Sergey Yesenin, also spelled Esenin (October 3 [September 21, Old Style], 1895 — died December 27, 1925), the self-styled “last poet of wooden Russia,” whose dual image—that of a devout and simple peasant singer and that of a rowdy and blasphemous exhibitionist—reflects his tragic maladjustment to the changing world of the revolutionary era.
The son of a peasant family of Old Believers, he left his village at 17 for Moscow and later Petrograd (subsequently Leningrad, now St. Petersburg). In the cities he became acquainted with Aleksandr Blok, the peasant poet Nikolay Klyuyev, and revolutionary politics. In 1916 he published his first book, characteristically titled for a religious feast day, Radunitsa (“Ritual for the Dead”). It celebrates in church book imagery the “wooden Russia” of his childhood, a world blessed by saints in painted icons, where storks nest in chimneys and the sky above the birch trees is a bright blue scarf.
Yesenin welcomed the Revolution as the social and spiritual transformation that would lead to the peasant millennium he envisioned in his next book, Inoniya (1918; “Otherland”). His roseate utopian view of Otherland was still informed by a simple ethos—the defense of “wooden things” against the vile world of iron, stone, and steel (urban industrialization).
In 1920–21 he composed his long poetic drama Pugachyov, glorifying the 18th-century rebel who led a mass peasant revolt during the reign of Catherine II. In 1919 he signed the literary manifesto of the group of Russian poets called the Imaginists (see Imaginism). He was soon the leading exponent of the school. He became a habitué of the literary cafés of Moscow, where he gave poetry recitals and drank excessively. A marriage to Zinaida Reich (later the wife of the actor-director Vsevolod Meyerhold) ended in divorce.
In 1922 he married the American dancer Isadora Duncan and accompanied her on tour, during which he smashed suites in the best hotels in Europe in drunken rampages. They visited the United States, their quarrels and public scenes duly observed in the world press. On their separation Yesenin returned to Russia. For some time he had been writing the consciously cynical, swaggering tavern poetry that appeared in Ispoved khuligana (1921; “Confessions of a Hooligan”) and Moskva kabatskaya (1924; “Moscow of the Taverns”). His verse barely concealed the sense of self-depreciation that was overwhelming him. He married again, a granddaughter of Tolstoy, but continued to drink heavily and to take cocaine.
In 1924 he tried to go home again but found the village peasants quoting Soviet slogans, when he himself had not been able to read five pages of Marx. Tormented by guilt that he had been unable to fulfill the messianic role of poet of the people, he tried to get in step with the national trend. In the poem “Neuyutnaya zhidkaya lunnost” (1925; “Desolate and Pale Moonlight”), he went so far as to praise stone and steel as the secret of Russia’s coming strength. But another poem, “The Stern October Has Deceived Me,” bluntly voiced his alienation from Bolshevik Russia. His last major work, the confessional poem “Cherny chelovek” (“The Black Man”), is a ruthless self-castigation for his failures.
In 1925 he was briefly hospitalized for a nervous breakdown. Soon after, he hanged himself in a Leningrad hotel, having written his last lines in his own blood.
A prolific and somewhat uneven writer, Yesenin had a true gift of song. His poignant short lyrics are full of striking imagery. He was very popular both during his lifetime and after his death. Frowned on by Communist critics and party leaders, who feared the debilitating effect of “Yeseninism” on the civic dedication of the young, he was long more or less out of official favour. Editions of his work that became available (1956–60) attested to his continued popularity. His complete works were published in 1966–68.