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Интерес к С.А. Есенину в немецкоязычном пространстве, возникший еще при жизни поэта и воплотившийся, прежде всего, в переводческой и критической рецепции, после объединения Германии сместился в сторону личной жизни русского автора. Данная статья посвящена трем биографическим описаниям Есенина, опубликованным в 1992, 1996 и 2008 гг., которые отражают современный этап восприятия жизни и творчества поэта в Германии и создают определенный биографический миф, во многом самостоятельно инкорпорированный русским автором при жизни. ; The biography, which is primarily a literary genre, realizes the purpose of acquaintance with the primary sociological information of a specific person. Among writers and poets, it is common to encounter such a concept as the biographical myth which L.M. Magomedova defined as an initial subject model which receives an ontological status in the consciousness of a poet, which they consider as a scheme of their own destiny, which they constantly correlate to all events of their life, which transforms diversely in their works. When speaking about S. Yesenin, the most obvious mythological myth cultivated by the poet is his peasant origin and the image of a hooligan which found reflection in the Germanspeaking reception. Interest to S. Yesenin in Germany has reached the apogee in the 1990s and is still topical. The book Sergej Jessenin by F. Mierau represents a synthesis of biographic, translation, cultural, historical and receptive discourses; this makes it a unique and unprecedented German-speaking research about the Russian poet. The observation of the internal and external growth of Yesenin, "exposure" of his biographical myths, his image, first of all, as a person living in hard political time and space create a live and, in many respects, reliable image filling many gaps of the biographies of the poet. Numerous letters, stories of friends and contemporaries penetrate the narration and give rise to the feeling of participation in described events in the reader's mind. Thanks to its completeness, Mierau's biography became a basis for creation of the memoirs and publicistic composition of C. Stern Isadora Duncan und Sergej Jessenin: der Dichter und die Tanzerin, devoted to a concrete period in S. Yesenin's life his time with I. Duncan. The edition by C. Stern represents the image of the Russian poet to the mass reader in the most attractive and intriguing plot of his private life. At the beginning of the 21st century similar editions became symptomatic: many episodes of the private life of the classics became a subject of attention of publicists and wide audience. Simplified representation, reader-friendly approach, interiorization of the image of the writer as a person become the result of such work. In his monograph Dionysos in Sparta: Isadora Duncan in Russland; eine Geschichte von Tanz und Korper, N. Studemann investigates the art philosophy of I. Duncan, glorifies her and, in many respects, underestimates S. Yesenin; thereby, the author is influenced by the myth Yesenin created about his own hooliganism and dandyism. Yesenin's three biographies, being different in essence, create an image of the poet at the turn of the century. They mention various aspects of his biography, which creates their high value and reflects the interest of the modern German-speaking writer and the reader in the personality and creativity of Yesenin. The biographical myth about the Russian poet, which has taken shape in Germany, connected with his travel across Europe and marriage with the known American dancer, becomes a core plot in all the three German-language biographies of Yesenin.