본 논문은 <이노니야>에 나타나는 예세닌의 유토피아의 세계상을 기존 기독교의 가르침을 부정하고 새로운 혁명적 이상에 바탕을 둔 그의 농민 유토피아적 측면에서 살펴보는 것을 그 목적으로 한다. 장르 구조로 볼 때 <이노니야>는 예언적인 서사시이다. 이노니야는 혁명에 의해 태어난 미래의 ‘농민들의 천국’을 상징한다. 그곳은 시인의 눈에 이상적인, 생명으로 부활한 농촌 세계이자 자유가 넘치고 제반 관계에서 속박 받지 않는 ‘자유로움’이 넘치며 양식이 풍족한 곳이다. 예세닌이 생각한 새로운 구세주는 다름 아닌 “인간”이었다. 예세닌은 구세계를 지배했던 기독교의 하나님을 러시아 농민의 전통적 이미지인 “암소”의 신으로 대체하고 설교 대신 노동을 바탕으로 한 새로운 혁명적 가르침을 설파한다. 이로써 시인은 우주를 변화시키고 새 땅과 새 하늘을 창조하는 새로운 “살아있는 인간들의 신”이 되는 것이다.
Esenin, like other contemporary writers and poets experiencing the 1917 October Revolution and its social turmoil, had been heavily influenced from this historical event, and faced up with literary creation of what he was seeing into his literary world. The dilemma the poet had was how to create historical transformation into a lyric voice and how the "peasant poet" could sing the crippled peasant world demolished by the new communist order. For the poet, Esenin, however, the promised land was cherished as an ideal hometown to which his contemporary people, including proletarians, had to arrive. Along with this, the poet had to choose either the line of revolutionary communist or rejection to it; in other words, if it is not the least, for Esenin it was very hard to accept the Revolution by his whole heart. From the point of view of the peasants, this social dilemma is expressed in his work, "Inonia" which this article illustrates its esthetic and literary world, in particular. One of points the poet was express is that he himself saw the collapse of the religious faith of the past and, on the other hand, the new apparence of "the Cross and of new faith with no suffering." Through this work, Esenin eventually tries to present an ideal village which embodies of pastoral life, and its people believe not in the God, but in themselves.