Sergei Yesenin: "I did not shoot the unfortunate in dungeons ...". Yesenin: a favorite of the royal family and Soviet power Yesenin on Soviet power

High School Program

We will gather at a common table where different social strata of society, different political parties of the early 20th century will meet face to face: Left Socialist-Revolutionaries and Bolsheviks, revolutionary Kombediks and kulaks, class-conscious proletarians and backward peasants, poets of the Proletkult and representatives of the “decaying” bourgeois literature.

In our debate, we will touch on many topics of the pre- and post-revolutionary period. Here are some of them:

• "Screaming" slogans of the new government and the poetic rise of S.A. Yesenin.
• "Civil war in the countryside" and the resistance of the Socialist-Revolutionary-Menshevik opposition in the Soviets.
• “There can only be two parties: one in power, the other in prison” (A.N. Bukharin). The role of the Soviets in the poet's creative life.
• “Put the bourgeoisie on an eighth ... and give the proletariat bread” (V.I. Lenin). The decrease in the population of Soviet Russia and the critical situation of villages, on the example of Konstantinovo.
• The long-awaited "Decree on Land" as a counteraction to Lenin's decree "On Emergency Powers ...".
• Vera S.A. Yesenin to a renewed Russia (“Heavenly Drummer”, “Transfiguration”, “Inonia” and unconscious concern for its future (“Country Book of Hours”, “Country of Scoundrels”)
• Imagism as "clownish antics for the sake of antics" and folk art as a standard of true figurativeness.
• Duplicity, betrayal, permissiveness of the new "friends" of the poet (Blyumkin, Ustinov, Trotsky, Kamenev) and Yesenin's departure from the galaxy of peasant poets.

The program is accompanied by reading poems by S.A. Yesenin, a story about his personal life.

The duration of the program with a tour of the museum is 1 hour 30 minutes.

Sergei Yesenin: "I did not shoot the unfortunate in dungeons ...". - part 3.

In 1915, young, perky, full of vitality, Sergei Yesenin wrote the lines that became prophetic:

By that sand
And I'm on a wind sway,
Love sadness.
They'll lead you with a rope around your neck...

Only seven years will pass, and the prophecy about the death of Sergei Alexandrovich will sound again, said by his close friend, the poet Nikolai Klyuev: “You, doomed to be slaughtered ... rejoice in your slaughtering ... ”- he wrote in a letter to Yesenin. The poet himself foresaw a tragic death. “I will be a victim...,” he told his literary secretary G. Benislavskaya, and a few days before his death he directly confessed to V. Erlich: “They want to kill me! I, like a beast, feel it! ”The life of Sergei Alexandrovich, according to the latest research, was cut short on December 27, 1925. at the Angleterre Hotel. What happened then in this hotel, how exactly the earthly existence of the great poet ended - will be shown (hopefully) in the near future. However, even today it can be said with a high degree of certainty that Yesenin, contrary to official version, was killed and then hanged. And here the question immediately arises: “And for what, in fact, Yesenin could have been killed?”

I am not a villain and I did not rob the forest,

I'm just a street rake
He did not shoot the unfortunate in dungeons,

Smiling at oncoming faces -

Sergei Yesenin wrote about himself. He wrote simply and sincerely, as, indeed, about everything that he had to write about. “I never lie with my heart,” he says in one of his poems. Paradoxically, it was precisely this position that did not suit the Bolshevik authorities, who believed that if a person lives in a revolutionary time, he must obey the laws of this time. This worldview was clearly defined by the proletarian poet E. Bagritsky, speaking about his century, he wrote:
"Lie" - lie,
But if he (the century) says:
"Kill" - kill ...
Sergei Yesenin, brought up from childhood on Christian, Orthodox values, preached otherwise. In one of his youthful letters, he wrote to his soulmate G. Panfilov: “Grisha, I am currently reading the Gospel and I find a lot of new things in it ... Christ is perfection for me,” and in another letter: “Yes, Grisha, love and pity people - and criminals, and scoundrels, and liars, and sufferers, and the righteous: you could and can be any of them. Love the oppressors too, and do not stigmatize, but reveal with caress the vital illnesses of people.

These lines were written even before the revolution of 1917, directed against the so-called "oppressors". It would seem that after the revolution, Yesenin changed his views. After all, he welcomed it (“Long live the revolution, both on earth and in heaven!”) And even wrote himself down as its creator:

The sky is like a bell

My mother is the Motherland,
The month is language

I am a Bolshevik

And as a Bolshevik, he must think and write accordingly. And, in fact, having fallen into spiritual obscuration (however, like the majority of the Russian people), Sergei Yesenin wrote blasphemous verses corresponding to the revolutionary, atheistic time. So one of them says:
The same honey flows the flesh
For thousands of years the same stars are famous,
You taught me, Lord.
Do not pray to you, but bark
For pennies from golden aspens
For your curly gray hairs,
Recalcitrant, robber son.
I'm screaming at you: "To hell with the old!"
It would seem that he renounced the "old" one, in which life was built on Christian mercy and love for one's neighbor, it seemed that he should become a preacher of a new, revolutionary testament: if necessary, lie, if necessary, kill ...

However, already in 1919, in the short poem "Mares' Ships", the poet, referring to the animals, which, in his opinion, have become better than people, says:

I won't go anywhere with people.

Than from your beloved to raise the earth
It's better to die together with you,

Into the crazy passing stone.

The same poem contains the following lines:
You are rowing into the land of the future.
With oars of severed hands
Yesenin began to understand that the revolution is built on blood, began to see clearly from "freedom that blinded everyone." But with his sensitive, poetic heart, he felt that this insight could become fatal for him. And again the prophetic words sounded in his work:

Only a heart under shabby clothes

"My friend, my friend, clear eyelids
Whispers to me, who visited the firmament:

Only death closes.

In 1923, in a letter to A. Kusikov, Sergei Alexandrovich wrote: “I cease to understand to which revolution I belonged. I see only one thing, that neither for February, nor for October ... "Why so - he explained in the poem" Country of Scoundrels ":
Some conversations
empty fun,
Well, what did we take in return?
Well then
Same thieves
The same crooks came
All were taken prisoner.
And the law of the revolution
Following the ideological insight, spiritual insight also came to Yesenin.

I'm ashamed that I believed in God

I'm sorry that I don't believe it now.

These lines, ambiguous in meaning, are known to all admirers of Sergei Alexandrovich's work. He spoke with great certainty to Isadora Duncan in 1922:

- The Bolsheviks banned the use of the word "God" in the press, you know?

But the Bolsheviks are right. There is no God. Old. Silly.

- Oh, Isadora! After all, everything is from God. Poetry and even your dances, - answered Sergey Alexandrovich, the translator Duncan Lola Kinel recalled.

However, Yesenin's return to God was excruciatingly difficult. Even in 1924, in his poems, he still did not separate himself from the bravado characteristic of the intelligentsia of that time. So in the work “Letter to Mother”, Sergei Yesenin writes:
There is no return to the old.
And don't teach me to pray, don't.
But a year later, confessional-repentant lines sounded in his work:

Forgive me for

I pray to him at night.
I don't believe in God
And you need to pray...
So I need.
When, in April-May 1925, one of the most anti-Christian opuses of Demyan Bedny, the poem “The New Testament without Flaw Evangelist Demyan”, was published in ten issues of the Pravda newspaper, Yesenin openly stood up for Orthodoxy, writing the poetic “Message to the Evangelist” Demyan." And although in it Sergei Alexandrovich again expresses his personal ambivalent attitude towards religion (which, most likely, was a screen for Bolshevik censorship), however, in general, he directly says that no one should trample on the Orthodox faith of the Russian people.

In his letter, the poet writes:

... When I read in Pravda

I felt ashamed as if I had
The untruth about Christ of the lecherous Demyan.
No, you, Demyan, did not offend Christ,
Into the vomit vomited drunk...
There was a thief, Judas was.
You didn't hit him with your pen a lot.
You are blood clots at the cross
You were just missing.
You only grunted at Christ,
He dug his nostril like a fat boar.

Efim Lakeevich Pridvorov.

(The real name of Demyan Bedny was Efim Alekseevich Pridvorov.)

In May 1925, Yesenin handed over the "Message" for publication to the newspaper "Bakinskiy Rabochiy", which was edited by his close friend P. Chagin. However, he did not dare to publish this work. And then it went through the people in the lists. They were read to them, copied by hand and passed to each other. Copies were widely distributed throughout Russia. For that time, Yesenin's "Message" played a big role in strengthening the national spirit. For a long time, Yesenin scholars denied the authenticity of this "Message", referring to the words of Ekaterina Yesenina, published in 1926 in the same Pravda. "This poem does not belong to my brother." However, at the end of the 20th century, the original of the poem was found and graphologists confirmed that it was written by Sergei Yesenin. In addition, there are the memoirs of P. Chagin, who personally remembered this work from Yesenin.

In 1925, it became completely clear to the Bolsheviks that they failed to “tame” Yesenin. He did not become a troubadour of the revolution. "God's pipe" - this is how Sergei Yesenin spoke about himself. The Bolsheviks saw in him an ideological and spiritual danger.. He was put under surveillance, criminal cases were brought against him, threatening to turn into political ones at any time (only thanks to world fame they did not dare to send the poet to the dungeons of the Cheka). Yesenin foresaw a tragic denouement, and this premonition tormented him. According to the memoirs of Ekaterina Yesenina, praying before the crucifixion of Jesus Christ, he said: “Lord, you see how I suffer, how hard it is for me ...”

On December 27, Sergei Alexandrovich died tragically. The true reasons for his death were hidden, but many witnesses still did not believe that the poet committed suicide. The husband of Ekaterina Yesenina, the poet Vasily Nasedkin, was one of the first to see the corpse in Angleterre and immediately told her: “It doesn’t look like suicide ... Brains leaked onto my forehead ...”

AT Orthodox Church also initially there were priests who did not believe in suicide. According to the researcher of the life and death of Yesenin N. Sidorina, memorial services for him were performed in three churches: in Moscow, in Leningrad and on Ryazan land. In the Kazan church of the village of Konstantinovo, Sergei Alexandrovich was buried in absentia by his spiritual mentor, Archpriest John Smirnov. At that time, for the funeral of suicides and memorial services for them, they were immediately deprived of the priestly dignity. This means that the testimonies of relatives were quite convincing that Yesenin did not commit suicide, but was killed.

But for almost eighty years, the version of suicide stubbornly insinuated itself into the consciousness of the Soviet people. And only in 1997 in the newspaper "Izvestia" the director of the Special Archive A.S. Prokopenko said: “Researchers of the causes of the death of Sergei Yesenin have long come to the conclusion that the OGPU was directly involved in the death of the poet. And there are documents about this in the archives of the KGB, but for seven decades they have not been allowed to read them. For the sake of just one removal of the sin of suicide from the soul of a great poet, the wicked who cut off his life should be named.

Yesenin was killed by the Bolshevik internationalists for national identity, for preaching Orthodox values ​​​​in his work - love for one's neighbor and mercy, love for the Motherland and the Russian people, because with his poems the great poet opposed the lack of spirituality implanted by the Soviet authorities, and thereby supported among the people, the belief that Orthodox Russia has not sunk into nowhere, which means that the time will come for its revival. For this, Sergei Yesenin was doomed to the slaughter.

A great deal of research work in the investigation of the death of Sergei Yesenin - identifying the causes that led to the murder, customers and specific perpetrators of the crime - was done by an associate professor of the Department of Literature of the St. Petersburg Academy of Culture, a member of the Writers' Union Russian Federation Viktor Kuznetsov. In his work “The Secret of Yesenin’s Death,” the author wrote: “In the story with Yesenin, the sadists acted ahead. Paradoxically, but true: there is not a single convincing evidence that the poet committed suicide. But there is a lot of evidence of the murder.”

Here is how Kuznetsov describes the incident: “The director of the“ staging ”of the suicide of Sergei Yesenin in the 5th room of the Angleterre Hotel was the film director of Sevzapkino Pavel Petrovich Petrov (Makarevich), who, trusting the thugs who dragged the body of the murdered Yesenin through the basement labyrinth from the building of the GPU investigative prison, located at 8/23 Mayorova Avenue, did not check the 5th hotel room prepared for open viewing.” how Yesenin, bleeding, was able to build such a complex pyramid on the table with cut palms and other wounds and climb up to the ceiling; what a terrible depressed mark above the bridge of the nose (the official version is a burn); finally, the jacket of the deceased disappeared somewhere. By the way, I. Oksenov, a well-known radiologist at that time, a member of the Leningrad literary group "Commonwealth" (1925-1929), who saw him, wrote in his "Diary": heating, on which he hit his head), his mouth is half open, his hair has developed a terrible halo around his head. And further: “In the coffin, he was no longer so terrible. The burn was smeared over, eyebrows and lips were brought up. ”Further, Kuznetsov cites the testimony of a novice scammer then, a young poet Pavel Luknitsky: “Yesenin did not look much like himself. During the autopsy, his face was corrected as best they could, but still there was a large red spot on his forehead, a nodule in the upper corner of the right eye, an abrasion on the bridge of the nose, and a flat left eye: it leaked out ”(“ Meetings with Anna Akhmatova. T 1. 1924-1925, Paris: Ymca-Press, 1991).

Photographic materials - evidence of the version of the murder of Sergei Yesenin: All photographs - the originals are stored in the museum of S.A. Yesenin. There are also photographs of the poet's death masks, which are kept both in museums and in private collections.

Photographic materials indicate not only that Sergei Yesenin did not hang himself, but also that before his death he put up strong resistance to the executioners who inflicted mortal wounds on him.

All photographs are accompanied by questions, due to the inconsistency of the images with the official version, which claims the poet's suicide.

What does it mean for Russia to recognize the official version of the death of Sergei Yesenin

The emigrant, historian and writer Mikhail Koryakov in 1950 categorically stated: “Spitting on Yesenin means spitting on Russia and the Russian people.” Why were the people of Russia deceived, why were they forced to believe in the suicide of Sergei Yesenin? Why was his poetry banned? What was the Soviet government and the emerging communist system so afraid of?

Allowing people to read Yesenin's poems meant for the communist system to allow people to believe in God, which made them lose faith in the Communist Party, and, in the end, for the Communist Party it meant losing their power over the people. Therefore, the young genius Sergei Yesenin was slandered and presented to the people as a rowdy, brawler, drunkard and womanizer, moreover, a mentally ill person.

But even this was not enough for the ruling communist regime, it was necessary to make the great Russian poet still a sinner - therefore, this monstrous crime was committed not only in relation to the physical destruction of the poet, but also the destruction of the conscience of the Russian people. People who believed in this lie became accomplices in this crime. At its core, the murder of Sergei Yesenin is a crime against humanity.

Later, Yesenin's poetry was banned, people were attracted for reading the poet's poems under Article 58 (an article in the Criminal Code of the RSFSR, which entered into force on February 25, 1927 to counter counter-revolutionary activities). The campaign against "Yeseninism" lasted for several decades.

The return of the pure, worthy and proud name of the great Russian poet Sergei Alexandrovich Yesenin is the return of the conscience of the people of Russia.

From the beginning of its history of murder, the communist system has always used the same gang tactics: it started by creating negative rumors in society about who it was going to persecute. If a person was broken spiritually, he no longer posed a threat to the communist system, but if a person remained faithful to some ideals, he had to be destroyed, as they did with Sergei Yesenin, whom the Soviet government put "outside the law."

“Whoever the person placed outside the law is, he is immediately crossed out, no matter what his merits were in the past. So, there is no need to talk about any doubts about his guilt: this person turns not just into an outcast, but into a living corpse, whose death was only a matter of time…”, said Lieutenant General of Justice A.F. Katusev.

Winds, winds, oh snowy winds,
Notice my past life.
I want to be a child of light
Or a flower from the meadow border.

I want a shepherd's whistle
Die for yourself and for everyone.
Star bells in the ears
Pours evening snow.

Its foggy trill is good,
When he drowns the pain in a blizzard.
I would like to stand like a tree
On the road on one leg.

I would like under horse snores
Hug with a neighboring bush.
Raise, you moon paws,
My sadness in heaven with a bucket.
(p. Yesenin. 1919).

Rogova Anastasia 05/10/2019 at 23:40

He allowed himself to spit on recognized authorities, bathed in the adoration of secular beauties, burned his life recklessly and ... acutely yearned for a lovely village. It's all about Sergei Yesenin. There are still many mysteries and mysteries around the figure of the great poet. Including his terrible death in the Angleterre Hotel ...

October 3 (September 21, according to the old style) will mark the 124th anniversary of the birth of the "last poet of the village", as Sergei Yesenin called himself. He really was already born as a poet, and the Ryazan village of Konstantinovo shaped the character, religious beliefs and views for the rest of his life. And in whatever cities, and at whatever high-society events Yesenin later shone (and he happened to read his poems in front of Empress Maria Fedorovna), the village in him remained the main beginning. Sergei's view of life is a stubborn and wary, slightly mocking, in some ways limited, in some ways endlessly broad look of the Russian peasant.

When young Yesenin, a talent already recognized in his homeland, arrived in St. Petersburg with publications and the blessing of teachers, he did not come from scratch (as he coquettishly later told and wrote), but clearly understanding how he needs to behave and what is expected of him literary circles.

Nikolai Klyuev, the founder of his own circle of "new peasant" poetry, immediately guessed in the talented golden-haired native of the province a talent suitable for his program of performances, and carefully took the young man under his wing. If Nikolai Klyuev lived today, he would have become an amazing PR man or producer.

At the beginning of the 20th century, interest among the creative intelligentsia in the countryside increased a hundredfold. And Klyuev, who himself has peasant roots, was well aware that he would impress the audience gathering for poetry evenings. He and Yesenin, in ideally styled peasant shirts, girded with sashes (and sometimes in bast shoes), with hair smoothed with lard, read poems from the stage about the village, about Russian melancholy - with obligatory birch trees, horses, open spaces and peasant huts.

Klyuev himself resembled a kind of Mikula Selyaninovich, and the young Yesenin with golden curls was the shepherdess Lelya. Both of them seemed to have stepped off the popular print, showing the St. Petersburg public exactly the kind of village that they wanted to see: picturesque, epic, fabulous. And Yesenin's appearance and poetry were the quintessence of this fictional village. The success was enormous. Everywhere they talked about "peasant" poets. Ladies wept with delight at the sight of Sergei's golden curls, and venerable poets approvingly clapped the folk talent on the shoulder.

But Klyuev, in his spare time from performances, sat in his luxurious hotel apartments, reading foreign authors in the original, and Yesenin mastered the nightlife of the Northern capital. Nikolai always disapproved of the self-will of his young comrade-in-arms, who, instead of talking about the destiny of Russia, preferred to have fun recklessly. It is not surprising that the creative duet soon broke up, and Klyuev sharply condemned his former protégé.

With Anatoly Mariengof and Vadim Shershenevich, Yesenin created a new direction in poetry - Imagism, which was based on an understanding of the main goal of creativity, as the creation of an image. But Yesenin's poetry did not fit any literary framework. The poet grew up rapidly, and his poems changed just as rapidly. Only one thing remained unchanged - a bitter tenderness for the village. He missed her, his childhood, his hopes. Although, at that time, Sergei already had everything that any poet striving for success could dream of.

Glory, recognition, success with women, constant drinking - all this gradually turned Yesenin from a healthy peasant guy into a hysterical and capricious life-breaker. Exaggerated praise and admiration of the fans made me believe in their own genius. Yesenin considered himself not only "the last poet of the village", but also the first poet of Russia. He did not like Mayakovsky - he was afraid that he would beat off his listeners and recognition from him. He shouted when he saw newspaper articles about Mayakovsky: "I will die under a fence on which posters with an announcement of Mayakovsky's evening will be posted!" Friendship with Mariengof also ended in a complete break.

Oddly enough, only the well-aimed and caustic Zinaida Gippius, who did not love either Yesenin himself or his poems, guessed weakness poet - early glory. And she predicted that it was the "copper pipes" that would destroy this "cherub". Yesenin did not pay any attention to the warning "Gippiusikha". In general, he treated the representatives of symbolism, especially the elders, without the slightest respect. Sergei was sure that he himself knew perfectly well what creativity was, and how a real poet should live. Of the representatives of the older generation, Sergei Yesenin respected only Blok. Respected, but slightly condescendingly, condescendingly.

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