component, a unit is broken, a unit’s composition is expanded, several units are combined, a unit is shortened or dephraseologized. A separate group is units with the concept “God” – these are modified set phrases and formations created by Yesenin himself. The structural and semantic analysis of the transformed and authorial phraseological units showed their main functions: emotive, evaluative, transmitting additional information and saving speech resources. Transforming a phraseological unit, Yesenin introduces various semantic clarifications, enhances expression and achieves a comic effect. Occasionalisms are found both in the author’s speech and in characters’ remarks. The performed analysis of Yesenin’s individual authorial formations from literary prose, as well as the appeal to the poet’s lyrics give us grounds to conclude that, for Yesenin, occasional words and phrasess are not just a means of expression, but an integral element of his individual style that, on the one hand, emphasizes the originality of his language, and, on the other, brings it closer to the poetic traditions of folk speech, which indicates the versatility of Yesenin’s talent.

Sergei Yesenin\'s Work and Oriental Literature

Abstract: The article analyzes the poems of Sergei Yesenin. In particular, the issues of poetic poetry and oriental literature are studied comparatively. The study of Sergei Yesenin's work in oriental literature is described in a unique way. Keywords: poetry, tradition, originality, unity of form and content, oriental tone, lyrical experience, heroic nature

Hai Zi – Chinese Sergei Yesenin: tanatological poetics and “romance with death”

The article considers the work of the Chinese poet Hai Zi (mostly based on works not translated into Russian) as a characteristic example of the spiritual and artistic influence of Sergei Yesenin's work on modern Chinese poetry. The poetic dialogue of Hai Zi and S. Yesenin is considered from the point of view of tanatological poetics, which allows us to present their work as a single meta text, developing various variations of tanatopoetics in order to achieve absolute self-identification by synthesising “self” – death – art. The category of death is considered as the integral basis of the work of S. Yesenin and Hai Zi, which ultimately leads to the realisation of their personal attitude to death as the ontological, epistemological and axiological basis of life and creative work. The article justifies that the “romance with death” of S. Yesenin and Hai Zi is a manifestation of their life-building strategy, consonances in motif and figuration are revealed in the aspect of tanatological poetics, taking into account the different nature of those motifs: the spontaneous-organic feeling of death in S. Yesenin and the tanatological ideology of Hai Zi, based on the synthesis of Western philosophy, Confucianism, Taoism. Particular attention is paid to the consideration of S.Yesenin's poem “The Black Man” and the poem “Spring. Ten Hai Zi” as works that expose the key settings of the poets' tanatological discourse, as well as an analysis of Hai Zi's poem "Life Was Interrupted" as prisms for the reinterpretation of S. Yesenin's life and work within the framework of the tanatological paradigm of "Chinese Yesenin" and the most important act of semiotisation of life and creative work of the Chinese youth, when suicide is positioned as the final statement.

Review of <i>Apophatic Literary Criticism. Notes of a Non-philologist</i>

Apophatic Literary Criticism. Notes of a Non-philologist’ by Marianna Dudareva demonstrates Russian spirit and reflects the immense variety of characters and plots that influence people and manifest the creative power of literature. The author introduces a number of writers, from Sergei Yesenin to Vladimir Korolenko, with unique literary styles and a common apophatic approach to reality. The term apophatic comes from the Greek word to deny and initially referred to religious studies where it served both as a concept and a method. Apophatic theology attempted to approach God by negations rather than affirmations of what God is. M. Dudareva’s work showcases how literature studies instrumentalize the apophatic method of philosophy. This review complements the study with a reflection on the topic of death and its inextricable connection with life. Literature speaks of life and dwells on the struggle for life, that is also key to philosophical thinking. Enough to mention Arthur Schopenhauer and his idea of the will to live. In contrast to philosophy, literature uses a vivid, colorful, and copious language, while philosophy is concerned with universal principles. Some distinguished authors managed to bridge this gap. For instance, Dostoevsky, Nietzsche, and Sartre created works of both literary and philosophical nature. The same can be traced in the short stories by B. Zaytsev and A. Grin, analyzed in the book. B. Zaytsev writes about death approaching us first through others, this idea is also found in V. Jankélévitch’s work Death. Death is never ours for it is always we or our death, but when we see it around it causes anxiety and fear. In Avdot’ya-smert’ (Avdot’ya-Death) the main character says a prayer to be relieved of her mother and son, whom she considers a burden. Once death enters their home it never stops, it gets closer, and at the end of the story it takes Avdot’ya too. In Grin’s Fighting Death, death struck Lorkh falls asleep and herein dreaming is not a harbinger of the darkness of eternal sleep. On the contrary, Lorkh wakes up willful and hopeful, he fights for his life and succeeds. These stories vibrantly illustrate the victory of life over death and death over life as the result of exercising one’s free will. Color in literature is another topic touched upon by the author. M. Dudareva refers to Goethe’s Zur Farbenlehre to speak about contrasts, and R. Steiner to underline the importance of black in creating an image where color range matches the emotional range.

Поэма С. А. Есенина «Черный человек» в польских переводах и в оригинальном поэтическом творчестве

The paper examines Polish reception of the poem by Sergei Yesenin “The Black Man”. It attempts to intertextually analyze the work at the level of various kinds of analogies with Polish poetic texts, translated and original. The subject of comparative analysis is the content-formal aspects of translated texts. At the same time, the theory of translation, becoming a part of the comparative methodology, allows one to reach a broader level of generalizations, cultural projections, and socio-historical parallels. The study addresses a number of translations (W. Słobodnik, L. Podhorski-Okołów, W. Broniewski, A. Pomorski), illustrating the degree of freedom of interpretation of a literary text, proportion of congeniality as a special criterion of poetic correspondence. The very process of circulation, transfer, continuous cultural exchange of motives, lyrical situations between the texts of different national literatures and linguistic elements came to be an undeniably important aspect of artistry as a new quality of imagery and the birth of “explosive” poetic meanings. The issue of cultural transfer allows perceiving in individual translation versions mental worlds of the authors refracted in them, life-creating and biographical contexts, as well as historical collisions. In this case literary translation acts as a reliable tool, through which typological and comparative-historical comparisons of poetic worlds are carried out. Analysis of the micro-poetics of texts, motif structure and sensory layer appears more or less convincing on the way of studying reception and a broad intertextual field of selected works.

К 125-летию со дня рождения С.А. Есенина: от Парижа до Константинова

The review provides information about the main scientific and cultural events in honor of the 125th anniversary of the birth of Sergei Alexandrovich Yesenin (1895–1925), which took place in 2020. Among them is an evening in Paris as part of the XI Days of Russian Books and Russian-language Literature and Russian Seasons in France; the International scientific symposium “Sergei Yesenin in the XXI century”, held in Moscow, Ryazan and Konstantinovo; the exhibitions “‘Live as the star leads you...’: to the 125th anniversary of the poet’s birth” (State museum of the history of Russian literature named after V.I. Dahl); “I never lie with my heart” (House-museum of F.I. Chalyapin). The main scientific event of the anniversary year was the release of the first issue of the Yesenin Encyclopedia — “Memorable places. Literary geography”, prepared in IWL RAS.

Why Did the Canary Die? (Sergei Yesenin about Nikolai Klyuev)

The article is devoted to the problem of interpretation of the well-known Yesenin lines about N. A. Klyuev in the poem “In the Caucasus”. In literary criticism, the point of view has been established, according to which the eleventh verse of the poem by S. A. Yesenin contains a well-known “epigrammatic definition” expressing the extremely sharp “negative attitude” of the poet towards his former mentor. The systemic analysis of Yesenin’s poetic definitions of Klyuev, “gentle apostle” (“O muse, my flexible friend...”, 1917) and “Ladoga deacon” (“In the Caucasus”, 1924) in the historical and literary context, made it possible to find their close semantic correlation and identify the lines about Klyuev in the poem “In the Caucasus” as the author’s self-irony, expressed in the form of a comic demotion of his former teacher. It is proved that in the poem “In the Caucasus”, ironically putting himself in the place of a “dead canary”, a poet who categorically does not accept imitation in poetry, not only declares that singing “from the voice of someone else” is destructive for any talent, but also clearly makes it known that he is “not a canary,” imitating Klyuev, that their paths diverged long ago, that the canary in him “died” in his youth; and the self-ironic, harmless lines about his mentor in the poem “In the Caucasus” testify to Yesenin’s creative maturity as a great national poet who has comprehended his significance and place in Russian Parnassus.

Личность и творчество Эдгара По в восприятии Сергея Есенина

Личность и творчество Эдгара По в восприятии Сергея Есенина

REFLECTIONS ON SYMBOLISM OF HERBS IN THE IDIOSTYLE OF SERGEI YESENIN

The aim of the article is a linguistic analysis of the symbolism of herbs in the idiostyle of Sergei Yesenin. The research material is the original poems by the Russian poet. The method of the semantic analysis in the article is combined with the linguistic and cultural method of linguistic material description in semantic fields. Herbs are understood as subpoles of „plants” in the semantic field of the meaning „nature”. The subject of the description covers such words as: stipa (ковыль), chervil (купырь), nettle (крапива), poppy (мак) and others. The article discusses the problem of archetypes of symbols. Stylistic language means of illustrating individual symbols of herbs in Yesenin’s idiostyle are described. Among other symbols distinguished in the research are metaphorical, metonymical, those of comparison, etc. The analysis showed the specificity and uniqueness of the symbolism of herbs in Yesenin’s poetic works, resulting, inter alia, from the poet's great fascination with nature.

THE PORTRAIT OF SERGEI YESENIN IN ESSAYS-MEMOIRES OF YURY ANNENKOV AND MAXIM GORKY

The paper presents a comparative analysis of the methods of creating a verbal portrait in the essay by Maxim Gorky “Sergei Yesenin” and in the memoires of Yury Annenkov “Sergei Yesenin”. The possibility and necessity of comparing the two selected works is explained by both the factual material chosen by the authors (both writers devote their essays to Sergei Yesenin) and similar methods of creating a verbal portrait of the poet, and the context of the style of the era, which is reflected in the works and the individual style of each artist. The aim of this work is to substantiate the genre-style features of the considered verbal image of Sergei Yesenin in the abovementioned works, which allows clarifying the created and already axiomatic image of the poet. The study is built using comparative historical and historical functional methods, the works of Alexander Veselovsky, Yuri Lotman, Yuriy Mineralov, as well as the experience of modern literary scholars involved in the theory and history of verbal painting. In the process of the comparative analysis of the works, it was revealed that Yury Annenkov and Maxim Gorky, recreating the verbal portrait of the poet Sergei Yesenin, was primarily seeking to portray him as an exponent of the tragic era. Capturing the image of the poet Sergei Yesenin, the painter creates his self-portrait, surrounded by his beloved, at the background of the era in which he lived, the writer tries to guide the reader inside the poetry laboratory of ‟nature”.