What, How, and Where Did the Poets of the Silver Age Study?

The names of the poets of the Silver Age are as widely known today as the names of modern pop stars. Their works have become classics, despite the fact that they themselves sought to oppose the classical school and sought new, modernist approaches to poetry. How were their skills as professionals formed? At that time, there were no educational institutions that taught poetry writing, much less innovative and unique ones. What were the educational paths of these authors?

Anna Akhmatova

Anna Akhmatova, a famous Russian poet, began writing poetry at the age of 11. In her memoirs of her school life, she noted that she attended the Tsarskoye Selo Girls' Gymnasium. Initially, her academic performance was poor, but it improved over time. Nevertheless, she always struggled with her studies and showed little enthusiasm. Akhmatova left a noticeable mark on literature, and her early years formed the foundation for her future work. Her parents sent her to the Smolny Institute, known for its strict discipline and harsh educational conditions. However, she failed to adapt and left shortly after. “I couldn’t stand it — I couldn’t live without willpower,” she noted in her notes.

Anna AkhmatovaPhoto: Russian State Library

After moving, Anna Akhmatova completed her studies at another educational institution She attended a gymnasium in Kyiv. She then enrolled in the law department of the Higher Courses for Women in the same city. The reasons for choosing this specialty are not revealed in her autobiography, but it is known that law schools were popular at the time, as they were considered the easiest and most versatile for career advancement. Although legal education did not provide women with the opportunity to work in the civil service or as lawyers, legal departments at higher women's courses remained in demand among female students.

Nikolai Gumilyov

Nikolai Gumilyov, whom Anna Akhmatova married soon after moving from Kyiv, was not known for his love of learning and was such a poor student that he was in danger of being expelled in his senior years. However, he was lucky, since the director of the Nikolaev Tsarskoye Selo Gymnasium, which he attended, was Innokenty Fyodorovich Annensky, also a famous poet of his time. Annensky intervened and saved Gumilev from expulsion, noting: "All this is true, but he writes poetry." Several years later, Gumilev dedicated his poems to the memory of this significant person who influenced his life and work.

Innokenty Annensky was the last representative of his generation of poets. His work left a noticeable mark on Russian literature. Annensky combined deep feelings and philosophical reflections in his works, which made him a unique author of his time. His poems are characterized by subtle emotionality and a desire for self-knowledge. The poet explored the themes of love, life, and death, which emphasized his role in the literary process of the early 20th century. It is important to study the work of Innokenty Annensky to understand not only his personal path, but also the general context of Russian poetry of that time.

Swans from Tsarskoye Selo.

I remember those days when I was timid and hasty. That period of my life was filled with excitement and uncertainty. I strove for new achievements, but I often experienced a fear of failure. Every step seemed difficult, and I sought confidence in my actions. These memories of how I overcame my fears help me move forward and become a source of inspiration. It is important to remember that even in moments of doubt, you can find the strength to grow and develop.

I entered a spacious office, decorated in a modern style. The walls were decorated with paintings, creating an atmosphere of comfort and professionalism. In the center of the room stood a large table, behind which sat the manager, ready to discuss important issues. The air was filled with a spirit of business communication and striving for results. Every detail of this office emphasized the status and significance of the processes taking place there.

Where a peaceful and polite poet with a slight tint of gray hair awaited me.

A dozen phrases that fascinate and evoke surprise can become a source of inspiration and reflection. Each word carries a unique energy that can awaken the imagination. These phrases can be both poetic sayings and cryptic statements that provoke reflection on life's deepest truths. They can be used in literature, art, and even everyday conversation, enriching it with meaning and emotion. It's important to remember that the power of such words lies in their ability to resonate with each person's inner world, creating a unique experience. We often find ourselves in situations where we need to react quickly and make decisions, seemingly by accident. Often, such moments require us to be attentive and adapt to new circumstances. Learning to cope with unexpected situations can significantly increase our flexibility and self-confidence. It's important to learn to learn from such experiences and use them in the future to become more resilient to stressful situations. This will help us not only in everyday life but also in our professional activities, where the ability to react quickly and adapt to change plays a key role. He filled the space of unnamed words, creating an atmosphere of mystery and intrigue. Each of his utterances was like a ray of light in the darkness, attracting attention and sparking interest. At such moments, one felt as if profound thoughts and ideas were hidden behind simple phrases. This play on words enriched conversations, allowing everyone to reflect on the true meaning of what was said. As a result, he became not just a conversationalist, but a true master of words, capable of inspiring and touching a raw nerve.

Dreams are a reflection of our inner essence. They reveal who we truly are and help us realize our true desires. Nurturing our dreams makes us stronger and inspires us to action. It is important not only to dream but also to work towards achieving our goals, to overcome our own weaknesses and achieve what we desire. Dreams can heal, inspire, and guide, turning weakness into strength.

Gumilyov, like Akhmatova, aspired to study law. In 1908, he entered the Faculty of Law at St. Petersburg University. Previously, he had attended the Sorbonne, where he attended lectures on the history of French literature. He also studied painting and theater in Paris. These diverse interests and educational experiences enriched his creative potential and influenced his literary legacy.

Gumilyov's return to Russia and his enrollment in law school can be seen as an attempt to find stability and master a practical profession. However, this aspiration proved short-lived: he soon transferred to the Faculty of History and Philology, which better suited his literary calling. However, this direction did not deter him—in September 1909, Gumilyov departed for Abyssinia. Upon his return, he immersed himself in active literary work, publishing poetry collections and contributing to the prestigious journal Apollon. During this period, he also became one of the founders of Acmeism, a new literary movement that emphasized precision and concreteness in poetry.

Gumilyov, as if skipping the apprenticeship period, immediately became a teacher and guru. After the revolution, he opened his own poetry studio, "The Sounding Shell," which was a seminar dedicated to poetry. He taught students there, sharing his knowledge and experience, and created a space for discussion and creativity. Korney Chukovsky expressed skepticism about such studios in his memoirs. He noted that in those difficult times, when paper was scarce, book printing practically stopped, and teaching became the main source of income for writers. At that time, there was a belief that poetic skill could be mastered in just ten to fifteen lessons. This led to a surge in the number of people aspiring to become poets. St. Petersburg suddenly found itself saturated with literary studios, attracting a wide variety of people, both men and women, often with little education. On certain days, they would gather to study the art of poetry under the guidance of both experienced and less qualified poets. These literary circles became a unique platform for the exchange of ideas and the development of creative skills, which significantly enriched the cultural life of the city.

Alexander Blok

Blok studied at the Vvedenskaya Gymnasium, which at that time was considered one of the weakest in St. Petersburg. The poet himself described it as "very remote."

Alexander Blok among students of the Vvedenskaya Gymnasium (second row from the bottom, second from the right), 1896. Photo: Citywalls

The teachers were uninspiring, and Alexander studied without much enthusiasm, achieving variable results. In his notes, he noted: "The gymnasium is terribly boring, especially when I begin to realize that it leads nowhere." However, Blok had a circle of devoted friends who not only supported him in his teenage pranks but also listened with interest to his poetry.

At the age of 16, Alexander Blok developed an interest in theater and dreamed of becoming an actor, actively attending a drama club. However, despite his aspirations, he failed to achieve success in this field, which ultimately led him to decide to abandon his theatrical career.

In 1898, the young man entered the Faculty of Law, which ten years later was chosen by Nikolai Gumilyov for his studies. Unlike Gumilyov, this student successfully completed three years of study at the faculty.

A contemporary of Alexander Blok, literary scholar Vladimir Knyazhnin, noted in his memoirs that the law faculty brought the poet no benefit. Knyazhnin emphasized that Blok, "not being a lawyer at heart," showed no interest in either his studies or student life. For example, in 1899, when student unrest was raging across Russia, Blok attended a political economy exam unaware of the student boycott. The professor, seeing the only student in the empty auditorium, was overjoyed and gave him an A. It is important to note that Konstantin Balmont, another famous poet, not only participated in but also co-organized the student unrest of 1887 and was subsequently expelled from Moscow University, while also studying law. Thus, the fates of these poets illustrate how student life and the political unrest of the time influenced the creative paths of young authors.

Three years later, Blok transferred to the Faculty of History and Philology, where he studied in the Slavic-Russian department. Unlike Gumilyov, he successfully completed his studies and received a diploma. However, there are many opinions about how exactly this education influenced his work and worldview.

Knyazhnin argued that the university did not have a significant influence on the formation of Blok's personality, since circumstances developed differently.

The student unrest that began in 1899 continued until the autumn of 1906, interrupted only for short periods. The university opened, but soon closed again, which led to a significant reduction in the educational process. As a result, A. A. received only 1.5-2 academic years of full-time study instead of the prescribed four. The periodic closures of the educational institution negatively impacted the educational process, as it was difficult to integrate into university life with constant interruptions. This, in turn, contributed to the formation of an indifferent attitude towards the university among students. Alexander Alexandrovich Blok was an outstanding Russian poet who had a significant influence on the literature of the early 20th century. His work reflects profound philosophical reflections and emotional experiences, making his works relevant to this day. Blok became a prominent exponent of Symbolism; his poems often feature themes of love, nature, and the search for the meaning of life. His works, such as "The Twelve" and "The Stranger," demonstrate a unique style and originality of thought, which earns him a special place in the history of Russian poetry. Studying Blok's work opens new horizons for understanding the cultural context of his time and the influence he had on subsequent generations of writers and poets.

Blok's contemporary, literary scholar Alexander Gromov, who studied in the same department, described the poet's relationship with the university somewhat differently. He noted that after completing his studies, Blok continued to maintain contacts with faculty and even considered the possibility of remaining at the department for research and teaching. However, ultimately, this did not happen.

Maximilian Voloshin

Voloshin was an outstanding poet of his time, who also studied at the law faculty of Moscow Imperial University, around the same time as Blok. However, like many of his contemporaries, he did not complete his academic education. In his memoirs about the university, Voloshin expressed dissatisfaction, noting that two years of study brought him nothing but a feeling of emptiness and fruitless searching. His experience highlights the gap between the academic environment and creative freedom that characterized many poets of that era.

Moscow Imperial University Photo: MKUK "Museum Complex"

He did not mention his He had no kind words about his studies at the 1st Moscow Gymnasium, feeling only melancholy and disgust. In his autobiography, he noted: "I owe neither the gymnasium nor the university a single knowledge, nor a single thought. Ten precious years, erased from my life." In the third grade, he had to repeat a year, which was not uncommon in the pre-revolutionary education system, as passing transfer exams was difficult, and children rarely had their grades "stretched." These recollections underscore his negative attitude toward the educational system of the time and the lack of value he placed on the knowledge he had acquired. Voloshin was expelled from the university after two years of study for participating in student unrest. Afterwards, he went on a journey across Europe. Upon his return, he was able to re-enroll and transfer to the third year, but soon left again. Upon his return, he was arrested and exiled from Moscow. He continued his travels through Central Asia and then settled in Paris. At one point, Voloshin attended lectures at the Sorbonne, but his memories of the travels that replaced his studies remained far more vivid. My path leads me west, to Paris, where I intend to spend many years studying artistic form from France, a sense of color from Paris, logic from Gothic cathedrals, medieval Latin from Gaston Paris, the formation of thoughts from Bergson, skepticism from Anatole France, prose from Flaubert, and poetry from Gautier and Heredia. During this period, I am an absorbent sponge, completely immersed in the perception of the world around me. I travel through various countries, visiting museums and libraries: Rome, Spain, the Balearic Islands, Corsica, Sardinia, Andorra. My travels include such significant places as the Louvre, the Prado, the Vatican and the Uffizi, as well as the National Library. These cultural and historical centers fill me with inspiration and knowledge that shape my understanding of art and literature.

In his autobiography "Seven Years at a Time," M. Voloshin shares unique moments of his life, reflecting on the key events and experiences that shaped him as a person and an artist. In this work, the author explores themes of self-identification, creativity, and the influence of time on human destiny. Voloshin describes his journey to self-knowledge and understanding of his place in the world, emphasizing the significance of his environment and cultural circumstances. His reflections on time and memory create a profound context that allows the reader to reflect on their own experiences and perceptions of life. Voloshin's autobiography not only documents his biography but also serves as a source of inspiration for anyone seeking meaning in their life choices and striving for self-expression.

Marina Tsvetaeva

Marina Tsvetaeva attended several educational institutions, including private gymnasiums in Russia and two boarding schools in Switzerland and Germany. Her moves to foreign schools were necessary to provide a special environment for her mother, who was ill with tuberculosis. At the same time, Russian gymnasiums were unable to accommodate the freedom-loving and sometimes daring Tsvetaeva, who did not fit into their strict rules. Even at the Alferov Gymnasium, known for its liberal and creative atmosphere, Marina was unable to adapt. She completed her education at the private M. T. Bryukhonenko Girls' Gymnasium, where her classmate Tatyana Astapova later recalled her vibrant personality and creative approach to learning. These changes in educational institutions became an important part of Tsvetaeva's development as a poet, shaping her unique perspective on the world and creativity.

Tsvetaeva entered the gymnasium in 1908 and studied there for two years, in the 6th and 7th grades. However, it would be more accurate to say that she didn't so much study as be there. Tsvetaeva was a unique student, unsuited to the gymnasium uniform and cramped school desk. She stood out among her peers, like an exotic bird accidentally finding itself in a familiar environment. Movement and noise reigned around her, but her inner world had a unique flight and language.

Tsvetaeva attended the gymnasium intermittently: she would come for a few days, and then disappear. And then she could be seen again at the very last desk, in the 7th row, with a book in her hands. She was constantly reading or writing in class, clearly uninterested in what was going on in the classroom. Only occasionally, hearing something that caught her attention, would she raise her head, make a comment, and then immerse herself in her reading again.

At the beginning of the 20th century, the dream of everyone who aspired to dedicate their lives to art was a trip to Europe, especially to Paris. Anastasia Tsvetaeva, sister of the famous poet Marina Tsvetaeva, notes in her memoirs that young Marina had dreamed of this since the age of sixteen. After graduating from high school in 1909, her dream came true: the young poetess set off on her first independent trip and took a summer course in Old French literature at the Sorbonne. This event became an important stage in her creative life and contributed to the formation of her unique literary style.

Marina Tsvetaeva with her father Photo: library of Shadrinsk State Pedagogical University

In the fall, while in Moscow, Tsvetaeva began actively participating in literary circles, which attracted the attention of famous poets. One of them was Maximilian Voloshin, who returned from Paris and invited her to his famous "House of Poets" in Koktebel in 1910. Participation in this creative environment and the constant discussions about poetry and literature became a kind of literary university for Tsvetaeva, although her literary creativity began in childhood. Tsvetaeva was able to develop her unique style and deepen her understanding of poetry, which had a significant impact on her future career.

Boris Pasternak

Boris Pasternak was distinguished by outstanding academic abilities, graduating from gymnasium with a gold medal. He also actively studied music, taking conservatory courses, and even wrote two piano sonatas. This passion was largely determined by the family's musical heritage, as his mother was a renowned pianist, and composers such as Rachmaninoff and Scriabin frequently visited their home. However, Pasternak did not pursue a musical career, as many of his poetic colleagues did, but instead enrolled in the law department of the Imperial Moscow University. A year later, he transferred to the philosophy department, where his passion for philosophy became so strong that in 1912 he went to Germany to study a summer course at the University of Marburg, where a leading representative of the neo-Kantian school of philosophy taught.

Image: Leonid Pasternak, "Boris (left) and Alexander, 1900s / B. L. Pasternak House-Museum

The future Nobel laureate realized that he would not become a philosopher while studying in Marburg, when he was preparing his final work. He approached this process with great enthusiasm. Later, Pasternak noted that he experienced the study of science more deeply than was required, which indicated his true nature – a poet, not a philosopher. In his autobiographical novella "Safe Conduct," he vividly described this important moment in his life, emphasizing internal contradictions and the desire for self-expression.

As I wrote, the work gradually became filled with increasingly rich literary quotations and comparisons. Due to time constraints, I had to abandon excerpts and instead simply left references to authors in key places. At some point, the theme of my work took on a clear outline, becoming visible from the threshold of the room. It unfolded like a tree fern, filling the space and leaning its fronds over the table, sofa, and windowsill.

Pasternak approached his landlady, asking her not to tidy up or disturb his unusual "fern," composed of sheets of paper and books. This fern continued to grow and branch out, and with each new shoot, it became increasingly clear that the work would not be completed on time. On the eve of his defense, looking at the endless row of books, Pasternak decided to act: he rolled up his sleeves and, in half an hour, single-handedly sorted everything out. Returning to Moscow, the poet immersed himself in literary creation. Only one poem of Marburg's, written in 1916, remains, bearing the same title.

Osip Mandelstam

Osip Mandelstam, unlike other representatives of the Silver Age, completed his education not at a gymnasium, but at the Tenishevsky Commercial School in St. Petersburg. This institution was a private secondary school that, in addition to standard subjects, taught specialized subjects such as accounting and merchandising. Although this may seem uninteresting at first glance, the school actually employed advanced teaching methods and was distinguished by a democratic and creative atmosphere. The high level of teaching covered not only specialized subjects, but also the humanities, which contributed to the comprehensive development of students and the formation of their creative abilities.

Photo: Russian State Library

Younger Brother Osip's son, Yevgeny, noted in his memoirs that his mother chose this particular school for them for several reasons. One of them was likely that it was easier for Jewish children to enroll there than in a traditional gymnasium. The Tenishev School, according to the memoirs of another famous student, Vladimir Nabokov, was also distinguished by its indifference to class, racial, and religious differences, which created a unique atmosphere for learning and development. The school taught an in-depth curriculum using the best educational materials. However, the most important factor was the atmosphere and spirit of the school, which encouraged personal development and the search for each child's individual path. Despite some shortcomings, the educational conditions here differed significantly from the gymnasiums overseen by Kasso, the Minister of Education, known for his conservative approach. As Yevgeny Mandelstam noted, children at this school grew up in a more favorable environment. Osip happily attended the school. His brother preserved a review of the future poet by his geography teacher, which read: "A very capable and hardworking boy, truthful, impressionable, and sensitive to insults and criticism, possessing a fine writing style." This comment emphasizes not only Osip's academic abilities but also his personal qualities, which later played a significant role in his creative career. Osip was incredibly fortunate in his literature teacher, Vladimir Vasilyevich Gippius, a poet and relative of the renowned poetess Zinaida Gippius. Yevgeny Mandelstam, recalling his classes, noted that Gippius disdained textbooks and captivated the class with his brilliant presentation of captivating material. It was under his guidance that literature became Osip's favorite subject. In addition to literature, he showed an interest in geography, history, natural science, and languages. However, the exact sciences and practical classes irritated and fatigued him, highlighting his inclination toward the humanities. This educational experience had a significant impact on his subsequent development and creative development.

After graduating from college in 1907, Osip Mandelstam's mother sent him to Paris. This decision was motivated by her concerns that he might meet revolutionary-minded youth in St. Petersburg. Furthermore, Osip's chances of entering a university in Russia were minimal, especially given his Jewish heritage and less than stellar academic record. In Paris, Mandelstam first attended lectures on philosophy and philology at the Sorbonne, then moved to Germany, where he continued his studies in philology at Heidelberg University. During this time, he was actively involved in poetry. According to his brother's recollections, Osip began writing poetry not in childhood, but at the age of 16, and it was during his student years that he finally realized he was a poet.

Osip Mandelstam did not complete his studies at Heidelberg due to lack of funds. Upon his return, he enrolled in the Romance and Germanic department of the Faculty of History and Philology at St. Petersburg University. To do this, he had to be baptized, which greatly upset his father. Despite spending six years at the university, with breaks, he never received a diploma. His work and life circumstances faded into the background, overshadowing his studies.

Sergei Yesenin

Sergei Yesenin, as befits a peasant's son, was educated at a zemstvo school—a typical rural educational institution. He was among the first students there. In her memoirs, Yesenin's sister, Ekaterina, recounts how their father proudly hung Sergei's certificate of completion and certificate of merit on the wall. This document was a real rarity in their village, emphasizing the achievements of the young poet and the significance of his success for the family.

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Schools in Pre-Revolutionary Russia: 10 Interesting Facts

Pre-revolutionary Russia had a unique educational system that underwent significant changes throughout the 19th and early 20th centuries. During this time, the country offered a variety of educational institutions, from elementary schools to gymnasiums and universities.

First, pre-revolutionary Russia had a strong classical education system. Schools emphasized the study of ancient Greek and Latin, which was a sign of a high level of education.

Second, many schools were private and funded by parents, which created significant disparities in access to education for different segments of the population.

Third, Russia had special schools for children from poor families, but their numbers were limited. Education for peasant children was often unavailable, and many did not have the opportunity to attend.

Fourth, new educational institutions, such as girls' gymnasiums, emerged in the Russian Empire, which contributed to an increase in the level of education among women. This became an important step towards their social emancipation.

Fifth, the end of the 19th century saw a significant development of technical education, reflecting the needs of a rapidly developing economy. The emergence of technical schools and vocational schools was a response to the demands of the time.

Sixth, pedagogical ideas and reforms were also actively developing in pre-revolutionary Russia. One of the prominent representatives of this trend was Konstantin Ushinsky, who focused on the psychology of learning and the importance of children's initiative in the educational process.

Seventh, school education in Russia was compulsory only for the urban population, while rural residents were left without this opportunity.

Eighth, in gymnasiums and real schools, students studied not only the humanities, but also the natural sciences, which contributed to a broader outlook of young people.

Ninth, the school curriculum also included the study of religion, which reflected the importance of spiritual education in the educational system of that time.

Tenth, pre-revolutionary schools became the foundation for future educational reforms that occurred after the 1917 Revolution. Changes in the education system were an important step toward the formation of a new Soviet model, which sought comprehensive and accessible education for all segments of the population.

Thus, schools in pre-revolutionary Russia represented a complex and multifaceted system, reflecting the social, economic, and cultural changes occurring in the country during that period.

For a peasant boy of the early 20th century, one of the main paths to joining the intelligentsia was the teaching profession. Under pressure from his parents, in 1909, Sergei entered a teachers' seminary, which served as a pedagogical college. However, he himself admitted to acquaintances that he did not plan to become a teacher. Therefore, his attitude toward studies was rather indifferent: lesson preparation was hastily carried out, which affected his final grades – he graduated from the seminary with Cs and did not distinguish himself. His parents' dream of him continuing his education at a teacher training college never came to fruition.

Sergey demonstrated a particular love of literature from childhood. His passion for reading became noticeable among his classmates at the teachers' seminary, where he quickly exhausted the school library and began visiting the city library. His phenomenal memory for poetry allowed him to easily recite works such as "Eugene Onegin" and "Mtsyri." He also wrote poetry himself. However, as his literature teacher, Khitrov, noted, the quality of his poetry left much to be desired at the beginning of his creative career.

At school, I encountered many talented poets, including some very prolific authors who regularly presented their work to me. I often had to employ special approaches to curb their creative impulses. Yesenin was one of them, and although I showed him some support, I was initially reserved about his poetry. For a long time, I considered his works frivolous, perceiving them as a collection of rhymed lines without deep poetic meaning. However, his masterful use of rhyme and rhythm set him apart from his peers. Even then, Yesenin demonstrated his unique style, which later became an important part of Russian poetry. Sergei Yesenin remains one of the most striking figures in Russian literature. His poetry, imbued with deep emotion and sincerity, continues to inspire readers and researchers. In his memoirs, E. M. Khitrov shares personal moments associated with the poet, allowing for a deeper understanding of his personality and work. Yesenin was not only a talented poet but also a person with a multifaceted inner world who strove to convey his experiences through words. His poems reflect a love of nature, Russian life, and human emotions. Memories of Sergei Yesenin help illuminate not only his artistic legacy but also the complex aspects of life he faced. These notes become an important source for studying not only Yesenin's poetry, but also his time, making them valuable for anyone interested in Russian culture and literature.

From a certain point, as Khitrov recalled, Sergei began actively pursuing literature. His studies extended beyond the curriculum. He read a lot and especially valued the class readings conducted by Khitrov. Recalling, he noted how he read "Eugene Onegin," "Boris Godunov," and other works in their entirety over the course of several hours. These readings were very popular among the students. But among all the listeners, Yesenin was perhaps the most captivated. He peered closely into the reader's face, as if absorbing every word spoken. This passion for literature became an important part of his life and influenced his work.

After intensive studies, Sergei presented his new poem, "Stars," to his teacher. This work made a deep impression on the teacher. He admitted: "I remember I was embarrassed, as if frightened. I felt embarrassed that I hadn't paid enough attention to Yesenin's work."

Khitrov advised the young poet to go to Moscow or St. Petersburg to study literature under someone experienced. Several years later, the poet sent his mentor his first collection of poems, "Radunitsa," signed with gratitude: "To the kind old teacher Yevgeny Mikhailovich Khitrov from a grateful student." This moment underscores the importance of mentoring in literature and the influence Khitrov had on the development of his student's talent.

Sergei Yesenin in his youth Photo: BUK "Library and Museum Center"

Seventeen-year-old Sergei Yesenin did indeed go to Moscow, and then to Petrograd, where he quickly became immersed in the literary community, becoming a sort of "student" of this "university." However, he also had another, more formal educational experience: for a short time, Yesenin was an auditor at the A. L. Shanyavsky Moscow City People's University. This educational institution was distinguished by its democratic approach and informal atmosphere, allowing anyone to study at affordable prices and through a variety of programs, from attending individual lectures to completing a three-year course similar to an academic one.

During literature lectures, Yesenin not only listened but also shared his poems with the teachers. He experienced joy from the praise and support, which inspired him to further his creativity. His studies at the university allowed him to significantly expand his literary circle of acquaintances, which played an important role in his career as a poet. Yesenin absorbed the ideas and styles of his contemporaries, which helped him develop his own unique style and become one of the key figures in Russian literature of the early 20th century. By this time, Sergei Yesenin already knew many representatives of the literary movement known as the Shanyavtsy. These people represented a wide range of ages, tastes, and views. In this creative environment, Yesenin quickly gained recognition. Even Filipchenko, who was usually harsh toward poets outside the proletarian movement and often dismissively described them as "catching flies," showed interest. After reading Yesenin's fresh and simple poems in the refreshment room, he treated them with noticeable approval. This underscores the brilliance and uniqueness of Yesenin's talent, which managed to attract the attention of even the most demanding critics. Yesenin is an outstanding Russian poet whose work left a profound mark on 20th-century literature. He became a symbol of village poetry, expressing sincere feelings and experiences connected with nature and the lives of ordinary people in his poems. In his works, Yesenin used vivid imagery and a musical language, making his poems popular and beloved by readers. His work reflects both personal experiences and social changes in Russia, allowing for a deeper understanding not only of his poetry but also of the era in which he lived. Yesenin continues to inspire modern writers and poets, and his legacy remains relevant in the literary space.

According to the memoirs of his friend from Shanyavskoye, Semenovsky, it was during this period that Sergei Yesenin announced to his comrades his intention to focus exclusively on the theme of rural Rus' in his work.

Study also:

Samuel Marshak: "I was not accepted into the gymnasium, but the gymnasium itself turned out to be my home"
How the future famous writer received an F for an essay and became a repeater
"Study well, or I'll eat you," or Paustovsky's first day at the gymnasium
How Korney Chukovsky was expelled from the gymnasium for someone else's diary

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