Place of peasant poetry in the literature. Peasant self-taught poets of the late XIX century and the features of their poetry

The Silver Century PPEASS is extremely heterogeneous and diverse in areas, forms, aesthetic aspirations, according to the reader's circle. The bright phenomenon of time was the Novokrestest poetry, which set the song to the poetry of many

subsequent decades.

intonations, melodies. They developed traditions peasant poetryand not closed in it. The poetization of the village life, non-good peasant crafts and rural nature were the main themes of their poems. The leitmotif of their creativity was pride for the centuries-old rich national culture, the keeper of which is the peasantry.

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Theme lesson (2 lessons) : Novokrestean poets - representatives of the silver century of Russian literature. Their tragic fates in after revolutionary Russia. Poetry N. Kloveva, S. Klychkova, P. Oreshina, A. Shiryaevts (Review).

The purpose of the lesson : Give the concept of Novokrestest poetry, show its spiritual and poetic origins, to review the creativity of N. Kleva, P. Oshina, S. Klychkova, A. Shiryaevts; With the help of the preserved reviews about poets, determine their originality and place occupied by them in Russian poetry 20th century; Trace the political situation in the country, which caused repression towards them of Soviet power; Display the uniqueness of the Novokltian poets belonging to the silver century of Russian literature.

Equipment lesson: Portraits of poets, presentation "Novokrestendian poets".

Methodical techniques : Lecture with interview elements, students' reports.

During the classes.

1. Lecture of teacher.

The poetry of the Silver Age is extremely heterogeneous and diverse in directions, forms, aesthetic aspirations, according to the reader's circle. The bright phenomenon of time was the Novokrestest poetry, which set the song to the poetry of many
subsequent decades.

The peasant theme in Russian literature has deep, still folklore traditions. A splash of interest in this topic at one time caused the poetry of Nekrasov, talented works of "folk" poets Koltsov, Nikitin, Surikov, who made the sketches of the village landscapes in a vigorous patriarchal style, without developing peasant poetry. In the center of the creativity of the "peasant" poets, there was mainly a story about the bitter share of the people, a gravitantless work and a honeycomb life.

Novokrestest poets, Nikolai Klyuyev (1884-1937), Sergey Yesenin (1885-1925), Sergey Klychkov (1889-1937), Alexand Schiryaevets (1887-1924), Peter Oreshin (1887-1938) - came to poetry with other topics, ideas,
intonations, melodies. They developed the traditions of peasant poetry, and did not get closed in it. The poetization of the village life, non-good peasant crafts and rural nature were the main themes of their poems. The leitmotif of their creativity was pride for the centuries-old rich national culture, the keeper of which is the peasantry. These poets came to the literature at about the same time and quickly heard each other, began friends. However, joint manifestos, declarations, like other poets, they did not release. Sergey Gorodetsky (akmeist) made an attempt to create a group of "Beauty", where, except Yesenin, Klyuev, Shiryaevitsa, Klychkov, were intended to enter the writer Alexey Remizov and the artist Nikolai Roerich. For most "Novokresteyan", the word "team" itself was only a hated stamp, verbal cliches. They are more connected to personal communication, correspondence and general poetic shares. Therefore, the Novokrestest poets, as indicated in its study, S. Semenov, "it would be more correct to say as a whole poetic pleiad, expressed, taking into account individual MirojoSvsvy, other than that of the proletarian poets, the vision of devices of public existence, its highest values \u200b\u200band ideals - Other sensation and an understanding of the Russian idea. "Therefore, the group" Beauty "(and other, organized later), quickly broke up, but the fact itself testified that the Novokrestest poetry was serious and at an equal one were perceived by many truly talented representatives of the Russian creative intelligentsia. What united poets And artist N. Roerich? They believed that the people should remember their roots, draw the strength from the original centuries-old national culture and the history of the Fatherland, do not forget the heroes of the epics, the defenders of the earth of Russian, remember the wise folk tales, and after the revolution, when the original national way, poets and the artist spoke about The spirituality that kept on the Christian faith.

It is known that the revolution of peasant poets perceived with enthusiasm, devoting her creativity to her. But in the post-revolutionary time, their poetry was on the position of secondary. Yes, and attitude to revolutionary transformations in the country with
the time caused the feeling of the tragedy of the Russian village, the Russian peasantry from the poets. The proletarian poetry was declared the most advanced, the most revolutionary. In after the revolution, the organizer of the literary process, the Bolsheviks party sought to ensure that the creativity of poets was as close as possible to the masses. The most important condition for the formation of new literary workswho advanced and maintained the party stamp, was the principle of "spiritualization" of the revolutionary struggle. The poets of the revolution are the elusive critics of the whole old and name forward, to the struggle for the bright future. It began to glorify steel, iron as the symbol of the future power and the forces of the country.
Peasant poets, originally chanting the inseparable communication of a person with the world of wildlife, were opposed to the cult of steel and iron. They saw in the occurrence of the locomotive, "castle" a threat of not only nature, but also moral, the aesthetic values \u200b\u200bof peasant life. The famous Yesensky "Sorokoust" became one of the most vibrant and tragic evidence of such resistance. Forever in the history of poetry will remain a poetic image of a redogric fooder, desperately trying to overtake the steam locomotive.

N. Klevuva, S. Klyachkov, P. Oshina was destined to become contemporaries and witnesses to breaking the traditional peasant obscures. Differently they experienced these events, but they had a common finale. All of them were destroyed as Kulatsky poets. And then for many years drawn out of the history of literature.

In order to penetrate deeply into the world of poetry of the Novokrestest poets, let's turn to the work of artists close to the world, in spirit, according to ideas and topics to Novokrestest poets and try to join the spiritual world of our ancestors.

2. We look at the presentation, at her go, there is a short story of the teacher about artists.

A. Story about N. Rérich. In nature, in his native land, her history, the master sees the source of the spiritual forces of the people. Primitive Russia, the pagan world - this topic has long defined not only the repertoire, but also the stylistics, the nature of the effects borrowed from those times.

B.Rarascz about V.vasnetsov. Deeply believed Vasnetsov, who loved the patriarchal life and the way of his country, did not accept the new socialist system, although he did not leave his homeland. The artist continued to create canvas on the eponymous stories, but now much more intense used the crimson-red color, staining them and the fabulous sky, and the monster flame is a sprayed monster, and the volumetric red skirt of a semi-screwdable woman-jagi, holding a bridal baby boy in a white shirt

("Baba Yaga". 1917)

V.Raraskaz about A. Labushkin. A talented artist went away early. But in his canvas "dance" (1904) is alarming, caused by new trends of time: in the dance of the girls, the guy breaks carelessly. Horticulture (Kargod, Circle, Street) - Ancient Folk Circular Mass Ritual Dance, containing elements of dramatic action. In the picture of the girl in bewilderment froze from the guy's liberty, the old woman looks with indignation, as the ritual is disturbed. There is another name "Locking a guy in the dance, well, the old woman is to fuck ...".

G. Story about I. Civil. Everyone who views the illustrations of Ivan Bilibina, a kind smile appears on his face, inspired by memories from childhood from a meeting with the mysterious and wonderful world of fairy tales. I.Bibin- Russian artist, schedule, theater artist, member of the "World of Arts", author of illustrations to Russian folk fairy tales and epic in a decorative-graphic ornamental manner based on the stylization of the motives of Russian art; One of the largest masters of the national-romantic direction in the Russian version of Modern style.

Magic illustrations of Ivan Yakovlevich Bilibin remain in memory forever for everyone who at least once kept a book in his hands with his works. Ivan Tsarevich and Gray Wolf, Marya Morrevna, Baba Yaga in Step, Alyonushka, Prince Guidon and Tsarevna-Swan
emit magical power and proud beauty of Russian folklore. Fairy tales with illustrations of this great artist with young years brought up love for beautiful in the child. The artistic talent of Bilibina brightly manifested itself in his illustrations to Russian folk fairy tales, epic, to the fairy tales A.S. Pushkin, as well as in works on theatrical productions.

Traveling on the task of the ethnographic branch of the Russian Museum on the old Russian cities of the Northern Gubernia (Vologda, Olonetskaya, Arkhangelsk), he was amazed to re-highly Russian art: "Only quite recently, exactly America, opened the old artistic Rus, Vandali crippled, covered dust and mold . But she was beautiful under dust, it is beautiful that the first minute gust of those who opened it was completely understood: Return! Return!" (I.Bibin).

During the revolution, 1905 Creates revolutionary caricatures. After the October Revolution leaves Russia. Only in 1936 returns to his homeland. Died on February 7, 1942 blocade Leningrad from hunger, finishing to work on illustrations to
we werena dedicated to the Russian Bogatyr Duke Stepanovich (1941 g). In their "autobiographical notes", Anna Ostrumova-Lebedev writes: "Died from the depletion of Ivan Yakovlevich Bilibin, our wonderful schedule and stylist. None of the artists managed to feel so much and perceive Russian folk art, which was widely spread and blooming among our people. Ivan Yakovlevich loved him, studied, implemented in his beautiful graphic works. I don't know the details of his death, I only heard that lately he lived in the basement of the Academy of Arts, since his apartment from the bombing became non-residential "...

3. So let's summarize: What unites new poets and contemporary poets?

1. Love to a small homeland.

2. An expectation of century-old folk customs and moral traditions.

3. Using religious symbols, christian motives, pagan beliefs.

4 shape to folklore plots and images; Introduction to poetic poets of folk songs and chastushki.

5. Total negation of "vicious" urban culture, resistance to the cult of machines and iron.

4. The idea of \u200b\u200bthe Novokrestendian poets of symbolists: A. Bel and A. Block (see presentation). Correspondence A. Block with N. Weslev. "Kliyev is a big event in my ... life." A.blok. 1911

5. Faying opponents of the Novokrestest poets are proletarian poets (see presentation). "Old Klychkov and Klyov and Klyovy Writers Types for Peasant Writers Soviet Union There are no relationship. " Magazine "On the Podhima" 1929

"Love for nature in the work of these writers is only antithesis of hatred of the city, a factory, a car, a proletariat, and the synthesis is the power of the fist, built on God of this nature," the vigilant O. Beskin in 1930. The difference between life positions. The role of Kalinin.

6. Tragic fates of Novokrestest poets.

The fate of N. Kveva. Message of a student (textbook "Russian literature of the 20th century. 1 part" edited by V.P. Zhuravleva. M. "Enlightenment". 2010).

Reading the poems of "Raisachescency of the Earth", "Voice of the People", "Christmas Hisp".

Conversation after reading poems on issues.

1. How is the mood of poems?

2. What images creates a poet?

3. What trails and stylistic figures use?

4. What is the vocabulary of poems?

5. What associations cause you to have a poem "Raiscency of the Earth" and "Christmas Horses"? Why the poet calls the poem "Christmas hut "?

The image of the hornbeam as beginning, the livemifting of life, the source of inspiration passes through many poems of the key (see presentation). A song, folk element (not by chance and keys, and Yesenin, many of their poems are called songs). Both first mastered the techniques of stylization "under the folklore", and then mastered the forms of folklore poetic thinking, creating original works close to folklore not only in shape, but also essentially thought, image, ideas. The general for them was and interest in the heroic pages of Russian history, the legendary images of the warriors and devotees.

Klyuev and Yesenina was given the poetic gift to the creation of the picturesque paintings of the Russian Nature. In their songs, the psychological state of the person and the emotion mood of the landscape were organically combined. The keys are not only masterfully painting the native northern landscape. He, as a descendant of furious preachers, rectifies those who are born with a cold, indifferent heart, and therefore hostile nature:

And spitting forget-me-not burned

Bleated the tears of the film

Sedna, I got a moss ...

... bombed the cherry hand,

Son of iron and stone boredom

Pruffurates Berevian Paradise.

After the October Revolution, it turns out that the keys with their "Meni-paradise" alien to the new government, and she is alien to him. In the poema "Pogoretshchyna" the poet appeals to the times of Andrei Rublev, but rhythms, the phrases of modern Russia are ripening in
the work, replacing the vision of the lyrical character, the images of an abstractful time. With pain, the poet writes about the modern events to him - about the loss of crackers, peasant values. On the decay of the Russian village:

There was no lace cerebral

Horses rowed a bumps

Only zlatogryy goboon

Behind the stove I wrote a ball,

His balloons in the submunens ...

And in a mien on moonshine

Talcanian flexible yelling

The owners of new use.

During the "Great Frag", this poem could not be printed.

"I burned down on my" Pogorelsk region ", as my great-grandfather Avvakum's Protopop was burned at the Kostozerski Kostrop," wrote N. Welvev.

Seeing what unprecedented robustness, the new authorities will rejected the centuries-old culture from the people, the poet of prophetically warned:

"Directing the sting of the machine gun on the heat-bird, announcing it to be destroyed, it should be attended to find a way to create such art that might sink the artistic famine, black-made Russian ... In the meantime, the fire-bird trembles and beats fatal, pouring a genuine blood under steel Eye machine gun "

("Last Lel").

20 years after the revolution, the poet will say on the investigation: "The construction of socialism in the USSR, carried out in the dictatorship of the proletariat, finally destroyed my dream of ancient Russia ... I believe that industrialization policy destroys the basis and beauty of Russian people's life, and this destruction is accompanied by the suffering and death of millions of Russians People ... Finally collapses the foundations and beauty of that Russian folk life, whose singer I was, conducted by the Communist Party collectivization. I perceive collectivization with mystical horror as a demonic plant. "

Fate S. Klychkov. Message student (Russian literature tutorial 20 century.1 part "edited by V.P. Zhuravleva. M," Enlightenment ".2010g).

Klychkova is not reasonably called the predecessor of Yesenin. By clarity and serenity, the early Lyrics of Klychkov resembles the works of the calendar ritual lyrics. As well as in a folk lyrical song, the highest ideal of beauty at the poet is nature. The poetization of rural nature, the farm of the peasant, people's celebrations is the most characteristic feature of Klychkov's poetry. Holiday and work he is not opposed, but continue to go each other than the successful work, the joyful holiday. The most consistently this thought is expressed in the collection "Ring of Lada" (1913 g). In this book, two main characters - grandfather and Lada. The grandmother image of the worker, the keeper of wisdom, the labor and moral experience of the ancestors. Lada, an image that came from the pagan Slavic myths, a bride girl, a dream girl.

Expressive reading poems. "Grandfall Pahota", "Lada is bathed", "Grandfather Deboned", "Lada in the Garden", "Lada in Horovodet", "Grandfather from Lady".

1. How is the mood of poems?

2. How does the poet create a poet?

3. What vocabulary is used in poems?

4. Which fine-expressive means uses the poet?

5. What associations cause poems?

Fate Peter Oreshina. Message of the student (textbook "Russian literature of the 20th century. 1 h." Edited by V.P. Zhuravleva. M. "Enlightenment". 2010). In the first book of poems "Zarlao" (1918 g), they found reflections the same topics and images peculiar to poetic
S. Jeshenina, N. Klyuva, S. Klychkova, but if the female motives are almost indistinguishable in the "peasant fourth", then the nuts writes about far from the poetic sides of the peasant life:

And the heart is wounded,

All blood has expired

Damned, disease,

Hungry village.

The poetic life of the national life characteristic of the "Novokrestest" literature is inherent in the work of Peter Oreshin. But this is a special poetry. Oresms is aesthetizes the chopper power of the Earth. Researchers have long noticed the special importance of the epithet"Rye" In his artistic system:

Oh, the land is native

How are you wonderful:

Rye steppe, rye people,

Rye Sun, and from songs

Earth and rye gives.

Rye, lively in Russian, Russian poetry has long been associated with life. This word becomes in verses nuts with a symbol of rough simplicity and strength, continuity of peasant life."Rye Sun" - This is immediately strength, and warmth, and light.

Expressive reading of the poem "Oh, the region of native", "Strada".

Strand.

Rye is dense away

Cropped grain.

We look into the sky, through the huts,

Sky in love in love.

Knowing the palette. In the blood of the palm.

Rye, like a stone, under the sickle.

Hands climb, and the heart moans,

The heart dries about one.

Duma, Duma, hard with you,

Sickle does not hold in hand.

MIL lies under the images,

Exactly spikes in the fields.

Rye thick, - do not break

Neither oblique, nor sickle.

And pay and raise

Over unrelated sheaf.

Conversation on questions afterexpressive reading poems.

1. What is the feeling permeated poem?

2. How does the poet create a poet?

3. What is common in poetry N. Klevva, S. Klychkov and P. Overshina and what do you see the difference?

4. What associations do you have poems P. Overshina?

5. What is the meaning of the epithet "rye" in the poetic world of the poet?

The lyrical hero appears a lonely dreamer, sometimes hosting the face of a wanderer, the ink, the shepherd-singer, a dreaming "revealing Ali in a dream." He draws joy only in communicating with nature. Shelchkov was far from politics, from public life. Late lyrics becomes more specific, exempt from convention and fabulousness.

Only in the premonition poem reflects the alarm for the fate of Russia (1917 g).

The same rus without the end and without the edge,

And over her smoke blue-

What I do not sing, do not sob

Over people, over yourself, over destiny?

And I mnives: in foreground flames

Before the misfortune shovel

And thickened fog over the fields

Unprecedented sadness in the world.

After the revolution, he did not want to obey "the requirements of time" (refuse the peasant motives in poetry) Sergey Klychkov was under merciless firing of Rappovsky criticism. "Visiting the cranes" was the last original
poetic collection of poet. Shelchkov was forced to take up translations (epic arrangements of the peoples of the USSR). It did not save the poet: in July 1937, S.A. Klychkov was arrested and soon shot.

The fate of Alexander Shiryaevtsa (Abramov). Message student.

In the history of the Russian poetry of the first quarter of the twentieth century, the poet A.V. Shiryaevets (1887 - 1924) was a distinctive and outstanding creative person, his talent was a born and multifaceted. He wrote poems, songs, poems, prose, dramaturgy, works
for children and literary-critical articles. "Poet of God's Grace" "Volzhsky Husar", "Singer of Volzhsky Razdolia", "Volzhsky Solovy" - the so-called Alexander Shiryaevtsy his contemporaries. "Bayun Zhiguli and Volga" narently his beloved
friend, Sergey Yesenin. Biography A.V. Shiryaevts has not yet been written. Therefore, the memories of contemporaries, research creative biography Poet, archival materials.

Alexander's Malaya Motherland, Village Shiryaevo, spread on the banks of the Volga. The place is beautiful, memorable. The houses were built by the expanding mouth of Shiryaevsky ravine, which the winding ribbon stretches on the territory of Samara Luke. Here you can find cliffs and stony steppes, springs and glads, birch and pine forests. On both sides of the ravine (Buaeraka), two mountains are descended to the Volga: Popova and Monastic. The slopes of the mountains threw the forest. With their vertices, the wide Valley of Intergorea with the village is well visible. And opens throughout the magnitude of the river smooth of Volga.

In Interguria faced -

In the Zhiguli, our village.

Near the Volga ... splash, breaks,

About experienced sings ...

Starting from the earliest poems, the poet leans towards people's songs. The "Volzhsky" works dedicated to Native Shiryaev and the Volga were performed in a dance style, the unrestrained temperament of the poet, vividness, "Ringing" was brightly expressed in them.
Oriental themes ("Sands", "Hungry Steppe") are kept in a restrained tone, these works are characterized by "contemplative detachment".

In 1912, the correspondence of Shiryaevitsa begins with N. Klyowv, which had a significant impact on the creativity of a novice poet. In No. 1 of the Journal "Friend of the People" in 1915, poems were simultaneously printed: "Patterns" of Sergey Yesenin and
"Horovod" Alexander Shiryaevtsa. After the publication of Yesenin, send the latter to Tashkent: "Sorry for the frankness, but I loved you with the first read poem here ... You are so fabulous and beautiful ... with my poems you will also get acquainted. They are also near your spirit ... "

Thus, not yet personally acquainted with other "Novokrestest
poets, "Shiryaevets is already becoming a noticeable member of the grouping of Novokrestest poets.

After the publication in 1915-1917, four collections of poetry literary critic V.Khodasevich I reproached the poet that he sneezes the people whom "Soon there will be no":"... life of our poems is almost over, there will be no refund. Take good luck withhim - and on the road! ". In a response letter, Alexander Shiryaevets replied:

"And what is more beautiful: the former Churila in silk lapotnies with gyrobes and promsters, or the current day Churila, in
american footballs, with Karl Marx or the "Chronicles" in the hands of the roar from the truths opening there? .. by God,
former to me Mile! .. After all, it is not so easy to part with what we lived for several centuries! Yes, and how not to go into the old ones from the current confusion, from all these hysterical screams, called solemnly "slogans" ...Maybe nonsense i carry I am terrible, it's all because I do not like the modernity of the magician, which destroyed a fairy tale, and without a fairy tale what live in the world? ..

In 1924, one of the last poems poems appears, in which he once again emphasizes his disagreement with modernity, his love is not a factory "considered with Karl Marx, Russia", and

Rus rustic, agricultural.

Never aged will not roll:

Too Russian heart my ...

Possed by the songs on Klyazma!

How I rushed with a heavy spear ...

The elder snack clicks!

The wind Volkhov was sweeping sail!

Then the executioner I, then the beggar of calika

That with a makeup in robbery ...

I do not remember what kind of kind I

I do not remember my village ...

I rode in the experienced years

The old one brought me.

(Expressive reading of poems A. Shiryaevtsa.)

Alexander Shiryaevets. Poems.

Violin

Spear violin, and wounded

White Swan ... Alela Wave ...

And seemed clouded

Light-princes in captivity of the sorcerer ...

"It's not sad, I'm tipped prison!

You're not wonder for me so much! "

But the melancholy of the Swan:

"You will not find ... without princess die ..." (Alexander Shiryaevets.sti, 1914)

Schuteitsa

Sad-tender eyes -

Spring of Land Beauty ...

Magnify - split gate,

In dreams - Reserved Skits ...

We will leave the world, you will check Schima,

Skoronish Maiden Krasu ...

And see the wings of Seraphim

You're in the Smolny Power and in the forest ...

And you will not drop the ground rosary,

Do not pale at the gate,

When it was not a boat

Your groom is swimming. (Alexander Shiryaevets - Poems, 1915-1920?)

Conversation on questions after reading poems.

What images creates a poet?
What mood is his poem pierced?
What kind of folklore, biblical images are the poet?
What is the vocabulary of poems?
As you understand the words of A. Shiryaevtsa: "... I do not like the modernity of the appearance of the plot, which destroyed a fairy tale, and without a fairy tale what live in the world?" ?

Let's summarize.

Having supported the original revolution that promised paradise on the ground to peasants, Novokrestest poets turned out to be "superfluous" after the revolution. Their illusions disappeared, faith into brute transformations. They became objects of constant attacks, poisonous "exposures" by critics and ideologues who claimed the expression of "advanced", proletarian position. And then, in poems, the motives did not just be the tragedy of the revolutionary crucifixion of Russia, but also the faults of the fastened neat, enchanted, leaning for substitution and the temptations of the devilish goats of her son - her own people.

According to A. Mikhailova, "Public disharmony, to which the revolution led, was a reflection of a whole tangler contradictions: ideological, social, economic and others. However, the task of Soviet ideologues was to submit a new state device As the only right, so they strove by anything to recollen the mechanism of national memory. To betray the past oblivion, the carriers of the generic memory were destroyed. All the new Novokressian poets were killed by the national shrines. "

Only A. Shiryaevets, early left of his life (1924), and S. Jenin (1925) did not live up to the time of massive repression, which absorbed their like-minded people.

Time passed, and the poetry of once-crossed out of the literature of Novokrestest poets returned to the reader, to the people.

Novokressian poetry with full right can be considered an integral part of the creative heritage of the Russian silver century. The peasant spiritual Niva turned out to be much more festive than the proletarian ideological soil, on bright creative personalities. The proletarian poetry did not put forward a truly large masters of the word, and the peasant revealed "the first-class talent of the poet and Prosaik, the wonderful talent of Nutshina and Shiryaevitsa ... And the two poets and Yesenin, being spiritual and creative leaders of the" peasant foster "and expressing more and more precisely and Perfectly his collections of her aspirations, rose in a number of classics of Russian literature "(S. Semenova).

It is necessary to finish the lesson who wants poets, sounding, both before and in our time surprisingly fresh, penetrating, idle and very sincerely. Anxiety for the fate of beauty in the living world in the soul of man is relevant and now. We still have to open the artistic world of these poets.

Sergey Klychkov.

Among people, I'm scared to live.

* * *

Among people I live to live

I, as a child among the night,

So I want to stop

Souls forming eyes.

How to the late man

She lay on the ground shadow from feashes.

Do you hear that Mathers Bor?

Tell me what Ptakhi is chirping?

At all, for all I know blood,

In the blood of mouth, flowers, eyelashes.

Oh, where are you, mother of people, love?

Ile children about you only dream?

Save, survive, pity

And not for execution and pay

Sooty and light among the fields

Propes for a parcel and huts.

Major Rami The Edge is empty

Not visible fishing over the Breg.

And only a smile of clean mouth

Flowing the saving ark. (Sergey Klyachkov.sti, 1922)

Nikolai Klyuev.

Called the silence of Grehamau

Abused white "silence",

At the cross is an innocent trunk

Did not put the candle candle.

In coniferous incense drilled by cigarette

And spitting forget-me-not burned, -

Bleated the tears of the film

Sednoy Zeindelled Moss.

Light Forest Forest Silence,

Prying on the scattered cross,

Wound into deaf wandering

To saints, unrepited places.

Bombed the black hand

To mink confuses the trail ermine ...

Son of iron and stone boredom

Pruffurates Berevian Paradise. (1914 and 1916)

Homework.

Analysis of the poem N. Kveva (optional).
Read the poems of S. Klychkov, P. Oshina, A. Shiryaevtsa.
By heart (by choice): S. Klychkov "Lel Flowers all the field decorated", "Leshe";

N. Otel "Razbanitskaya Earth" (from the "Poet Sergey Yesenin" cycle, passage), "Let I in the laps".

References.

"Pounding developments in Russian literature." N.V.Gorova, I.V. Zolotarev. "Wako" .2010.
"The poetry of the Silver Century. Anthology. ". "EXMO". 2010.
"Russian literature of the 20th century. Grade 11". Authors: L.A. Smirnov, O.N. Mikhailov, A.M.Turkov et al. M. "Enlightenment". 2011.
"Masters of Russian painting." Authors: M. Allenov, E. Allenova and DR.M. " White City". 2008.
The Internet. Wikipedia.
Vasnetsov. M. "Direct-Media" .2010. Text author: S. Korolev.
"Roerich". M. "Direct-Media". 2010. Text author: N. Bashkov.

One of the characteristic features of the Russian culture of the beginning of the XX century. - Deep interest in myth and national folklore. On the "ways of myth" in the first decade of century, creative search for such unresponsive artists of words, like A. A. Blok, A. White, V. I. Ivanov, K. D. Balmont, S. M. Gorodetsky, A. M. Remizov and others. Orientation on the people's forms of artistic thinking, the desire to know this through the prism of the national painted "old older" acquires fundamental importance for Russian culture. The interest of the literary and artistic intelligentsia to the ancient Russian art, literature, the poetic world of ancient folk legends, Slavic mythology is even more aggravated during the world war. Under these conditions, the work of peasant poets attracts special attention.

Organizational peasant writers - N. A. Klyuev, S. L. Yesenin, S. L. Klychkov, A. A. Ganin, A. V. Shiryaevets, P. V. Oreshin and entered into literature already in the 1920s. P. N. Vasilyev and Ivan Pribrudad (Ya. P. Ovcharenko) were not clearly pronounced literary direction with a strict ideological and theoretical program. They did not oppose the declarations and theoretically did not substantiate their literary and artistic principles, but their group is distinguished by bright literary identity and socio-ideological unity, which makes it possible to allocate them from the total flux of nearanical literature XX century. The community of literary and human fate and genetic roots, the proximity of ideological and aesthetic aspirations, similar to the formation and similar ways of development of creativity, which coincides with many of their features a system of artistic and expressive means - all this fully allows us to talk about the typological community of creativity of peasant poets.

So, S. A. Yesenin, found in Poetry N. A. Klyuev, the mature expression of the poetic miniguration close to him, in April 1915 he adds to the Klyuev with a letter: "We have a lot of things with a lot. I am also a peasant and write the same like you, but only on your Ryazan language. "

In October-November 1915, the Literary and Art Group "Krasa", which was headed by S. M. Gorodetsky and where the peasant poets entered. The group members were combined with love for Russian antiquity, oral poetry, folk song and epic images. However, the "beauty", as well as the "Strand" replacing, existed for a long time and soon broke up.

The first books of peasant poets overlook the 1910s. These are poetic collections:

- N. A. Klyuev "Pine chime" (1911), "fraternal songs" (1912), "Forests were" (1913), "Mire of Duma" (1916), "Copper Kit" (1918);
- with A. Klychkov "Songs" (1911), "Poted Garden" (1913), "Dubravna" (1918), "Ring of Lada" (1919);
- S. A. Yesenin "Radunitsa" (1916), published in 1918 His "Poison", "Transfiguration" and "Rural Characters".

In general, the peasant writers were typical of Christian consciousness (Wed. At S. A. Yesenin: "Light from the pink icon / on the devoted my eyelashes"), however, it was complexly intertwined (especially the 1910s) with elements of paganism, and N. A. Klyuev - and whipping. The indomitable pagan life - a distinctive feature of the lyrical hero A. V. Shiryaevtsa:

The choir famous to Vladyka's Almighty. Akathists, canons, paths, but I hear the Kupalskaya night short, and in the altar - the play of the playful dawn!

("The choir famous to the lord of the lord ...")

The political sympathies of most peasant writers in the years of the revolution were on the side of Sherso. Singing peasantry as the main creative force, they saw in the revolution not only the peasant, but also the Christian beginning. Their creativity is eshatologically: many of their works are devoted to the last fate of peace and man. As R. V. Ivanov-Obesenik, in the article "Two Russia" (1917), was noticed in the article "Two Russia" (1917), they were "genuine eschant, non-cabinet, and earthlings, deep, folk."

In the work of peasant writers, the influence of the artistic and style quests of the modern literature of the Silver Century, including modernist destinations, is noticeable. The relationship of peasant literature with symbolism is undoubted. It is not by chance that such a deep influence on A. A. Bloka, the formation of its populic views at one time had Nikolai Klyuyev - undoubtedly the most colorful figure of Novokrestian. Early Poetry S. A. Klychkov is associated with symbolism, his poems were published by the symbolist publishing houses "Altice" and "Musaget".

The first compilation of N. A. Klyava comes out with Preface V. Ya. Brysov, highly appreciated the talent of the poet. In the printed organ of the Ambamests - the magazine "Apollo" (1912, No. 1), N. S. Gumilev prints a benevolent review of the collection, and in his critical etudes "letters about Russian poetry" devotes to the analysis of the creativity of Klyuev, a lot of pages, noting the clarity of the Kward Verse, his Solnicity and saturation content.

Klyuev - the expert of the Russian word is so high levelthat an extensive erudition is needed to analyze his artistic skills, not only the literary, but also cultural: in the field of theology, philosophy, Slavic mythology, ethnography; It is necessary to know the knowledge of Russian history, folk art, icon painting, the history of religion and church, the Old Russian literature. He will easily "turn around" by such a formation of culture, which and did not suspect Russian literature. "Book" is a distinctive feature of Kurievo creativity. The metaphoricity of his poetry, well-being realized by him ("I am from one hundred million first / roeter of custodial words"), inexhaustible also because the metaphors are usually not single, but, forming a whole metaphorical row, stand in the context of a solid wall. One of the main artistic merits of the poet is the use of the experience of Russian icon painting as a quintessence of peasant culture. With this, he, no doubt, opened a new direction in Russian poetry.

The ability to "red to speak" and writing the keys has studied from the Zanezhsky folk people and perfectly owned all the forms of folk art: verbal, theatrical and ritual, musical. Speaking by his own words, the "self-sang and strata, gestures and Mimic" learned at the fairs at the crochets. He felt like a carrier of a certain theatrical folklore tradition, a trusted Messenger in intellectual circles from the "pallet" Russia's deep hidden from the eye, not known: "I am dedicated from the people, / for me a great print." Klyuev called himself a "burning offshore" of the famous Avvakum, and even if it was only a metaphor, his character really reminds many features - extremeness, fearlessness, persistence, uncompromising, readiness to go to the end and "suffer" for his beliefs - the nature of the Protopopa: "" Get ready for a fire to the fire! "- / thundered my great-grandfather Avvakum."

The literature of the Silver Age was distinguished by an acute controversy between representatives of various directions. The peasant poets were half alarized simultaneously with symbols and acmeists1. Kloivian software poem "You promised us gardens ..." (1912), dedicated to K. D. Balmont, built on opposition "You - We": you - symbolists, preachers of foggy and sound ideals, we - poets from the people.

Retired your garden patterned, stream stream flowed.

Behind the fathers, we go unknown we, our aroma resinist and eater, we are a refreshing winter.

The gorges of the subsoil fought us, rebuilt the rains of the sky. We are boulders, gray cedars, forest keys and pines ringing.

Consciousness of the greatest intrinsicness of "Menietian" perception dictated to the peasant writers the feeling of their inner superiority over representatives of intellentic circles, unfamiliar with a unique world folk culture.

"The secret culture of the people, about which at the height of his scholarship, and does not suspect our so-called educated society," notes N. A. Klyuyev in the article "Self-aunt" blood "(1919), - does not cease to be reduced to this hour."

The peasant tricks of the Klyuev, many seemed masquerade, speech and manner of behavior, and above all, of course, creativity performed the most important function: to draw attention a long time "broken" from the people of the intelligentsia to the peasant Russia, show how it is beautiful, like everyone else and wise It is arranged, and that only in it a guarantee of moral health of the nation. The keys as if it does not say, hooks the "brothers educated writers": Where are you going? Stop! Speak! Dream!

The peasant environment itself formed the features of the artistic thinking of Novokresteyan, organically close to the folk. Never before the world of peasant life, reflected with the local characteristics of life, dialect, folklore traditions (Klyuyev recreates the ethnographic and linguistic flavor of frozen, Yesenin - Ryazanzchina, the Klychkov - Tver Province, Shiryaevets models the Volga region), did not find such an adequate expression in Russian literature. In the work of Novokrestian in full understanding, an expression of a person, close to earth and nature, was reflected in the outgoing world of Russian peasant life with his culture and philosophy, and since the concepts of "the peasantry" and "people" were for them are equivalent - the depth world of Russian national identity . Rustic Rus is the main source of the poetic world of peasant poets. Its initial connection with Pei - the biographical circumstances of their birth among nature, in the field or in the forest - emphasized S. A. Yesenin ("Mother in a swimsuit in the forest went ..."). This topic continues to S. A. Klychkov in a poem with a folk-songware "was over the valley's river ...", in which animated forces of nature appear to admirements and first nannies of the newborn baby. From here there is a motive "return to the homeland".

"Tuscany in the city, for two more years already, according to the holy paths, on the Golubam Verbam, according to the mother's miraculous spinner," is recognized by N. A. Klyuev.

In the poetry of Sergei Antonovich Klychkov (1889-1937) this motive is one of the main:

In a foreign land, I remember my garden and home. There is now flourishing currant and under the windows - bird soda ...<...>

This time is spring, early lonely meeting away ... ah, getting down, listen to breath, look into the glowing radiance of cute mother - the rim of the earth!

("On a foreign land from the homeland ...")

In mythopoethics Novokrestian, their holistic mythopoietic model of the world is central to the world about the earthly paradise embodied through biblical imagery. Lietemotivities here are the motives of the garden (Klychkov - "Poted Garden"), Vertograd; Symbols associated with the harvest, harvest (Klyuyev: "We are the renouncements of the Ecumenical Niva ..."). The mastery of the shepherd, rising to the image of the gospel shepherd, fastens the work of each of them. Healthy Novokressian was called the shepherds (Yesenin: "I'm a shepherd, my chambers - / Mezhievous fields"), and poetic creativity was likened to the sheets (Klyuev: "My deer cereals, / herds and dooms").

People's Christian ideas about the cyclicality of life and death can be found in the work of each of the Novokrestian. For Klychkov and his characters who feel like a particle of a single mother nature, which are with Pei in harmonious relationship, and death is something natural, as if by changing the seasons of the year or melting "Izororosa in the spring", as the death of Klyuv. According to Klychkov, die - it means "to go into the undead, like roots in the ground." In his work, death is not a literary and traditional disgusting old woman with a key, but an attractive peasant worker:

Tired of daytime trouble, as good shirt shirts to brush the hardworking sweat, move closer to the cup ...<...>

How well, when in the family.

Where is the son - the groom, and the daughter is the bride,

Not enough on the bench

Under the old blast place ...

Then, having left the fate as everything

Not in Divo to meet death in the evening,

How zhnitsa in young oat

With a sickle thicker on the shoulders.

("Tired of daylight ...")

In 1914-1917. Klyuyev creates a cycle of 15 poems "Iply songs" dedicated to the memory of the dead mother. The plot itself: the death of the mother, her burial, the funeral rites, the crying of the son, visiting the mother of the native home, her help to the peasant world - reflects the harmony of earthly and heaven. (Wed. Yesenin: "I know: other pieces / deceased alive.") The cyclicality of life and death is emphasized and composite: after the ninth chapter (relevant to the ninth memorial day), an Easter holiday comes - sorrow is overcome.

The poetic practice of Novokrestian already at an early stage allowed to allocate such moments common in their work as the poetization of peasant labor (Kliyev: "Bow to you, work and sweat!") And rustic life; zoo-, floro and anthropomorphism (anthropomorphization of natural phenomena is one of the characteristic features of thinking with folk categories); An integral feeling of its inseparable communication with the world of living:

Crying a child across the field and river, a cock cry, like pain, for the versts, and spruce, like a longing, I hear, I hear through the contamination corrosion.

(I. A. Klyuev, "Watching cats through the field and river ...")

The peasant poets were the first in domestic literature to build a rustic life on the level of philosophical understanding of the nationwide foundation, and a simple rustic hut in the highest degree of beauty and harmony. Izba it is likened to the universe, and its architectural parts are associated with the Milky Path:

Conductive hut is the semblance of the Universe: in her Sholom - heaven, the flavors - the Milky Way, where the feed of the mind, the soul of the multifaceful under the spindle clira is able to rest.

(I. A. Klyuev, "Where Kumach smells - there is a woman's gatherings ...")

They apoed her living soul:

Izba Bogatyric, Kokoshnik cut-off, endowdown, like an eyeball, summed up with antimony.

(N. A. Klyuev, "Izba-Bogatrices ...")

Klyuyevsky "Iply Cosmos" is not something abstract: he is closed in the circle of hourly peasant worries, where everything is achieved by difficulty and then. The furnace-laying is its indispensable attribute, and like all the key images, it should not be understood simplifically definitely. The furnace, like the hut, how everything in the hut is endowed with a soul (the epithet of the "Spiritis") and is equivalent, along with Kittras and Carpeting, to the "Gold Pillar of Russia" ("In sixteen - kudri da sitting ...") . The Klyuvian image of the hut receives further transformation in the author's creative controversy with proletarian poets and lefovtsy (in particular, with Mayakovsky). Sometimes it is a wonderful huge beast: "My hut" ("buried me, buried, bury ..."). In other cases, this is no longer just a dwelling of the landpash, but the things of the hub - the prophet, Oracle: "A simple, like washed, and the cloud in the casinets, Russia will not become - so the hut is somewhat" ("Mayakovsky dreams of a beep over winter ...") .

The poet "Golden Breed Hazard" proclaimed himself to Yesenin (see "Sleep Kickl. Plain dear ..."). Poets the peasant hut in the "home songs" of the licks. Klyuyev in the cycle "Poet Sergey Yesenin" persistently resembles the "younger brother" His origins: "Izba - the writer of words - / You have seeded not in vain ..." The exception here is only Peter Vasilyevich Oreshin (1887-1938) with his interest in social reasons , continuing in the peasant poetry, the Neksovskaya theme of the disadvantaged Russian man (not an epigraph of N. A. Nekrasov to his collection "Red Rus"). Oreshinsky "horses, indoor straw" are a picture of extreme poverty and launching, while in creativity, for example, Yesenin and this image, and this image is aestheticized: "Under straw-riza / sharing Soldt, / wind mold from the SIZY / Sun sprout" ("Edge You are my abandoned ... "). Hardly the estranged image of the peasant hut is hardly for the first time in the work of the Nut, the premonition / accomplishment of the revolution: "As arrows, fistil the zori / above the sunny".

For the peasant-landpasher and the peasant poet, such concepts as the Earth's mother, hut, the economy of the concept of one ethical and aesthetic series, one moral root. The native ideas about physical work as the basis of the foundations of peasant life are approved in the famous poem of S. A. Yesenin "I am going to the valley ...":

To hell, I remove my costume English. Well, let the braid, I will show you - is I not a pretentious, I'm not close to you, I'm not rushing the village memory?

For N. A. Klyov exists:

The joy to see the first stack, the first sheaf from the native strip. There is a parting Pie Po Frieze, in the shade of birch ...

("Joy to see the first stack ...")

The cornerstone of the world of world-upstream poets is a look at the peasant civilization as spiritual space of the nation. Stopping in the Klyowvskaya Collection "Forests" (1913), strengthened in his book "Mirinese Duma" (1916) and the "Poet of Sergey Yesenin" cycle (1916-1917), he appears to be different in the two-volume "Pedosov" (1919), And subsequently reaches the peak of sharpness and turns into a quick-hearted tombstone on the crucified, desecrated in Russia in the late work of Klyuev, approaching the remise "the word about the death of Russian land." This dominant of Klyuevo creativity is embodied through the motive dvouliiria: combined, and more often oppose each other two layers, real and perfect where the ideal world is a patriarchal older, a world of virgin, removed from the destructive breath of the city of nature, or the world of beauty. Adherence to the ideal of beauty, walking roots in the depths of folk art, the peasant poets are emphasized in all their pages. "It is not iron, but the beauty will be bought by Russian joy" - I do not get tired of repeating N. A. Klyuyev after F. M. Dostoevsky.

One of the most important features of Novokresteyan's creativity is that the theme of nature in their works is the most important not only the semantic, but conceptual load, revealing through the universal multi-speech antithesis "Nature - civilization" with its numerous specific opposition: "People - Intelligentsia", "Village - city", " natural man - Citizen "," Patriarchal Past - Modernity "," Earth - Iron "," Feeling - Clear ", etc.

It is noteworthy that there are no urban landscapes in Yesenian work. The fragments of them are "skeletons of houses", "Oblogish lantern", "Moscow curved streets" are - a daily, random and do not fold in a one-piece picture. "Moskovsky Naughty Gulika", along and across the "whole Tver Owlock", does not find words to describe the month of the city of the city sky: "And when a month is shining at night, / when shines ... Damn knows how!" ("Yes! Now it is decided. Return ...").

A consistent aptchiisbinist acts in his work by Alexander Shiryaevets (Alexander Vasilyevich Abramov, 1887-1924):

I am in the Zhiguli, in Mordovia, on Vytegra! .. I listen to the epic streams! .. Let the city be the best confectioners in sugar cakes -

I will not stay in the stony status! I'm cold in the heat of his palaces! In the field! Bryn! To the barks of Okyanny! To say grandfather - wise ledges!

("I am in the Zhiguli, in Mordovia, on Vytegra! ..")

In the work of Novokrestian image Cities acquires the quality of archetype. In its multi-page treatise, the "stone-iron mound" (ie, the city), completed by 1920 and still not published completely, A. Shiryaevets most fully and comprehensively expressed target installation Novokrestean Poetry: Return Literature "To Miraculous Keys of Mother Earth". The treatise begins by a legend apocrypha on the demonic origin of the city, and then a fairy tale allegory about the young town (then the city), the son of a stupid settlement and a thoughtful person, in favor of the devil strictly performing the death fence of the parent "Impact!", So the devil "dances and Grunts on joys, mocking over the fledged land. " The demonic origin of the city emphasizes N. A. Klyuyev: "The city-devil hooves beat, / turning us by the stone zev ..." ("from the basements, from dark corners ..."). A. S. Klychkov in the novel "Sugar German" (1925), continuing the same thought, approves the impiction, the futility of the path that the city is coming - there is no place for a dream:

"City, city! Under you and the earth is not similar to Earth ... killed, the rambling her Satan with a cast-iron hoof, rushed iron back, rushing around her how a horse rides but meadow in the soot ..."

The distinct anti-libanistic motifs are visible in the Klyowvian ideal of beauty taking start in folk art, put forward by the poet as a link between the past and the future. In the present, in the realities of the Iron Age, the beauty of extractan and ruled ("the death of fatal theft, / collapsed mother-beauty!"), And therefore the links of the past and the future squeezed. But faith in the messianic role of Russia permeates all the creativity of N. A. Klyuev:

In ninety-ninth summer, the sworn castle will scare and hook the gems of dazzling rows.

Singing the singing foam Holmogorier and Kebaei, sinks Vienna Silver Words-Caras!

("I know the songs of ...")

It is Novokrestendian poets at the beginning of the XX century. Loudly proclaimed: Nature is the greatest aesthetic value itself. On a national basis S. A. Klychkov managed to build a bright metaphorical system natural equilibrium, organically leaving in the depths of popular poetic thinking.

"We weight seems to us that in the world we only stand on the legs, and everything else or crawls in front of us on the belly, or it is a wordless post, whereas on the very actual and not so! ..<...> There is one mystery in the world: there is nothing non-living! .. Therefore, love and caress flowers, trees, different fish, hol wild beast And it's better to go around the poisonous reptile! .. "- writes S. A. Klychkov in the novel" The Chertuhinsky Balakir "(1926).

But if in the poems of the Klyuevian collection "Lion bread" the offensive of "iron" pa living nature is a terrible reality that has not yet become a terrible reality, a premonition ("to greet the heavens / about Iron NS-Haromb!"), Then in the images of his "villages", "Pogoremskins", "Songs about the Great Mother" - this is already a tragic reality for peasant poets. The approach to this topic is clearly visible by the differentiation of the creativity of Novokrestian. S. L. Yesenin and P. V. Oretshin, although not easy, painfully, through the pain II blood, was ready to see the future of Russia, saying with Yesenin words, "Through Stone and Steel". For II. A. Klyuev, A. S. Klychkov, A. Shiryaevtsa, who were in power the concept of "Menietary Paradise", the idea of \u200b\u200bthe future completely embodied the patriarchal past, the Russian gray old man with her fairy tales, legends, beliefs.

"I do not like the modernity of the magician, destroying a fairy tale," said A. Shiryaevets in a letter to V. F. Khodasevich (1917), - and without a fairy tale what live in the world? "

For N. A. Klyuev, the destruction of fairy tales, legends, the destruction of the sonma of mythological characters is the wrong loss:

As a Belitz, a handkerchief on the eyebrows, where the forest blades, from the driving headboard, a fairy tale left. House, undead, mallet - only litter, casual dust ...

("Village")

His spiritual values, the ideal of the initial harmony with the world of nature, Novokrestestian poets defended in controversy with the prostricultic theories of the maintenance and engineering of the world. Industrial landscapes of "Solovyov", in which, according to Klyuev, "fire is replaced by folding and consonant - factory tar", sharply contrasted with the lyrics of nature created by peasant poets.

"It is difficult to understand me concrete and turbines, they are knocked out in my straw, carbonated them from my eleven, coughing and road worlds," wrote N. S. Klyuev in a letter to S. M. Gorodetsky in 1920

Representatives of the Iron Age repelled all the "old": "Old Rus is hanged, / and we are her executioners ..." (V. D. Aleksandrovsky); "We are the pedigrees of the new faith, / beauty as the iron tone. For its part, NovokrStarty, who saw the main reason for evil in the detachment from natural roots, the people's worldview, national culture, stood on the defense of this "old". The proletarian poets, defending the collective, denied individual-human, all that makes the person of unique; ridiculed such categories as soul, heart; declare: "We will all take, we will all know, penetrate the depth to the bottom ..." (M. P. Gerasimov, "We"). The peasant poets claimed the opposite: "Everyone to know, do not take anything / came to this world of the poet" (S. A. Yesenin, "Kobyi ships"). The conflict "Nature" and "Iron" ended with the victory of the latter. In the final poem "The field, destroyed by bones ..." from the collection "Lion bread" N. A. Klyuyev gives terrible, truly by the apocalyptic panorama of the "Iron Age", repeatedly determining it through the epithet "Faceless": "Over the dead steps, a faceless That / gave birth to madness, darkness, emptiness ... "Dreaming about the time at which" will not be worn under the hammer, about the invisible flywheel "(" Caravan comes with saffron ... "), Klyuyev expressed his intimate, prophetic:" Breaks For an hour, and the proletarian children will fall to the man. "

By the beginning of the XX century. Russia approached the country of peasant farming, based on more than millennial traditional culture, polished in its spiritual content to perfection. In the 1920s. Entry of Russian peasant life, infinitely expensive peasant poets, passed their eyes to collapse. The pain for the scooping origins of life is permeated with the letter S. A. Yesenin relating to this time, the attentive reading of which is still to be researchers; The works of N. A. Klyuev, novels S. A. Klychkov. Inherent in the early lyrics of this "singer of unprecedented sorrows" ("Guns of carpeting Navy ...") Tragic worldview, strengthened by the 1920s, reaches a peak in his recent novels - "Sugar German", "Chertuhinsky Balakir", "Prince of World ". These works, which show the absolute uniqueness of human being, many researchers are called existential.

The revolution promised to implement the age-old dream of the peasants: to give them the earth. The peasant community in which the poets saw the foundation of the foundations of harmonious Being, for a short time she was reanimated, peasant gatherings were noisy:

I see: Sunday villagers at the parish, as in church, gathered. Corywood, unwashed speeches, they discuss "py".

(S. A. Yesenin, "Rus Soviet")

However, in the summer of 1918, the planned destruction of the foundations of the peasant community begins, the products are sent to the village, and from the beginning of 1919, the system of exversmanship is introduced. Millions of peasants die as a result of hostilities, hunger and epidemics. A direct terror against the peasantry begins - the policy of studying, over time, bringing terrible fruits: the memorandums of the Russian peasant business were destroyed. The peasants were violently against exorbitant charges: Tambov (Antonovskoe) uprising, Veshinskoye on the Don, the uprising of the Voronezh peasants, hundreds of them similar, but smaller-scale peasant performances - the country passed the next tragic band of his story. Spiritual and moral ideals accumulated by hundreds of generations of ancestors and seemingly unshakable were undermined. Back in 1920, at the congress of teachers in Vytegra, the keys with hope spoke of folk art:

"It is necessary to be more detailed to all these values, and then it will become clear that in Soviet Russia, where the truth should be the fact of life, should recognize the great value of the culture generated by a burden to the sky ..." ("Word to teachers about the values \u200b\u200bof folk art" 1920).

However, by 1922 illusions were dispelled. I am convinced that the poetry of the people, embodied in the work of the peasant poets, "under democracy should take the most honorable place", he sees with bitterness that everything turns out otherwise:

"Given with us, the Soviet power rust in the most gentle, with the deepest people. We need to take it as a sign - for the Lion and the Pigeon will not forget the power of her sin," wrote N. L. Klyuev S. L. Yesenin in 1922

As a result of social experiments, the eyes of the peasant poets involved in the tragic conflict with the era began the unprecedented collapse of the most expensive - traditional peasant culture, the folk basics of life and the national consciousness. Writers receive a label of "Kulatsky", while one of the main slogans of the country's life becomes the slogan "Elimination of Craist Like Class". Overall and slandered, resistant poets continue to work, and it is not by chance that one of the central poems of the Klyuevy of 1932 with its transparent metaphorical symbolism, addressed to the leaders of the country's literary life, is called "art slanders":

I am angry at you and sorrowfully,

That ten years a singement horse,

Diamond zero, from gold hooves,

Popon the same consonant embroidered

You did not give and handled oats

And not allowed into the meadow where drunk dew

FRESHED B WILL BEED BERED WINGS ...

In the coming millennium, we are destined to read in the work of Novokrestest writers in a new way, for they reflect the spiritual and moral, philosophical, social aspects of the national consciousness of the first half of the XX century. They laid true spiritual values \u200b\u200band genuinely high morality; In them, the spirit of the Spirit of High Freedom is from power, from Dogma. They are approved by the careful attitude towards human personality, Communication with national origins, folk art as the only fruitful way of creative evolution of the artist is defended.

Sergey Yesenin ... Who could predict the phenomenon of this great popular poet from the Peasant Russia in the dramatic turnuisle, when "October stuck with iron, on hearts, heads"? He entered as equal among the first in the high-nesting environment of symbolists (and sharply exceeded its capabilities). I found the deep relationship between my "steppe pegs" with Pushkin lyrics, with his "Mozzart and Salieri" (remember the "black man", the "bad guest" in the poem of Yesenin "Black Man" and we note the emotional intimacy, the common spiritual height of the Yesenian "return on their homeland "And Pushkinsky" I visited again ... "). The great poet arose as a new solar center of the Russian history of the twentieth century. In Russia, many years existed a quiet, modest school of rustic self-taucker poets, a kind of "abode" for meek sadness of fields, plains, wretched hut. This poetry was not even connected with N.A. Nekrasov or A.V. Rolltsov, and with Ivan Zakharovich Surikov (1841-1880), the author of the songs "Ryabina" ("What is noise, swinging, thin rowan ..."), "in the steppe" ("snow and snow"), "Heart of sadness takes" and the textbook poem "Childhood" (1865): "Here is my village, / here my home is a native ..." This union of the Surikov poets existed until the 10s of the twentieth century, and the young man Sergey Yesenin was in him (in Moscow) a short time by somehow the modest secretary.

The role of these not very ticched peasant poets, as, however, and the singers of urban singers close to them, it would be unfair to call a small. Next to the Russian romance, remember only the romances on poems A.Feta "ABOUT Long I will be, in the mystery mystery," "At the dawn, you are not boudes ...", "Uluny my heart in a ringing distance ...", "I have nothing to you I will not say … "! - There were touching songs for family folk feast, for a restaurant and the road. Such as "rowan" and a song-confession of a yammer, or "sirota I grew up / as the world in the field", as the most popular song A.ammosova "Hass-Bupag removed! / Poor Sakla Your "(1858), as" Dubinushka "(1865) V.I. Bogdanova (1837-1886) with the chorus, converted from the chorus of the songs of Burlakov, famous in the performance of F. Ashalyapina" Eh, Dubinushka, Wow! ", And others, they certainly prepared the soil for the heyday of the Eseninsky lyrics. Yes, if Yesenin rows were born on an empty place: "I go among the plains of bare, / and caravra takes the wind in the distance"? Lee is not tangible in them, that he sounds in the song-romance "Autumn Cranes" (1871) A.M.Zhemchuzhnikov (1821-1908): "Oh, how hurts the soul, I so want to cry! / Stop crying over me, cranes. "

Sergey Yesenin was born in the peasant family. Writing poems began in nine years. The poetic debut of Yesenin - the publication of the poem "Bereza" took place in 1914 in the children's journal "MIRIO", in 1914-1915 Yesenin, typographic worker, listener of the People's University. Shannyavsky, became the author and other educational journals and newspapers: "Protalinka", "patterns", "travel light", "Milky Way" ... Here are critical reviews for the first book of poems "Radunitsa" (1916): "Sergey Yesenin joyfully addresses his "Talianochka" with verses in which you hear the sounds of "Taliance"; "The poems go straight from the ground, breathe a field, bread"; "... His rustic eye sees a popular nature, and the world of ideas, and the whole of God's world." Such a type of creative behavior is an innocent singer of a log hut, fields, forests, rural Lel - Yesenin partly approached (up to Moscow Kabatskaya, to the "country of the villains" and "Pugacheva"), but also annoyed him, tormented. Perhaps the whole challenge of the scandals, and the notorious black American cylinder, the lacquered shoes "I go to the cylinder is not for women"), and the main thing is the Union with the IMAZINTS, typical citizens (A. Maryengof and V.Sherchenevich) were a means to break annoying The image of a fitted "light, pretty boy, speaking by the Naraspov, Ryazan Lelia, Ivan - lucky ones of our fairy tales"?

Poets of the "Peasant Cold" (associations) and primarily N.A. Klivon in collections "Pine Chime" (1911), "fraternal songs" (1912), "Forest Songs" (1913), in the poems "Pogorelshchina" (1928) , "The Song of the Great Mother" (1931) firmly secured for an idealized "hollow - the sanctuary of the Earth") a high role of the sanctuary, the center of space. They, orpheats of Rusi, often performed in the role of deliberate accusers of the city, where he reigns the representative of ignorance, "where there is no barkman, the" bottomless rules ". It was a step into the void ...

The twentieth years in Russia gave rise to a mass of vulgar-sociological, class-class seats, "groupings" of writers. They were officially divided into "proletarian", "peasant", "fellow people", "internal emigrants". "We were raurated, they raurated," M.TSvetaev says about this process. Sergey Yesenin, definitely, took everything that His Ryazanchina, Earth, Poetry, Prayers, Ravenkers, Praise, Ice, Orthodoxy. It was opened to the world, all the trends of history. His main topic, which "cancels" the role of the peasant shepherd with a fiber, is the topic of saving the soul, humanity in man. After all, "the soul passes, like youth and like love," and "under the soul, you also fall as under that I wear." Stamp regret accompanies all mature "returns" of Yesenin to their homeland, his conversations with a beast, our brothers are smaller. Not for one village that new and new transformations expected, the poet was disturbed when he spoke about the rock events. In the tragic confession, called "Black Man", the poet says that he does not want to read about the life of "some kind of coolness and" Zabuldigi ". Fully from the scaffolding framework and even get out of the Union with the IMAZHINISTS. Yesenin in the role of a nationwide poet was afraid too many. And not only in his nearest literary environment ...

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1. I and the dates, history.

Creative fates of poets and prosaicov Novokrierstians fit in 1900-1930-E. The events of the era reflected in their work: war, revolution, collectivization and degradation, repression.

The first books - the 1910s. - Poetic collections Klyuev ("Pine chime", "fraternal songs", "Forests were"), Yesenin ("Radunitsa", "Transfiguration") Klychkova ("Poted Garden", "Dubravna", "Ring of Lada"), Karpov's stories.

Novokrestest poets united not to organize in the literal sense of the word, but a common aesthetic position. They believed that the work of revolutionary Russia should not rely on the machine ideology, but on the traditional peasant culture, and opposed the mechanical - organic, the city - the village. Russia is the country of the peasant, they believed, and her spiritual foundation is folklore and ancient Russian book.

With the proletarian poets, they were revolutionary romanticism, but, as Yesenin was expressed, with the "peasant bias". In verses of Novokrestest poets, the Russian village and Russian nature, merging into a single fabulous mythological world, becomes the main subject of experience.

The fate of the Novokrestest poets after October (the time of their greatest achievements) was tragically: the idealization of them of the village antique was considered "Kulack". In the 30s, they were displaced from literature, repressed. The tragic death of Yesenin as if predicted the sad end of the rest: Klyuev, Oreshin, Fangs, Ganin were shot. And the prose of Podyachev here became a large Bolshevik and was friends with bitter.

Names

Poets: N. A. Klyuev, S. A. Yesenin, S. A. Klychkov (1889-1937), A. V. Shiryaevets (real surname Abramov, 1887-1924), P. V. Oreshin (1887-1938), P. I. Karpov (1887-1963). Proseiki: Poyutachv S.P. (1886-1934), Karpov P.I. (1887-1963).

Natural traits :

Hasic love of rustic Russia (Contrary to Russia "Iron"), the desire to highlight the original values \u200b\u200bof its beliefs and morality, everybody.

Blood connection with the world of nature and oral creativity, the commitment of myth, the fairy tale determined the meaning and "sound" lyrics and epics; At the same time, their creators were distorted and the style aspirations of the "Russian Modern".

Synthesis of an ancient shape and new poetics Provided the artistic peculiarity of their best works, and communicating with the block, Bryusov, other symbolists helped creative growth.

Focus on peasant origin: As a "voice from the people", Novokrestest poets emphasized their peasant origin and poetic pedigree. In the autobiographical story of "Garabaria Sudiba" Nikolai Klyuyev leads a pedigree from his "light mothers", "epics" and "song", highly appreciating her poetic talent. Sergey Klychkov confessed that "the Language is owned by the forest grandmother Avdiet, a speech umbrella Fekle Alekseevna." In the atmosphere of folk poetry Ros Esenin.

Support peasant life and word: Novokrestest poets wanted to be natural in line with the cultural situation of the beginning of the century, when each literary course "persistently emphasized their" badge ", the priority of their worldview, but did not want to dissolve in someone else's environment. Hence the underlined robustness N. Klyuev," Ghetra " -Onsenki S. Yesenin, etc. Depth relationship with the People's Spirit, awareness of the self-satisfaction of the peasant worldview, the new public situation contributed to the fact that, unlike its predecessors, the Novokressian poets were seen in the nature of the Russian farmers.

Mysticism, eschatology (Ivanov-Obsens: "Genuine eschatologists, non-Cabinet, and earthlings, deep, folk").

Naive religious feeling (Ganin: "And from the Bores of Blue of Parish / looked light and affectionate God"). Central Images - Paradise, Shepherd. (Klyuyev: "He will come, the wrong eyelid age of the gold" for the "Reapers of the Universal Niva"). Paradise: Izba ("Izba - the sanctuary of the Earth" at Klyuev, Klychkova in the "Ring of Lada" the Mother of God lives in the "Gornice of Heaven"). They believed in the salvation of the world and the acceleration of harmony, which was seen in another wretched rustic world. We expected the transformation of the peasant being in paradise, the image of the Messiah as a prophet-shepherd. In their work, the shepherd song is associated with prophetic ministry, and the peasant is God's chosen one who knows the path to paradise. (Yesenin: the poem "I am a shepherd, my chambers ...", in the collection "Mary's keys" -1918 - creativity as the fruit of the shepherd Dum)

The worldview search is an influence of both old-believe and sectarians (Policy, Copony): Can be seen in the poetry of Klyov ("fraternal songs" - whipping chants, symbols of loyades, heading to the paradise land - whip utopia).

View of the revolution: Before the revolution - waiting for the revolution as the road to paradise. After - religious optimism gave way to the tragic perception of reality, the expectation of paradise on Earth was replaced by the topics of the saints from Russia, the phenomena of Aggel, the celebration of the horned. Grief as the main mood of Novokrestest poetry and prose came to replace the revolutionary religious utopias.

The perception of contemporaries and the name of the course:

As an original phenomenon in the Russian literature of the early XX century, which has novelty and bright build: "... Their poems sounded, played fire, they spinned talent, climbed the strength and infected with a deletion." It saw a return to the values \u200b\u200bof folk culture, a holistic and harmonious, having moral foundation. That is why there was a need for a term that distinguishes a substantially new aesthetic phenomenon from the already established, but externally not interrupted genetic relationship with the dominant tradition.

Freshness of lyrical voices, the originality of the worldview, the orientation of the original peasant word was attracted to the attention of the literary public, and a high assessment of the poetry Novokrestian prevailed in the mass of disgraceful feedback A. Blussia, N. Gumilev, V. Bryusov, A. Whim, A. Akhmatova, and others .

2.Welev

Before Klyuev, the poets who came out of the people were expressive to the oppressed state of the most numerous class of Russia, sorrow and sadness generated by the powerful state of the peasantry and urban poor were the main motives of their creativity. And the native of the Northern Olonetsky Territory N. Klyuev came into literature with other themes. He proudly declared his peasant origin.

For the first time the poet published his poems in 1904 in the St. Petersburg Almana "New Poets". These publications did not differ in originality. The first book of Klyuev's "Pines Chime" (1911) became a noticeable phenomenon in poetry of those years.

The poem of the first poetic book of Klyuev was hit readers with their unusualness, lack of ordering rhythms, images, trails. The first book of the poet was clearly marked by the distinctive features of Klyuvian poetry - active use images, themes of the Poetic Folklore, bunlet motifs. They could be adopted for the continuation traditions of folk robbery and prison songs. But it was guessed in these works and purely personal, autobiographical.

Passenger Passenger Poets: The peasant hut is not kidding the dwelling of the poor housing, but the basis of the universe, the whole world, an immentable space ("Conductive hut is a similarity of the Universe: in her Sholome - Heaven, Chamber - Milky Way ..."). The process of construction of horses is likened to act a high poetic, artistic creation:

The revolution of Klyuev welcomed the Song of the Sunway, the cycle of Lenin poems, the "Great Red Army" by the Great Red Army. Klyuev believed that the revolution would lead the Russian people to the Men's Paradise. In 1918, it enters into the RCP ranks (b). Having moved to Vyteegra, lecture on lecture, propaganda work, writes campaign works. The active propaganda of revolutionary ideas deeply religious man made a particularly strong impression on contemporaries. Comparisons and comparisons of the poet were unexpected and peculiar. "He knew how to pose, attract attention to himself. As I remember now: it is the keys, one hand is applied to the heart, the other shot up, the inflamed eyes shine. I have never heard that they can say so hotly and convincingly. It seemed strange that he could combine in himself, on the one hand, large, wide, modern ideas, and on the other - faith in God. " The Religiosity of the Klyuev was the reason for the exclusion of it from the ranks of the party in April 1920. On the strength of the persuasion of the word of the poet is evidenced by the fact that the question of keeping the key in the party was considered several times.

Created by Kiavoy in the 20s of the Poem "Mother-Saturday", "Zaozerier", "Village" with an abundance of folklore motives and ethnographic details that the poet admires admire, caused very contradictory responses to the press. There were few approval words. The poet's accusations were heard in commitment to the patriarchal, old, leaving. And it became, in rejection of modern Soviet reality. In Kward fabulous idylls, we treated the promotion of Kulatsky ideas about the peasant wealthy life.

It is not surprising that Klyuev turned out to be one of the first victims of the repression of the 30s. In 1934, he was arrested and expelled first in the village of Kolpashevo, and then to Tomsk. For many years I lived a legend of the death of the poet from a heart attack on one of the railway stations and about the disappearance of a suitcase with his manuscripts. In reality, Klyuev was shot in Tomsk in 1937.

3.Isenin Sergey Aleksandrovich (1895-1925)

His creature. Pow by E. began as a typical peasant self-taught: Zemskaya school, church-school school and moving to Moscow. There he worked as an assistant corrector in the printing house of Sytin, visited the collections of the Surikov mug and a lecture in the National University of Schinka. His early poems were imitation of folklore motives and genres . They had a lot of mantle and provincialism. Mature Yesenin will be aware of himself not to the peasantic as a Russian poet. But for this he needed to leave Surikov, the impetus was acquainted with this with block and key.

The block gave him a recommendation, and in Con.1915, E. published in St. Petersburg the first book of poems " Radunitsa ". Soon he was warmly accepted in St. Petersburg. The criticism spoke about him as Ryazan Lele. The lyrical hero of his early poems - trading and mantis walking on the field and forest expanses of Russia with the secret faith in Jesus and the Virgin: "I know God's Radunitsa, I live. I worship the roadside, I fall on the grass. Between the pines, between the Christmas trees, between Birza curly beads, under the crown in the ring of the needles, I see the Izus. "

If for Mayakovsky, the workshop, then for e . Nature - Temple, in the cat. You can also pray. It saw nature and as a pagan, and as a Christian : "Autumn": a tongue-red mare with blue horseshoe (colors of autumn leaves and cold river water); But the wind turns out to be an invisible sample, which misses his footsteps to the foliage, and the rowan brushes-ulcers of the invisible Christ. Pagan and Christian merge in the form of double feeling.

Myth-making, symbolism : The metaphor and the riddle again seek to become myths, and in the same place its TV-in developed in the spirit of the symbolist myths-va, or mythopoetism. "Mary's keys" -Ethical manifesta E. He determined the essence of his poetry as chime nodal zeroshi nature with a human essence: "If the holy riff is crying: throw you rus, live in paradise! I will say: I don't have paradise, let my homeland! " symbolic coloring russian icons, for example, a horse in "I do not regret, I don't cry ...".

As Evolutions, Yesenin, shephese and inhang became increasingly retired on the 2nd plan, yielding a place bosianic which, in turn, has become in order to become thieves and robbing . All of these 3 pipostasses have a general loss from the generally accepted worldly defendant. Consciousness of this festival He was expressed in the language of the tramp and thief: "I'm tired of living in my native land, in a longing of buckwheat expanses, abandoned my hut, I will leave the vagabond and thief."

The revolution 1917 was perceived by E. how to execute the prophecy of blue Russia that, in turn, was imposed on evangelical idea of \u200b\u200bthe new land and new sky. Rapid by E. with Scythians, cat. He advocated the revolution of the Spirit, the cat. Wester Russia from the path of the Meshchansky West and will open its own unique foundation in it.

In 1918, the civilian born began, the cat. He took to the sharp disconnect of the peasants with a new government. After 2 years, hunger broke out, which took a large number of peasant lives. 1918g-conflict with the key, in the utopia of which E. Bolshev does not believe. 1919gth. joins IMAZHINISTS . The group of IMAZHINISTS included Georgians, Rurik Ivnev, Kusikov, Mariengof, Schenevich. Yesenin attracted the preaching of the national sources of poetic picture in the immudyists. They proclaimed that the objectives of the art are opposed to the goals of the state and society, since art, as Schenevich expressed, there is a "magnificent error." The poet never coincides with modernity, moreover, he always falls out of it. Khodasevich Metko identified IMAZHINISM as " poetic conquest" But the latter just impressed by E., and he joined the imaginers as a travelers on the eating. "IMAZHINISTIC" period of creativity Yesenin begins turning the ink and shepherd in hooligan .

1920g- "Hooligan", "Confession of Hooligan": The landscape becomes uncomfortable, gloomy, hostile. 1922-3GG - cycle "Moscow Kabatskaya": a paradoxical connection of the topic of drunken decay with amazing poetic power. The collapse in Moscow Kabatskaya in Asian cruel and raised: "You, my scatter ... Ras-Say ... Asian side." Previously, bitch turned into a woman for him, now there was a reverse metamorphosis: "Pey with me, a lousy bitch, drink with me." Cleansing to the hero of Moscow Kabatskaya could come only through death and religious return to the lost National. IT: so that for all sins of my grave, for the disbelief in grace put me in a Russian shirt under the icons to die. 22-23g trip to Europe and America-Shelmed itself unnecessary, as in Russia. The cycle "Love of Huligan" -cake with youth, a violence of the eyes, flooding feelings.

1924.- the trilogy "Return to the Motherland", "Rus Soviet", "Rus Ivy"- In the cat. For the first time drawn to the life of the Soviet village. Gloomy mood. E. condemns himself for the fact that remained in the side of the struggle for the future. "I will give the whole soul to October and May, but I will not give a cute lira." "I still remained a poet of Golden Breeding His."

Last large things E.: B.1925 He writes one after another " Persian motifs», "Anna Snegina" and "Black Man". In PM there is a conditional invented Persia - a country of poetry and love, the illusory peace of rest and silence. In the CC, the subject of the image became empty, impaired life, in front of which the verses are exposed as something illusory and false. The twin of the poet, the CC is confessed with a cynical composure: "Ah! I love poets! Funny people. In addition, I always find the story, the heart is familiar, like a pimp on the long-haired freak says about the worlds, sexual expansion." The CC was a sharp relapse with whom E. painfully fought in herself - he felt that he had lives the fate of some adventurist, a coolness and Zabuldigi. Previously, it was a mask, and in the CC, the mask rose to face. "Anna Snegina" E.Deumal as an epic, Nekrasovsky narration from peasant life, but in the end created a lyrical confession. It puts a real historic village to the center, from which before refused. The plot of the speakers unfolds against the background of the struggle of men for earth in 17g. The hero of the poem, the twin of E. itself, the cat. Same name Sergey, returns to rest in his native places. His friend of Reloblin leaves him to the estate of Snagin's landowners (from which Sergey had ever had a novel) to take the land. Three people who love each other face a painful conflict, so that in the end to break up forever: Anna leaves to London, Sergey - to the capital, the line is killed by white. Life towards them is ruthless and catastrophic. This catastrophicity is opposed to a sense of love, which eventually triumphs over everything. When the line asks Sergei to go with him to the estring of snow, he sends him a note: "Come. You are the closest. With love. Hovedline. Sergey sincerely loves men-fellow villagers, and they answer him the same. Anna from emigration sends him a letter with recognition (you are still miles). If in Nach.Pema-insult to life, in the cat. Malnoy love, then in the end the opposite is approved.

It is known about 11 of the poet's arrests (for example, "the case of four poets"), about his not always pleasing regime of statements in humans and in creativity - Yesenin often allowed himself to say what he thought. "White Guard I will not allow talking about Soviet Russia What I say myself. It is mine, and this is the judge. " Last years Yesenin's life is an incredible creative rise. In 1925, he is the first poet of Russia. Prepares for the exit complete collection of their writings. " In Russia, almost all poets died, not seeing the complete collection of their writings. And here I - I will see my meeting"Said the poet. On December 28, 1925, Yesenin found dead in the Leningrad Hotel Angletter. His last poem - "Goodbye, friend, up to date ..." - According to Wolf Erlich, he was transferred to him the day before: Yesenin complained that there was no ink in the room and he was forced to write his blood.

4. Delivered Semen Pavlovich (1886-1934)

He graduated from rural school. Year studied at Cherepovets Technical School, which left because of poverty. I tried to work in Moscow and St. Petersburg (a typewriter in the printing house, watching the railway, janitor), live monasteries as a worker and novice. Returns the village to keep the life of a simple peasant to death.

Of great importance had his friendship with V.G. Korolenko and especially with M. Gorky.

About 50 years P. was a fearless life-wing of the Russian village. The creative manner of the writer is knowledge of the Russian village, observation, drama and limit ease of narration, the feeling of historical time, the wealth of the folk language.

Not all artistically equifically in the literary heritage P. "Your power is knowledge of life and observation, weakness - monotony and bulky form," Korolenko wrote him. Many descriptions are naturalistic, the endings of some works are frankly moralizing, many vulgarism in the character language.

He wrote since childhood, first poems, then turned to prose, mostly stories and essays.

First - stories " Misfire "And" A meeting "In the journal" Russia ". It became known with the publication essays "Nataria " (1902), "In stage "(1903) and tale "Among workers "(1904) (an autobiographical character about" Nutrition "" Looking in the city "and the search for earnings in the city, the Gallery of the" City DNA ", representatives of various social classes: peasants and workers in poverty and workers, a spoken nobleman, the terrible paintings of the Moscow Rabody House). Described P. shocked the public, V. G. Korolenko responded, M. Gorky

In anticipation of R. euro 1905. Creates tale "among workers "- transfers the mood of the poorest peasantry on the eve of the revolution, the life of the old Russian village and the appearance of the sprouts of the new consciousness in it, the bright distinctive images of the peasants - everyone unites them acute hatred for oppressors. For the first time, P. appears the character (blacksmith jurles), capable openly challenge "Hosts of Life".

In works written between two revolutions active active personality is approved as aesthetic ideal (Demyan from Essay "Stagners", 1907; Markel from the story "Led", 1908). The birth of a new social consciousness in a "little man" It is shown in the story "Forgotten" (1909). In the center of the story of the life of the "forgotten" history of man, drunkard and loser Denkin. But the wind of the story touched and such as he. A new consciousness sprouts appear in the "forgotten" person: the desire to live the life of the country, thirst for improving life. So appears in the work of P. topic update .

But in most works until 1917, the old Russian village is shown, the hard life of the peasant needed to the extreme degree, the slave psychology of a man, his darkness, a burden, family troubles that reach open enmity, the torment of women, the terrible fate of children - all this is deeply reflected in stories : "In the Old Beloviers", "Led", "Darkness" (1908), "Evil" (1909), "Family Celebration", "Life and Death" (1910), "Speeds" (1913), "on the Wagon Site" (1915), "For fungi, behind berries" (1916). In these terrible inhuman conditions, people are growing, morally degraded, and at the same time he makes it clear that they are not guilty of this. Gorky: "Semen P. told about the village thoughtfully, not loud and always, as it were, in the tone of questions: - Does it all be considered human life? Does that people should be? But in these conditions, maybe they are different?"

Big cycle - stories about rural predators, tolettuce, teachers, pops, shopkeepers: " Family celebration "," Disorder "," Darkness "," benefactor "(1914)," trouble "," with the news came " (1914). The peak of the satirical cycle about the rich people of the village is story "Career Zakhar Fedorycha Drykalina " (1915).

Works written in the years of imperialist war, express dissatisfaction with the policies of tsarism and full expectations of fast social change: "In difficult times, "" ordinary "(1914)," Deserter "(1915)," For the language disappearing "(1917) - "From all four sides the wind we meet."

Revolution 1917 P. met with great joy and immediately actively joined the social life: he was the head of the Volmet Department of People's Education, the Chairman of the Association of Peasant Writers.

Still in the spotlight of the writer's life of the village. Basic subject after Betyabrsky creativity p .-- Approval of a new life ("Found", 1921; "New Palshamki", 1922; "Papasch Khrznoy", 1924) and fighting the remnants of the past in the consciousness of the peasants ("Letter", 1924; "Through Stroy", 1925; "Babi Agronom", 1926).

A large cycle of stories make up works about the enemies of Soviet powernot stopping before the murder: "Family Layout" (1922), "Evil Darkness" (1923), "Comolete Evil" (1928). Over the years satyrian mastery grew P. Evil laughing, Schishrinsky, he sharply depicts the "attacked" to the Soviet power and the forced communists, who turned into "nobles": "Commissioner" (1923), "son arrived" (1926), "rehearsal".

Latest, Work p .-- autobiographical Tale "My Life" (1924-1934), written on the advice of M. Gorky.

For the literary process of the beginning of the XX century. It is characteristic of democratization - creative self-affirmation of the masses. Simultaneously with the activities of professionals, the proletarian moise declares itself, a new type of peasant poetry arises. Her decisive revival, and the main thing - internal growth was promoted by the coming in the literature of talented immigrants from different edges of the Peasant Russia: from Zaughza - Nikolai Alekseevich Klyueva (1884-1937), from the Tver region - Sergey Antonovich Klychkov (Leshenkov) (1889-1941), with Ryazan Meshchera - Sergey Aleksandrovich Yesenin (1895-1925), from the Lower Volga region - Alexander Vasilyevich Shiryaevtsa (Abramova) (1887-1924) and Peter Vasilyevich Oreshina (1887-1943). Together they made a Pleiad of the so-called Novokrestest poets. The nature of their poetry is complex. I leaving your roots into the depths of the people's pagan and Christian - Poetic Mirosoznia, at the same time turned out to be consonant with the spiritual quest for the first decades of the new century.

The next wave of people's hobbies in the Intelligent environment of this period dictated, as before, "those altruistic sentiments that were then experienced by our advanced young people who had served the" ministry of the people "", the desire to "merge with labor folk mass, powerless and oppressed, but Which in the eyes of young people was a carrier of light moral ideals. " At the same time, the resistant seduction of the creative intelligentsia to come into contact with the deep experiences of the People's Spirit caused by other substantial motives: first, the foreboding of the imminent historical cataclysms, and secondly, the consciousness of the exhaustion of Western aesthetic trends, limited resources of the "book" culture. The course of new nationality is due to this decisively changing: the people are not going to enlighten the dark and clogged man, but on the contrary - to join his harmonious, as it seemed, to the world. Noting the "fruitless weaving of verbal patterns" at a meeting of the Religious and Philosophical Society, R. V. Ivanov-Obseyn wrote: "And at the same time - a terrible thirst for soil, land, alive blood, spirit of life." And further: "People are, of course, a genuine word of life, but only when it falls close to him." The problem of intelligentsia and the people becomes fundamental in spiritual quest A. Blok, he also tries to solve and the deep world of people's magic and spells, which turns out to be "I ore, where the gold of genuine poetry shares; That gold, which provides books "paper" poetry - up to this day. "

After the appearance of the poems of poems, Klychkov, Yesenin, Shiryaevtsy and a little later P. Oreshina these poets were talking about as a fresh, highly artistic and common phenomenon. Bruce, who wrote the preface to the first column of Koshevon's key "Sossezon", noted: "Among the authentic debutants, the first place belongs to G. N. Klyuev.

Special attention deserves interest in the key block. In the peasant poet, he saw his personalized dream of the unity of two Russia: mystical-patriarchal and peasant-Bunlet; His diaries 1907-1912. Fully mentions about Kurai.

No less attention was paid to the appearance of Yesenin. The block called him a talented peasant poet nugget, and his poems "fresh, clean, hollow". One of the magazines discovered in his verses "Some" saying "words, muffling of sound and meanings"; P. Sakulin stressed "wonderful paints" - as a result of the deepest sense of native nature.

With the active assistance of S. Gorodetsky, I. Yasinsky Klyuev and Yesenin are included in St. Petersburg in the activities of the Literary and Art Society "Beauty" (1915), and then "Strada" (1915-1917), which aims to contribute to the identification of talents from the people who dreamed O "The union of the intelligentsia and the people on the paths of assimilation of" true-Christian ideas "." The main merit of the Society I. Yasinsky later saw that it was put forward by Klyuev, "with his Zanezhsky Great Russian, the first poetic moores," and contributed to the deployment of Yesenin's talent. - "This brilliant young man."

The fundamental influence of the key in this early period of the ascent of the Novokrestest Pleiada was indisputable. The confessional correspondence with him is conducted by Shiryaews and Yesenin, which in 1917 he wrote about this time:

Then in the merry noise

Playful doom and strength

Apostle gentle Klyov

We wore us on your hands.

Later, the Oresshin defended Olonetsky poet from the attacks of the IMAZHINISTS:

Koys are struggled to pain,

For me - he is above you

And songs of him about the Russian field

Skip more than once!

Immensely appreciated his younger fellow Yesenin and Klyuev. They were associated with complex personal relationships.

The poets preferred his poetic pedigree on the family line, pointing out to the mother, then on the grandmother, then on his grandfather, seeing carriers of the peasant worldview in them, as if directly attached them to hidden depths of people's "singing covenants". Klyuev recalls the "snatch" of his grandfather, which "believes" in his songs, "Aukets" in his heart, "dreams and consonents". A great influence on the spiritual education of the poet was also provided by the mother, the "epics" and "songbird", the memory of which he devotes "alone songs" (1914-1916). S. Klychkov also writes that "the Language is owned by the forest grandmother Avdiet, a speech uterus Fekle Alekseevna ...".

The awareness of deep relationship with the folk creative spirit contributed to the fact that it was in the "peasant" the appearance of the "songs" created by them "the poets saw their advantage over the poetry of the Intelligent," Civilized ". Instead of core-having complaints of their predecessors, self-taught poets, they have a motive of faith in their social superiority. Kuravu does not flatter, as he wrote in one of the letters that his "beggar songs" read missing satin ladies, and the gentlemen with sullen nails and impeccable probes write (about them, - A. M.) chopping articles in newspapers. " Ironia referred to the salon hype about his "village" poems and the charming appearance of Yesenin. In contrast to the kichlya noble genealogy of Klyuev, his own Heraldik from the "depth of the centuries": "My tribal tree was zoomed by the Koren in the days of the Tsar Alexey, crumpled by branches in the pretrial Stroganov letters ..."; "My fathers for the ancillary Orthodoxy in the book grapes are coming by Russian two centuries."

The proof of organic kinship of Novokrestest poets with the labor people is the fact of their participation in the social protest. On the social views of Klychkov during the first Russian revolution, one of the contemporaries writes: "People, labor, creativity, equality, freedom - were for him the concepts of one row. To the socialist revolution, he treated sympathetically as a historical root, as to the great prolve to a folk future. " For participation in the revolutionary movement in the same 1905, Shiryaevtsa was fired from work, and he was forced to leave his native Volga. In 1913, a police surveillance was established in Moscow in 1913. The most active forms of social protest were manifested with young keys. In 1905, he became a promoter of the revolutionary conference bureaus of the peasant union and was soon attracted in the case of the spread of revolutionary proclamation. In 1906, the Klyuev agitates the peasants not to pay the Castle, not to obey the bosses, and this entails a six-month imprisonment. When searching, he is confiscated "Capital" of Marx and "Own" compositions of "outrageous content". After serving the term (in August 1906), Klyuev supports contact with the Bolsheviks, advocate for the help of political exile and prisoners.

The journalistic performances of the Klyuev in defense of the peasantry are also known. In 1908, he tries through the block to convey V. S. Mirolyubov, the former editor of the "magazine for all" (1898-1906), its article "From the Native Coast", indicating the indestructible rebellion of the Spirit in the depths of the peasant masses. Having stressed the heavy social and financial situation of the Olonetsk village, the author draws attention to the independent nature of the northern peasant, who dared to nominate his "peasant program": "... so that there are no submissions and bosses so that the edible products are ours." In the peasant Klyuev sees not only a powerful force, but also the highest moral authority, for "his spiritual scales, a kind of purification, where everything false is dying, still fair becomes immortal." And therefore inevitably retribution to all its "stalemifers." In the same year, anonymously keyword "on black days is published in" our journal ". (From the letter of the peasant) ", which cost the magazine of existence. Objecting those who, like the publicist M. A. Engelgardt, argued that the people "remained indifferent to the glory victims of the revolutionary intelligentsia", Klavi proves the "congenital revolutionality of the depths of the peasantry." In both articles, the desire of a novice poet is not just just about the peasantry, "Frough<…> Spirit "whom he is familiar well, but on behalf of the peasantry itself.

And yet, the motive of a social protest did not become dominant in the work of Novokrestest poets. It is not completely absent in the lyrics of Klychkov and almost do not feel in the poetry of early Esenin. Shiryaevitsa, he is extremely blurred by the romantic "Volzhskaya" jet. The most realistic of this motive appears only in the "songs" of a nut with their poor topics.

It has been extremely difficult to develop and bizarrely transformed the motive of protest in the poetry of Klyuev. Undoubtedly revolutionary verses 1905-1906, but they did not enter the first compilation of the poet. Nevertheless, the entire "pine chime" will penetrate the spirit of the tragic events of the first Russian revolution; Much in it is inspired by the memory of executed, expelled, convicted. Here even "pines whispering about the darkness and prison, about the flickering of the stars behind the bars."

The idea of \u200b\u200bthe redemption of suffering and flour is heroically, but no offefficient for the freedom of the people does not leave the poet and in the next collection ("fraternal songs"). Based on the gospel idea of \u200b\u200ban admission to eternal joy and immortality only through flour and death, Klyuyev likes the revolutionaries to the first Christians - the martyrs of the Colosseum. The poetic form that embodies this idea in the images becomes "songs" of split sects, which could also oppose their persecutors only the incrementable hardness of the spirit and the power of beliefs. In the "evening song" his doomed in the world of persecutions and evil heroes perceive as a future inefficient in the ideal world of good and justice, where they will have

Behind the back of six wiring of cars,

In curious crowns from evening stars.

The appeal of the key to the "sectarian" poetics is not accidental. All who engaged in research by the Russian religious split, invariably emphasized the fact of the natural transition of social protest in the depths of the fatal masses in the protest against the Kazny Church, social quest in the search for a religious-utopian nature. A. S. Prugavin wrote about the bright democratic nature of the split, becoming "religion of fixed and disadvantaged mass." Exploring the movement of the so-called "defaulters", he stressed that "they openly called the Tsar Antichrist, and officials, all those, who dressed bright buttons," who were servants of the Antichrist, Messengers. " This, it would seem that the socio-religious paradox was explained by the fact that "the more conscious part of the people does not separate religion from life, since the religion and philosophy, and ethics, and sociology in the eyes of these people. Well-studied Dukhobor Movement in Russia Bolshevik Vl. Bonch-Broyevich put the sign of identity between the "mystical" and "free" sects of Russia.

Calculating Klava precisely to such a type of folk legitreers, V. G. Bazanov fairly writes about its special religiosity, "in the peasant" combining "patriarchal remnants and hatred for official Orthodoxy." Through the entire centuries-old crowd of the Russian religious movement, the names of the most famous splitters are held. The key to the spiritual authority of one of them, to the Avvakum Protopope, undoubtedly. V. G. Bazanov traces the common communities of these two original figures of Russian culture, saying that both of them, belonging sharply to the official church, inspired "opposed the destruction of those aesthetic and spiritual values \u200b\u200bthat were created in the era of ancient Russia themselves." . This also defines some similarities of their poetic systems based on the "peculiar folk rethinking of Christian symbolism and the language of the Old Russian literature." The early biography of Klyava is characteristic. The origin (his mother was from a split family) he belonged to the people of "strong moral temper" (P. Sakulin). At sixteen years, I put on behalf of the Verigi, he goes to "escape" in Solovki, then it will be launched as a Psalmist David in a splitting "ship", where he composes spiritual songs and prayers with great success. Later, the Klyuev will call the Avvakum Protopop with his "Praded". The heroic and tragic image will take its place in the Kuevian lyrics of the 1920s intensely saturated with historical associations. ("Lion bread", 1922). The traditions of the Old Believer Culture imposed a certain imprint and at the orphanage Yesenin, raised in the House of Grandfather.

It is not surprising that all the world's skitting of these poets turned out to be a rich religious symbolism. In the halo of Christian martyrdom perceived by them and the image of Russia. They went to him from apocryphas and utopia, the national essence of which was unusually boldly for his time summarized Tyutchev in the image of the "king of the Heavenly", which proceeded, blessed, native land. Yesenine blesses her, passing "past the villages and the villages", the peasant intercessor "Macolan Mikola", the peasant the fate of the Russian pahacary watches "from the boat clouds" Christ, and on the dark peasant horses go to the famous hour of "bright shadows" angels. Such images are absent from Klychkov, he has their place occupied by the characters of pagan mythology ("Les", "Lada", "Kupava"). Especially rich in apocryphal characters in the poetry of Klyuev. In her, he moved the entire synclite of the saints and martyrs with an alone and church icons, adding to them also pagan patrons. However, it should not, however, see the emphasis of the religiosity of poets. Church images were designed to illumine the utopian ideal of Russia, although the image of the latter appeared not only in mystical lighting.

In the poetry of Klyuev, Yesenin and other poets of the peasant Pleiads, lively and colorful features of the village life are completely reproduced. The use of such familiar attributes of peasant misery, like "Sermyag", "Lyko", "Lapti", etc., acquired in their poetry an unusual aesthetic sound. Klyava "Dawn in the Fine and Lyko Takes Sucia Rakit"; "The month will light up with rauchinka, crept under the laptime snowball." The manifestation of the harmonic completeness of the village life is admired Yesenin (poem "Bazaar"). The bazaar was poeticized by almost all Russian artists, as the festive interval in the break between heavy peasant works, when splashing out all the fun and cheerful in folk life. Yesenin poem to some extent resembles a picture of B. Kustodiyev "Fair" (1906), in the forefront of which he splashes with his cheerful, the call of the multicolor of the shirt of men, sundresses, shawls and tapes of women and girls, and the eyes of children fascinates the painted world of toys. White and painted walls and roofs churches and bells enhance this impression. And in the distance behind them, the forest was frown behind the gray roofs and threw the forest as the embodiment of long weeks and months of harsh man. The joyful image of the foreground is only a brief happy moment, and the artist does not regret his bright colors. With all his temperament and fiction, the poem Yesenin also seeks to capture the moment of peasant leisure and joy. And although there is no contrasting currency background, the short-term rhythm of lines, and in a hurry change of visual and auditory impressions in a rapid change of visual and hearing impressions. With a colorful bazaar assortment harmonizes the same generous, bright nature. In the last stubborn, the lyrical heat reaches the limit: they are merged here and delighted to the funny people's rusky, and the joy of happy love is merciful.

Lee, Rus, trail dear

Has alike?

Do not judge a prayer strict

Heart-carved!

No less significant and poem "Recruits", which is also dedicated to the household phenomenon: the departure of the army of recruits. In it, the poet decisively retreats from the lamentation and "crying" in the folklore and the peasant poetry. Here only one motive is taken - a farewell of peasant guys with the "other" the days of their rustic life. All the attention of the poet is focused on approving the relationship between the recruits leave from the village and the cultivated peasant closure. They are surrounded by the world of his native village, with his "path cryption", "summer evening blue", "hemp" in the neighboring "dark grove", green horses and fields. The poem is aimed at identifying the feeling of the Motherland, which recruits will take with them and which will help them carry the severity of military service.

Early Esenin is inherent in the harmonic vision of the village world. It is not by chance that in the epitheats embodying his epitheats, a palette of clean, funny and some ringing colors are used:

Brighter pink shubah

Zori hanging burns.

Gold plated blahi

With the buberets say.

Nature is responded to this violated household color: "The coniferous gilding is weighed"; "Twilight of the Gold of the Sun, in the distant groves aucometry ringing ...".

Rustic Rus "Radunitsa" (her first section is called "Russia") glows by the joy of agricultural work and splashes the fun of festive leisure with rounds, Talolanci and ringwheel girlfriends "Decorates". The poet notes the "hortal stripes", lonelyness of the lonelyness of the Verbami; In his verses, sometimes we have already become the tries of the exclamation of the "Gorry" People's Muse: "The edge you are abandoned, the edge you are my wasteland!". However, they do not contain a social motive, it is rather compiled about the original peasant poverty, the contemplation of which causes the inevitable sadness. Not by chance, emphasizing this, the poet uses the oxymiferous structure of the image: the aspen is skinny, but the leaves are rolling with them like apples; Poplas are chant - "ringing", etc.

The peasant work is deeply fallalized in the work of the Novokrestest poets, and above all his carriers - simple workers of the village. At the same time, the Klyuev loves to emphasize the elementary, frequency side of the peasant labor. He is touched by Laptevyvyvy, who will tying the "Neschogenoy Beresto" at hand, the grandfather, who prepares "to merry frosts" his woodlons - "How Noah Ark". The philosophical and poetic apology of the worker-grandfather is developing in the "Ring of Lada" cycle. A picture of the creative unity of human and natural forces is deployed: nature is represented by a mysterious, life-giving essence, and human activity is a clearly defined calendar circle of agricultural worries and affairs.

The idealization of rural life by Novokrestest poets was that each of them spoke in his work as a child of the people and saw in her what was familiar to the peasant himself. It was inherent in the desire to depict not so much the historical reality as a popular ideal of harmonious and happy life. This manifested the special romanticism of their creativity.

The most complete romantic on a folk basis should recognize A. Shiryaevtsa. His Rus is Russia, already captured in a folk song. Songs and his heroes: Desperate girls, burlates, robbers, with a strong character of Cossacks, a string of Raznik with her naked. To stand for them and landscape, the same riveted, enhanced in the distance, to another life: these are tall, river, waves, dark nights and thunderstorms. None of the Novokressian poets landscape was endowed with historical features as Shiryaevtsa. His sunset first reminds his colorful varnost to Zaporizhia, and then the messenger, under the cover of the night penetrating into the fabulously rich Tsargrad ("Sunset"). Volga fury to his waves wants to say about the treasures across it in her, throw them ashore ("storm"). Multiweight and patternness are represented by the subjects of the past (weapons, cups, carpets, tents, clothing). Pornient and developed mainly on the richness of dance motives rhythm of its "edges".

In Interguria faced -

In the Zhiguli, our village.

In the life of the modern village of Shiryaevts, they are mainly attracted to the sides in which it seems to outside all the talented and squeezed, which is completely lighted in folk subsoil ("Maslenitsa", "Trinity", "Dance Pattern").

The romantic aspiration of the Novokrestest poets is evidenced by their conversion to the heroic images of national history and folklore. The images of a wall of razin and Kudyari from Shiryaevtsa, Evpathy Kolovrat and Martha Posted by Yesenin, a stovetode and robbers from the Klyov connected, on the one hand, with the motives of the struggle for national independence, and on the other - social protest, and in the other case very romanticized . Klychkov attracted a more psychological type of national, mainly fabulous hero. They created cycles dedicated to Sadko and Beauvais. To write the book "Songs" about the Older Russian epic herders, he was divided in 1911 in a letter to P. A. Zhurov: "And my second<книга> - Bogatyr Songs, Songs about the heroes of Russians, about Ilya, Churil, Mikule, Beauvais, Sadko and Aleche! Listen: Bova - Love! Churilo - Sun, the White Meneto face, which he covers the sunflower, so as not to tan, Mikula - Earth, Spring Plow, Alyosha - Wild, Autumn Field and Dustless, Secret Safety-Sadness. "

A reverent feeling is imbued with the attitude of the Novokrestest poets to nature. Kloivian poetry is replete with realistic images of the Northern Nature, in which the spring, then summer, then the autumn "obeline" is revealed in all its pristine freshness. She fascinates with his sleeping sunset with a sunk, hazardous processes, hayed zorms, wearing a hollow water, during which "Duma as Zori is clear." But at the same time, there is a fall of church imagery in it: "Dawn, blowing your lights, fades the wedge of the icon"; "Smorodine was slandered, grass listening to Psalm." White willows are presented in the spring poet "in the Cadyl smoke", and in the "pale" autumn air, "Ladan Gar". The influence of religious patterns is significantly in the early lyrics of Yesenin ("Some Radunitsa God ..." and others).

An intimate connection with nature in the lyrics of Klychkov, in which church imagery does not play no role in which church imagery does not play. The poet is looking for primarily the fascinating fascinating fascinating from the everyday bustle of influence: why the body feels a healing, beneficial power, a soul - peacekeeping, and thoughts - the ability to rush to the elevated and eternal ("garden", "childhood", etc.). Many paintings of the Klychkovsky landscape breathe a depth of its fantastic inhibition: the hangout is ready to be thickened into the sudden image of Leshgo, which is already no - dissolved in the paints and the sounds of forest charm. The forest approaching the porch of the parent hut turns the life of a rustic boy in a fairy tale and then becomes the "sweaty garden" of his mental world. The branches of the branches of the trees lost in the forest wilderness are represented by the shepherdonka of his "old ancestors", and in the rustling of their leaves hears the "Chopot of the Hands".

In the image of nature, Novokrestest poets attracts attention not to so much "Rusticity", how much is that she is perceived by the peasant, through the "magic crystal" of the village life.

Ah, and I myself are in more often a call

See yesterday in the fog:

Red month foal

Drop into our sleigh.

Such an intimate vision of nature contributed to the emergence of the original figurative system, which is based on a metaphor, as if a domesticating world. Everything is incomprehensible and far from a person in the universe, which may inspire the "star fear" to him, the poet seems to bring to himself, warming it with his "parent hearth", "the baptism of the air with the names of the objects close to us" (Yesenin). This perception of the world is tangible in the desire of the key to present all the space with nothing more than the peasant coupling with all the deposits to him, as if by the domestic spirit. All close, all his own, all blessed: "As a woman, dilated a day of a sponge of a SIZY in a day." In his footsteps, Yesenin is coming, which such a vision of the world and imagery is trying to justify theoretically in the aesthetic treatise "Mary's keys" (1918, published in 1920).

The skill in the transfer of an extraordinary physicity of the images of nature came sometimes at Klyuev to sophistication. His metaphorical epithet is extremely rich and fed. Kloivian coloring as if arose from the densely foaming patriarchal life and northern nature. In his poetry "Sunset goes to Peg Depths"; "The courtyard is the sovereign wing, all in the eyes of tyorough"; "In the hood, the wall pushed the wall as Riza Ryboboti"; "Nabuch, flashed ice on the river, became Pegim, Rzavo-Gold." Rarely, who from Russian poets, the color or tactile epithet reached such sensual power ("barley nudity of Adam", "Verbal skin of maidy elbows", "Cup light"). No less sophisticated and rumor of the poet, thinningly recognizing the sound of life, ranging from the "Dream Ploves of the Evening Selle" to the "Storn of Solominations" or Potedly hearing in the straw "Slave of the baptistic fee". Klyuv himself referred itself to those although rare, but still looking for people "with spiritual ear", which heard, "like a grain of a resident<…> Loves to the Sun from the Rama Kehki break through. " "From whom the ears are not from the fruit bar, he also teaches how he sings on his string language." Richly saturated with the Klyov also taste and olfactory epithets: "smelled of smolny honey with birch Lyadin"; "And in every shelter, the fragrance of infant apple heel." The colorfulness and juquality of the Klyuevian palette immediately was marked by the first critics of the poet: "Bright, gold paints are lit like a heat, like a golden dome in the sun," P. Sakulin wrote. "This is a Russian" Zlatocevet ", which is so soul to our people."

The lyrics of the nature of Klychkov is imbued with folk-peasant maidestos. All of its world seemed to be seen in the lobal dimension, which places heterogeneous phenomena in one row.

The meadow in the fog dressed up

In the sky a month nor the

And the sickle was lying ...

The eyes of such a naive worldview permeated the entire early poet lyrics. Here even space is manifested at home close:

Low month! Low sun!

And aleet at the end

And blushes at the gate ...

This is not always the obvious presence of the folk element and the well-known charm of the Klychkovsky lyrics is explained, as if reconstructing the poetic thinking of the patriarchal peasantry. "If you want to hear how Russia's Russia says, listen to him," said Sergey Klychkov K. Zelinsky in the 20s. A. Voronsky.

The motive of the unity of man and nature is dominant for the whole lyrics of Klychkov. To this end, he not only appeals to the pagan folklore, where this motive lies, one can say on the surface, but trying to find the same in the book images. So, in the cycle of "Bova" the poet most fascinates the fact that by the death of the hero "wave wide" his Kudrey "lies in the valleys between herbs", "Oak grew out of the heart ...".

In rhythmic attitude, especially the first two collections of Klychkov are followed by folklore tradition. Their cycles are richly donounced, crossed by the spell appeals to the elements that have long already become children's sentences ("Rainbow-Vereya, Gold Patterns! We have a meadow, spend on Bor, where to walk more, where to find me a friend!"), Horovodnaya exclamations ("Oh oh , Beauty, wait! .. "), rituals. As for the development of figurative thought, the fangs are by thin stylization, seeking to achieve aesthetic contact with the past in modern art. Close to the symbol thickening of the figurative meaning has its goal here to show the unity of the human and natural principle. So, according to the plot, the poem "Bride" is an image, it would seem, a conventional rustic wedding:

Drown on the headband

Through Birch Fresh Funds ...

The picture of the last verse is broken by a picture of the expected wedding feather, absorbed by the scenery. The guest says that they will "come" "without a way, without the road - it is possible." Next, their image is even more dissolved in nature. Their "kaftans" and "sermagi" they "spread out"

That one thing is the hollow on the ravines,

And the other in the forest, on the MSh ...

The bridegroom itself is named month.

Do not grieve, month of honey,

Bride of my groom!

In a peopetic symbolism, the month most often acts as an idealizing metaphor of good well-fed, groom. Using this poetic representation, the fangs stops the components of the symbol, primary making the image of the month, and the "groom" leading to it only as an application. But in this case, the picture of the wedding can be read quite differently - as an image of autumn when a new month is harvested with a snowy first. But autumn is the time of weddings, and therefore a month - the groom.

In an effort to reveal the multipath of the folklorem, the fangs sometimes flow into the stylization. Such, for example, the appearance of the sea princess, as if merging with the way the wave itself.

The princesse shoulders in the foam,

In the foam white knees,

Betraying her waves slimmer

And the fog sails for her ...

So the screen vignette of the artist began the XX century. The impression of the stylization is enhanced by the staticness of the majority of the folkphic images of Klychkov. Often, one or another episode from the life of a fabulous hero turns into a landscape picture and freezes. Like this, I. Ya. Bilibin turned the events of the Russian magic fairy tale in a series of frozen ornamented drawings. In general, in the first collections of Klychkov, the folklore world appears as if filtered through the dream of the poet about the ideal world of the utopian past, the world of fabulous, "ghostly Russia", where, as in the "hidden garden", he tries to penetrate the "folk" paths.

You cover me, straw,

Pellenium blue.

I love your hum of singing

And your princess! ..

With the exception of such fabulous and other half-phth characters, the early Lyrics of Klychkov deserted. Yes, the poet and does not crave a meeting with people in his bright loneliness among the nature, where it is easy to break on the road "by the shoulders with a cat, with a single thoughtless of his mind ..." and it is not difficult to find the shelter "Middle of the family of the talking Osin." The sophisticated, impressive-unreleased from the entire life poet of dreams, the "fascinated wanderer", Lelya - he is familiar to him during this period only novels with mermaids, maritime princes and frets, happily killing him in the village of Nature from mistakes and disappointments real life.

With all the real, rustic concreteness of the images of nature and the life of the Lyrics of Novokrestest poets, it was directed to a certain in-no secret of human existence. About the "Rights of Vague Prejudice Sensings, Prophecies, Provinsters, Hope" was expressed not only by the first reviewers of Klyuev, the current researcher of his poetry V. G. Bazanov. The title collection of Klychkov "Poted Garden" was perceived as a symbol of all Novokrestest poetry: "They are constantly trying to show for the visible green garden" hidden garden "of their dreams," V. Lvov-Rogachevsky wrote.

The lyrical entity of the early lyrics of Novokrestest poets often acts in the form of a shepherd, with which they almost all identify themselves. "I'm a shepherd, my chambers - Mezhievniye fields," says Yesenin ("Shepherd"); Klychkov his "Songs" is represented by the flock of sheep, which graze the poet-shepherd "In the fog of early at the river" ("I sing everything - I am a singer ..."). Yesenin so explains this Poet traction to the symbolic image of the shepherd: "In antiquity, no one has time to make time so free as shepherds. They were the first thinkers and poets, as evidenced by the testimony of the Bible and Apocrypha<…> The entire pagan faith in the resettlement of souls, music, song and thin, like lace, the philosophy of life on earth is the fruit of transparent shepherd doom. "

An even greater distribution in this poetry was the image of a wanderer, tramp, Bogomolets, Inok. The symbol of the strangeness was in it the image itself "Dali" ("Look at the leaf padded side of the distance" - Klyuev; "In the eyes of distant edges, in the hands of my birch ..." - "-" "Faces of dust, tanned, eyelids vowed Dal ..." - Yesenin) .

All these images indicate the aspiration of individual poets to a certain "non-defense", "unexpected land", which, according to the first impression (for example, in the lyrics of Yesenin), seems to be something related Platonic Pranodine of the soul. There, "in a dumbness of eternity", in his timely "star" element, and the poet himself is from earthly reality, where he is "a random guest". But here it is found that he still cannot refuse this reality; Become a particle of eternity, it is needed by "inaccessible eyes" in order to greedily look down everything on the same land ("where the mystery is forever ..."). Trusting by his "Ghost Star", the poet goes to the "unknown", but "Lee" leaves, if all the same "Kosari", "apples of dawn", "ringing groove" accompany him? Coming by the highest grace ("With a smile of joyful happiness"), he prays everything on the same "shocks and stacks" of his native peasant regime.

The "hidden" world of Novokrestest poets turns out to be nothing more than that of the same village ruus with all its peasant attributes, but just as if raised to an immeasurable spiritual height. This is Russia, identified with the fate of the legendary ship-hail, Russia, becoming "lucked by India", "eliminate" space. At this high stage of the development of the image of the peasant Russia, its domestic realities are already beginning to be removed "nonploven", ideal light: "So that the corneal, a chumased pot, enjoyed the eyes - a living light" ("White India" of Klyuev); "And in the jacket of Sokh with the harrow, they are also cut - shining in the corner" ("Guest Wonderful" Klychkov).

The main material for the embodiment of this similar to the fabulous cartem of the sampling-deep world was the original, living peasant and self-combaring archaic word. Such material was not at the disposal of self-taught writers. Their poems about Russian nature are sistering with obvious borrowings from another dictionary: "Yellow tunics removed from the shoulders of birch" (S. Fomin); "I dreamed of a fragrant garden, the grotto under the curly lime" (Deev-Khomyakovsky). At the same time, the specific expressiveness of the poetic image of the Novokrestest poets, their living popular Word does not create an impression of ethnographism in need of special decoding. Klyuev's dialectisms, Yesenin, less frequently, and Shiryaevtsa, pulsate emotional and figurative energy, not to mention their nationwide root transparency. These are poetic dialectisms, regardless of whether they were taken from the verbal repertoire of the village old women or were composed of poets themselves. In Klyuev: "It went to the dawn"; "Sprinkled in the eyes of Malesenek's lights"; "Forever cheapes"; In Klychkova: "In the dark clutter"; Yesenin: "Zoruy and Hastô's bush"; "Wanderer Strog", "From the Freaky Shock"; "In the pitching of the foam jets", "jerking attribute",

Talk to me cows

At the culitical language.

Global Dubrovy

I clich in branches to the river.

It seemed that the poet introduces the reader into an unknown cache of poetic images for him. I. Because the word-images themselves definitely correlated with the elements of the peasant speech and the world, then the world opened by the lyrics of these poets with all their freshness appeared by the original, albeit half-thousand. Trying to define this deep connection of the poetic word with the People's World, A. White in the article dedicated to the poetics of Klyov, wrote: "The root folk power of serpentine sound is transparent to the poet, the roots of this foliage with this people wisdom."

Another inalienable generic sign of Novokrestest poetry is naturally incorporated into it from folk sources. Many "Songs" of Yesenin, filled with a drinking young feeling ("Play, Play, Talianochka ...", "Lucky Light Light Dawn," lake, are close to folk love lyrics. Releaving Volga Wolitsa blows from the "spoils" of Shiryaevtsa. Complete song Early poetry Klychkov. However, the degree of folklorence of these "songs" is not the same in the work of the same poet. Thus, in the "Songs of the Zaens" Klyuev, the folklore material is barely touched by the creative individuality of the poet, but as for the "elected songs", then the keys, based on the folk basis, reaches the vertices of its poetic interpretation.

Dedicated to the death of the mother's cycle of these "songs" in its genre aspiration is repelled from the funeral frequency recorded in the last century E. V. Barsov from I. A. Fedosova in the homeland of the poet, in the Olonets Gubernia. According to the collector, Fedosova was not just a replication, but the interpreter of someone else's grief. The countryman of the famous folk poetess pursues a different goal. If usually all eight consecutive episodes of funeral crying aims on the limit dramatization of experience, psycho-physiologically resolved catharsis, the Klyui in its "crying" on the mother enters into poetic martial arts with death. Relying on mystical intuition and even more on the miraculous gift of poetic incarnation, he is trying to "resurrect" the deceased, or rather convincing her transition from real life to another spiritual existence. The whole cycle can be viewed as a poetic reincarnation suite in the death of the peasant, the whole life of which was organically merged with their native nature, and the whole world around the world and after leaving her hostess continues to keep the warmth of her soul, high way and harmony of her concerns and affairs. It is significant that from the very first lines of the image of the funeral rite begin to develop, on the one hand, a household topic, on the other, the nature, which will be in conclusion to cross and merge into one: "Four widowers came to the deceased ... Krychi Farrozdili Azure cranes ...".

Mother died, but all surrounding is filled with her immortal essence.

Like a fir under Pilo, sighed the hut,

In the corner whispered shadows;

In the gallop, the calm chicks mouted,

And he fed like a sail, in a groke of a handkerchief ...

Similar metamorphosis occurs in the last stanza and with nature: "Sunset-golden", giving a dead fareral light ("For the Duma in Dawn, for the Tale," Lestems "," Zaryanka "is connected to the rite and "granddaughter-star". The second poem ("Lena is waiting for a cat ...") Fully devoted to the "elected" world, which keeps the seal to himself. At the same time, the "elected creature" is not monotonous - passively captures the memory of the hostess. She owns a complex range of sentiment - from hopeless despondency to the very ready to resurrect hope and joy.

From the middle of the poem, the poet introduces an even more approving the celebration of life over the death of the world of nature in his "crying". However, it is not easy to comfort. Let be distracted by the sorrowful thoughts of Soroki, they please the bullfinches and returning the cranes, they are right in their own way and the crosses on the graveyard and "inhabited" hollow. A person who suffered an unborn loss will inevitably have to drink a bowl of bitter truth. She dedicated to the third poem of the suite ("Mom died" - two rustling words ... "). The secret of death, the poet tries here as torturing as the mystery of life: "Who is she?". The answer and the picture of an even greater celebration of life over death are deployed in the next poem ("Sixes for the cat, that barn for the priest ..."). Returns to the circulation of his habitual affairs, it was changed with myself with the departure of the hostess "Iply thank youth": "Your furnace has one on the mind: Greater to save, but srop into the semi-in-one ...". True by his inequate commonness, she and the desperate poet involves in the usual circle of life equilibrium: "No wonder in a deaf, spurious hollow, like a sail in Viedro, you can do it." In his soul comes a fracture; In reconciliation, a new source of consolation opens, "in paradise Iply and in the lull of Humna, humbling honey, that will be" she "." So it happens. In a dream or in the poetic dream, a picture of the mystical transformation of the hut, which, in the back of the seas, is visited by the back of the mother's spirit visits. Her blessing is accompanied by images of natural generosity, healing force. Now that consciousness got enough with loss with loss, the poet was having a soberly look at the surrounding ("Well-inserted with a lamp ..."). And the unharmed stocking, and the sleeping Lohan, and the gripped broom - nothing, alas, can not help, except for a missed and impassive reminder of the gone. And therefore the poem is completed by a deep sigh: "Oh, God - tomorrow year, as a native in the coffin!".

In a number of subsequent poems, as if reproducing an inexperienced series of natural phenomena and domestic, peasant trouble and affairs, the image of the mother gradually retreats, only occasionally, having flaying the "amber needle" of a burning beam, then reminding himself by the "crosses of blessing vertices" overlooking the forest hut. The mighty, killing a suite of the loose forest destroyed from the last poems "Suites", in which "from the darling to the stars and from the stars to the dawn of Belberstay, Zybv and Amber Resin." Rows who speakers the lines saying that the life of the peasant hut still continues its inequate stroke.

With its originality, deep coupling with the People's Spirit, the work of Novokrestest Pleiadov was unanimously opposed to the critone of "books", intellectual artistic products. The intuitive possession of the keys by the secrets of poetic craft A. White contrasts the school of aesthetes, where "the metaphors are artificially recreed and put them with salt of artificial sounds." B. Sadovskaya, in turn, writes: "After the soulless fastener of aesthetes from Apollo (meaning Ambimists," M.) and the arrogant Wakhanlia of futurism rest souls on clean, like forest dawns, inspirations of folk poets. " Klyuev picks up the idea of \u200b\u200bopposing their poetry as a direct voice of nature as the revelations of the People's Soul - artisan poems of urban erudites. In the "Poet of Sergey Yesenin" cycle (1916-1917), he denies a surfactant attractive attitude to poetry (this is "Paper Hell", "the lasting globe", "hearts") and, on the contrary, images of their own and Esenin poetry connects entirely with natural The elements ("Because in the eyes of my millet, that I am the son of the Great Lakes," "I slept with the trees and the forests were missing").

In your eyes, smoke from Hut,

River's deep sleep,

Ryazan, poppy sunset, -

Your singeling ink.

But with all the depth orientation on the folk origins, on the original peasant word Klyuev, Klychkov, Yesenina still not alienly was the influence of symbolistic poetry attracted them with their high culture. The most sensible was the influence of the block, the images and intonation of which are not uncommon from the early key: "In the snowy of the blue nights ...", "Joy<…> Thin hand will light a snack flame. This does not contradict the recognition of the key that in verses of the block it is expensive to him, but only "some kind of larkal trems". Undoubtedly, the Blok's theme of Russia has developed in its own way, and Yesenin, but the block itself went to their Russia, it seems, not without the influence of the key.

It should be noted that, mastering the high poetic culture of symbolists, Novokresteyan poets did not abandon the unassuming traditional verses and were entirely in a rut of folklore and classical renovation, it was a variety of rhythmic rhythmic strokes, for example, to a wide use of new rhythmic moves.

Novokrestendian poets created their image of the peasant Russia, which for all his aesthetic and philosophical saturation was essential. The timestness of this shining "ghostly Russia" was emphasized by the poets themselves. "My tear, my sigh about the curtain,", "wrote about his" mother-rus "Klyuv. Klychkova is the "hidden garden" in the reserved region, where there is no "way to a friend nor the path of the enemy." Yesenin is "Russian Territory", according to which they roam, blessing him, then the peasant intercessor of Nikola is merciful, then "with the shepherd-dull" Apostle Andrey. The features of the Patriarchal Village appeared in this image, in her mythical or very recent past, the village, about which V. I. Lenin wrote in the article "Lion Tolstoy, as a mirror of the Russian Revolution": "The old rules of the peasant farm and peasant life The foundations that really have been holding for centuries went on a layer with extraordinary speed. " It was by virtue of this that the ideal image of the peasant Russia was accompanied by the named poets by two tragic motives: longing to the past ("I pass the night villages" of Klyuev, "on the top three" of Shiryaevtsa) and the rejection of urban civilization. In the latter, with its automation of life and spiritual dismissibility of a person, Novokrestest poets saw a real threat to aesthetically distinctive, human-fragile village of the village.

It should be especially emphasized by extreme one-sidedness of the view of the Novokrestest poets to the city. Neither revolutionary, proletarian forces, nor spiritual progress they did not see it, focusing only on bourgeois amorality and costs of technical progress. "There is nowhere else to run. The sawmill is puffed in the forest, the telegraph wire sings in the gorges and the green eye of the semaphore sings, "wrote Bryusov at the beginning of the 10th kiev. This is not so much a real city as a symbol of capitalist evil. In a letter to Shiryaevitsa, the same keys trigs: "How hatym and black seems to be the whole so-called civilized world, and what would gave, whatever cross, whatever Calvary suffered that America does not come to a whispeter in the chapel in Boru, on a hare Stoha, on the hut-fairy tale ... ". A complaint about the destructive influence of the city is imbued with many poems of Klyuev and Shiryaevtsa. In contrast to the block ("New America") the future of Russia, Novokresteyansky poets think only as the future of the peasant utopian paradise, whose fields will not cover the soot of industrial heavens. In an impressionistic sketch of the key "Old and New" (1911), this is an expression in two symbolic sketches: the urbanist present and agricultural future. The first is characterized by such signs as "acute, reminding ringing of shackles, clad tram", the cabinets and signs, on which the smears of the antichrist is nothing. The second says: "Millennium passed. Our fields are fragrant and rins<…> Do you remember? It was the fact that people called the city<…> Colosums are full of honey and seraphim brothers bypass human bush. " "Iron skyscraper, factory pipe, your goal, about the homeland, secret destiny!" - exclaimed the poet, turning to Russia in early 1917

Also conditioned in verses of the Klyuev and the image of the city dweller. This is a certain feeling of beauty and reverence in front of nature, which felt in his confusion of the "jacket", who, declared to the "Berevian Paradise,", "in the coniferous incense, I had died with a cigarette and spit, forgetcoming."

Bombed his hands

To mink confuses the trail ermine ...

Son of iron and stone boredom

Pruffurates Berevian Paradise.

A soulless attitude towards nature, the rupture of life-quality ties with her is put forward by the poets of Novokrestend's Pleiads as the main sign of the spiritual cloak of man. Tensely developing by the end of the 1910s. The motive of the dissonance between man and nature with the inevitable pattern introduces, in "deserted", as already noted, the poetry of Klychkov people. The image of her lyrical hero, as it were, in the life of the captivity of the folklore melody and mythological dreams, who wrapped it with unsubstate images of mermaids and the way, as a result of which the poet's dream was born about "Poted Garden" "Ghostly Rus." Distinguishing at least even for a moment from its east of nature, it is increasingly interested in: what do they relate to her "Oklyt"? Observations are disappointing:

Today you have in the village

Fights, swear, drink -

Not heard like birds prini

In the forest rustic sing.

If in the first two collections of Klychkova, harmony-light, spiritualized world of nature reigns, then the subsequent darkens of the thought of tragic breakdown with her man. It is planned to the motive of the "care" of the village Russia, which is not already placed in the urbanizing Yavi, where the Podpaska's violence will stop, the factory beep will be singing, "in its mythical past. Her death of the poet perceives as his own: "Rastay, soul, before separating to his native widely, in the native distance! ..". Yes, and nature itself seems to be leaning towards his damage. "Farewell shine", "Premonition" - these are the sections of the compilation "Dubravna". Why "Willow thinking", gathered in an unknown long path of birch, "and thickened the fog over the fields are unprecedented in the world of sadness ...".

The October Revolution was adopted by Novokrestest poets enthusiastically, because he was presented to them the "golden lever of the Universe", which "turns to the sun" (Klyuev, "from the native shore"), which the peasantry was dreamed of long. Klyov enters even in 1918 in the RCP (b). "Communist I, a red man, a woven, a banner, machine-gun", "he assures himself and others in his revolutionary. His performances as an agitator and the poet impress their pathos and figurative strength. His poem "Swipe, Orline Wings" acquires a textbook fame. In verses of the first revolutionary years, the keys, indeed, transfers the overall pathos of the revolution as a popular resurrection: "We<…> Red Sun Milleons of Hands Take over the world of sadness and flour. " Yesenin meets a revolution of no less joyful pathos and also as a holiday of a certain all-time update. In a space scale, although with great focusing of the social aspect, the revolution and the oreshin in the poems of 1918 "I, Lord" and "God's way" were perceived.

Since 1918, creative discrepancies of the poets of the Novokrestest "Cold" begin. The Kiyev Revolution continues to hold on its ideal of Patriarchal Russia; Decisively departs from following him Yesenin. This leads to a significant difference between poets. Even further, there are nuts, which, seeking to renounced "Patriarchalschina", sometimes falls even in the sin of the prostriculty hobbies. Fangs from the lyrics of nature goes to more complex everyicious philosophical motives. Epos is saturated by Poetry Shiryaevtsa. The special drama of the relationship between these poets with a revolutionary new one was accompanied by the crisis of the initial foundations of their early poetic creativity.