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 Even more aggravated during 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) did not provide a 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. Indomitable pagan life - distinctive trait Lyrian 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.

Klyuv - an expert of the Russian word is so high that 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.

The consciousness of the greatest intrinsicness of the "Menietian" perception was dictated to the peasant writers a feeling of their inner superiority over representatives of intellentic circles, unfamiliar with the unique world of popular 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 costume of Klyuev, many seemingly 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 peasant Russia, Show how it is beautiful, how everyone in Pey is OK and wisely arranged, and that only in it the key to 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, illustrated by local living features, dialect, folklore traditions (Kliyev recreates ethnographic and linguistic flavoring flakes, Yesenin - Ryazanchinchina, 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 (the corresponding nine purchase day), Easter holiday comes - grief overcomes.

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 reminds " younger Brata"His origins:" Izba - the writer words - / you originated in vain ... "The exception here is only Peter Vasilyevich Oreshin (1887-1938) with his interest in social reasons, which continues in the peasant poetry, the Nekrasov theme of the disadvantaged Russian man (not accidental Epigraph from N. A. Nekrasov to his collection "Red Rus"). Oreshinsky "Hisps, indoor straw" are a picture of extreme poverty and launching, while in creativity, for example, Yesenin and this image, is aesthetic: "under the straw Rizo / Treightement Skropil, / Wind Mold SIZY / Sun Okropyl "(" The edge you are my abandoned ... "). Estesticated image of the peasant huts appearing in the work in the work of Nutsushin is hardly / Over solar, ".

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), finished by 1920 and still not published completely, A. Shiryaevets most fully and comprehensively expressed the target installation of Novokrestest poetry: to return the literature "to the miraculous keys Mother lands. " 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 of natural equilibrium, organically flowing into 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 only one mystery in the world: there is nothing non-living in it! .. Therefore, love and caress flowers, trees, sorry fish, which is a wild beast and better go around the poisonous reptile! .. "- writes S. A. Klychkov in the novel" Chertukhinsky 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, / the beauty of the iron tone. / So that the sacraments did not tweer the slices, / in the skies with a sharaham reinforced concrete" (V. V. Mayakovsky). For their part, NovokrStrena, who saw the main reason for evil in the separation of natural roots, the people's world perception, national Culture, I got up to protect 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 truly high morality; In them, the spirit of the Spirit of High Freedom is from power, from Dogma. They are approved by a careful attitude towards a human personality, a relationship with national origins, folk art is defended as the only fruitful way of creative evolution of the artist.

• The concept of "peasant poetry" included in the historical and literary use, unites the poets conditionally and reflects only some common features inherent in their world-uponymia and poetic manner. Unified creative school with a single ideological and poetic program they did not form. Like the genre "Peasant Poetry" was formed in the middle of the XIX century.

Her largest representatives were Alexey Vasilyevich Koltsov, Ivan Savvich Nikitin and Ivan Zakharovich Surikov. They wrote about the work and life of the peasant, about the dramatic and tragic collisions of his life. In their work, the joy of the merger of workers with the world of nature was reflected and the feeling of hostility to the life of a stuffy, noisy, alien nature of the city.

S. Rodetsky: "Kliyev - a quiet and harmful, the son of the Earth with an in-depth in the distance of the soul with his consciousness, with a whisper voice and slow movements. His face with wrinkled, albeit a young forehead, with blond eyes are far shifted under ridden by sharp corners of eyebrows, with rustic rustic mouths, with a shaggy bearded, and hair is wildly blond, - a familiar face in the depths of his living person, only her storing and Only its laws of faithful. The low-spirited and scooped man says to his whole appearance about the divine singement strength living in it and creating. "

"Peasant Poetry" came to Russian literature in the broken century. It was the time of the premonition of the social breakdown and the complete anarchy of meanings in art, therefore, in the work of the "peasant poets", some dualism can be observed. This is a painful desire to go to another life, to those who were not born, always feeling so vulnerable. So they suffered all, so they fled from their favorite villages in the cities that he hated. But the knowledge of the peasant life, the oral poetic creativity of the people, deeply the national feeling of the proximity to the native nature was the strong side of the lyrics of the "peasant poets".

• Nikolai Alekseevich Klyuev was born in the small village of Katugi, located Vytegorsk district, Olonetskaya province. The inhabitants of the village of Katugi were distinguished by piousness, since the splitters lived here. In this region, located on the banks of the Andde River, among the dense forests and impassable marshes passed his childhood.

• The origins of the original creativity of the Klya in the Olonets land, its nature, life, from here, and such a unique freshness and brightness of its visual funds:

• Wax with begging Yablonovyu-Adamant in the word-in-law, and blooming over Russia will be buckwheat geniuses.

Klyuev graduated from church-parish school, then the People's School in Vytegr. The year was held in the paramedic. Sixteen years left in the Solovetsky Monastery "Save", lived for some time in Skita. In 1906, for the spread of the proclamation of the peasant union was arrested. From service in the army refused to religious beliefs. Later I wrote "For the first time I was sitting in the severity of the 18th anniversary, bad, thin, voice with a silver crack. The bosses read me dangerous and "secret".

• Starting to write poems, the keys corresponded for several years with Alexander Blok, who supported his poetic undertakings. The first collection of poems "Pine Chimes" came out in the fall of 1911 with the preface V. Brysov. In the same year, the second book "Brotherly Songs".

• Before the revolution, two more collections were published - "Forests were" (1913) and "Mire of Duma" (1916). Not only Block and Bryusus noticed this original, large poet, but also Gumilev, Akhmatova, Gorodetsky, Mandelstam, etc. In 1915, Klyuev meets with S. Jenin, and around them the poets of the Novokrestendiine (S. Klychkov, P. Oshin, and . Bachevets and others).

These writers poeticized, chased the proximity of the Russian peasant to nature, clean, untouched by the "iron" civilization. Nikolai Klyuev came into literature with the consciousness of his independence and a special path in the world of art. It brings the tradition of classic poetry and folk. And again, as once, Koltsova, the main in the poetry of the Kluch becomes the topic of the Motherland, Russia. After sending the first poetic experiments to the metropolitan magazines, the keys demonstratively signed them - "Olonetsky peasant". He was proud of his peasant origin. The air of the Olonetsian province was filled with Patriarchal Starina's poetry.

• From April 24, 1915, friendship is tied between Kurai and Yesenin.

• They together attend friends, writers, artists, communicate a lot with the block.

• In the winter in 1915-1916, Klyuyev and Yesenin confidently entered the circle of capital Writers. They visited Gumileva, Akhmatov, Gorky.

• In January 1916, Yesenin and Klyuev arrive in Moscow. In alliance with young Yesenin, whose talent he appreciated immediately as he saw his poem in the press, Klyuev hoped to attract the attention of the public to the "peasant" poetry.

• Public readings in Moscow and St. Petersburg were extremely important for him. The influence of the key on Yesenin at that time was huge. In every way, the guardian of his "smaller brother" was trying to neutralize the impact that other writers had in Yesenin.

• Yesenin, in turn, considered Klyuev with his teacher, and loved him very much.

• The Oktyabrskaya Revolution of Kiyev was warmly welcomed by perceiving it as the execution of the age-old aspirations of the peasantry. In these years, it works hard and inspired. In 1919, a collection of "Copper Whale", which entered such revolutionary poems as the "Red Song" (1917), "from basements, from dark corners ..." Deep in the People ".

• Old Russian book, lush liturgical ritual, folk folklore was amazingly disturbed in his verses with momentary events.

In the first post-revolutionary years he writes a lot, often published. In 1919, a large two-volume "Pedoschov" was published, behind him - a collection of poems "Copper Kit". In 1920, the "Sun Salt", "Haped Songs". In 1922 - "Lion bread." In 1923 - the poems "Fourth Rome" and "Mother Saturday". "Mayakovsky dreams of a beep over winter," wrote the keys, "and I am a crane flight and a cat on Lenja." Piecemaker to Radi about cranes lifting .. "

In March 1920, the third county Conference of the RCP (b) in Vytegra discussed the possibility of further staying the key in the ranks of the game Religious beliefs of the poet, visiting the church and reverence Icons caused, naturally, discontent with the Vytegorsk Communists. Speaking to the gathered, Klyuev said the "Communist's face". "With the imagination and force inherent in it," said the "Vytegra star" after a few days, "the speaker revealed a solid noble type of ideal communary, in which all the best covenants of humanity and civilianism are embodied." At the same time, Klyuev tried to prove to the meeting that "it is impossible to inspire religious feelings, for too many points of contact in the teaching of the commune with people faith in the celebration the best began Human soul. The Blossi report was heard "in a terrible silence" and made a deep impression. By most votes, the conference, "the arguments of the Klyuev, dazzling red light, splashing from every word of the poet, fraternally spoke in favor of the value of the poet for the party." However, the Petrozavodsk Sponge did not support the decision of the Kiyev county conference was excluded from the Bolshevik Party ... "

A critical article about him L. Trophsky (1922), which appeared in the central press played a crucial role in the fate of Klyuev. The stamp "Kulatsky poet" accompanies it over the whole decade. Moreover, in mid-1923, the poet was arrested and transmitted to Petrograd. The arrest, however, did not turn out to be long, but, having freed himself, did not return the keys to Vyteegra. Being a member of the All-Russian Union of Poets, renewed old dating, was completely given to literary work. The poet is in dire need, he turns to the Union of Poets with requests for help, writes M. Gorky: "... poverty, wandering for someone else's lunch destroys me as an artist."

I wrote a lot, but much changed in the country now the poems of Klyuevi frankly annoyed. The exaggerated burden of Patriarchal was contradicted, misunderstanding, the poet was accused of promoting the Kulack life. This is despite the fact that in those years the keys created, maybe the best things are "crying about Yesenin" and the poorem "Pogorelshchyna" and "Village". "I love Gypsy nomads, the light of the fire and Rzhanier foals.

• Under the Moon as Ghosts Trees and Night Iron Falls ...

• I love the cemetery closure of non-residential, frightening comfort,

• far-ring and with crosses spoons, in whose threads of the spell live ...

• Dawn quiet, harmonica in dotmay, smoke of the Ovina, in dears hemp. Far descendants will be raised by my vast "love" ...

• That up to them smiling eyes catch fairy tales of those and rays.

• I love the arsen, Grei Souryy, blizzards and gave, grove and stream ... "For life in a harsh country, with legs with an inverted revolution, this love was already a little.

From 1931, Klyuev lives in Moscow, but the path to literature is closed for him: everything he writes is deviated by the editorial. In 1934 he was arrested and sent from Moscow for a period of five years to the city of Kolpashevo Narym region. "I was exiled for the poe" Pogorelshchina ", there is no other for me", he wrote from the link. By mid-1934, Klyuva translated into Tomsk. It is painfully experiencing his forced separation from the literature, he wrote: "I don't feel sorry for myself as a public figure, but sorry for my songs-bees, sweet, solar and gold. They are chib to strangle my heart."

In 1936, already in Tomsk, Klyuev again arrested on the case of a counter-revolutionary, church provoked by the NKVD (as stated in the documents) "Union of Salvation of Russia". For some time, he was freed from custody only because of the illness - "paralysis of the left half of the body and senile dementia." But it was only a temporary delay. "I want to talk to cute friends," Christform's poet wrote in despair, - listen to genuine music! Behind the afraid of my camork - day and night there is a modern symphony - a booze ... A fight, curses, - the roar of Babi and the childish, and all this overlaps the valiant radio ... I, Poor, I suffer. On the second February, he knocks three years of my unsuitability of the new society! Mount to me, wolf insatiable! .. "

• In October, the meeting of the Troika of the NKVD of the Novosibirsk Region decided "Klyueva Nikolai Alekseevich to shoot. Personally belonging to the property to him confiscate. "

Archaic, folklore vocabulary creates a special lyrical attitude in the poem, the atmosphere of "self-fairy tale". "Wheat", "Berevian Paradise" lives his life, far from the noise and dust of large cities. The poet saw the bad aesthetic and moral values \u200b\u200bin the "self-fairy tale. The unity of this particular world is also achieved by the fact that the Klyuev transmits the minority of the peasant, which affects the warm gratitude to nature and the worship of its power. Klyuv is grew by diffilams "every tree of earthly, beasts, birds and shoes, all forest breathing." Peasant life, rustic hut, its decoration, utensils, pets - all this is an organic continuation of nature. It is not by chance that his collections of poems of the Klyuev calls the "pine chime", "forests were", "songs from the frozen", "elected songs". Nature and man make up one whole. And therefore, the dear human heart is inextricably merged with nature, with its natural beauty.

.

• Another important feature of the creative manner of the Klyuev is a wide use of coloropy.

• Nabat Heart Slane Pushkin - Empty Sweets Poet ... As an appleary crown, smells sprout. He is in a white letter, in a scarlet line, in the Pheasania, a motley comma. My soul, like a moss on a bodie pricking Pushkin's spring.

The key artist is rightly called the isograp. The poet was fond of fresco painting, he himself wrote the icons, imitating the ancient Novgorod masters; In poetry, he also "males", deactivates, Golden Word, seeking maximum visual clarity. In the poetry of Klyov there is something in common with the painting of Roerich, with whom he was closely familiar. In the cycle of paintings "Start Rus. Slavs "Objects of antiquity, according to the modern researcher, get from Roerich" Such an environment natural environmentwhich is inherently inherent in themselves: they merge with her, and their beauty, and their power arises from the beauty and strength of nature itself, felt by the heart of the people of Russian. " In both cases, in the poetry of Klyov and in the painting of Roerich - the chronicle and folklore sources are of great importance. The poet creates verbal patterns that ask canvas or a tree to coherent with the folk ornament. Klyuev skillfully uses the techniques of church painters (bright color contrasts and symbolism of colors), creating images memorable.

ovokrestian poetry Nikolai Klyuev, Sergey Klychkov, A. Shiryaevets, P. Oreshin, A. Ganin, Pimen Karpov. From 1911-13. Their patrons of poet symbolists. Religion-Original, Old Believers, sectarianism. V. Ivanov, Block, White saw in the people of poetry to occupy the half of the new religion of knowledge. The interest of populists, saw in poets and sectors of fighters for freedom. 1917 Klyuev's shot. Kon 1930s left. The parallel with the cross of the 19th Poets was held. 1910th Increased inters to the ideas of Slavophiles. V. Solovyov KN Rus Idea is the ideal principle, the lifestyle of Russia. 1915 The community is HOP. N. Roerich, Vasnetsov, Klyuev, Yesenin. General "Beauty", "Sitty".

N. Klyuev (1884-193) Many dialectisms, archaic vocabulary, from Olonetskaya province. Collecting "Pine Chime" 1911. GL Motive "Service Holy Cause". Family is an image of a spiritual fraternity. The image of the ark. The image of the Virgin is associated with the sister Dobrolyubov. "Brotherly songs" 1912. 9 Songs Publishing House of Orthodox "New Earth" for him, Calf Christians. The subtitle "Song of Calval Christians." 1914 Sat "Izba". The old worm is the symbol of the Gods of God. 1929 Sat "Pesnovov" 1929-junction of writers. After not publish. Poor "Pogorelshchyna" about blasphemy.

Poems of early poetic collections of Klychkov ("Songs: Sadness-joy. Lada. Bova", 1911; "Hanging garden",) in many ways consonant with verses of the poets of the "Novokrestest" direction - Yesenina, Klyuev, Ganina, Nutsha et al. Some of their poems Klychkova was posted in the "anthology" of the publishing house "Musaget". Early Klychkov themes were deepened and developed in subsequent compilations of "Dubravna" (1918), "Home Songs" (1923), "Guest Wonderful" (1923), "Visiting Cranes" (1930), in verses of which were the impressions of the First World War wars, destruction of the village; One of the main images becomes an image of a lonely, homeless wanderer. In the poetry of Klychkov, notes of despair appeared, hopelessness caused by death under the onslaught of the "machine" civilization from the path of nature of the old Russia.

Klychkov is one of the three authors of Cantatians dedicated to "fallen in the struggle for peace and fraternity of peoples" ().

Three novels are written by the Satyrian "Sugar German" (1925; In 1932, it was published under the name "Last Lel"), a fabulous mythological "Chartuhinsky Balakir" (1926), "Prince of the World" (1928).

Lyrics of Klychkov is connected with folk creativity, he is looking for a joy in nature. At first, his poems were narrated, later they were distinguished by certain thoughts of a pantheistic, pessimistic nature, but were always far from any revolutionary. In Prose Klychkova, his primary connection with the traditional world of peasantry and peasant demonology, as well as the influence of N. Gogol, N. Leskov and A. Remizov.<…> Klychkov's novels are not rich at WiMi, they are composed of individual scenes, associated, filled with images from the world of re-altitude and peace of sleep and spirits; The story is conducted on the face of the peasant - an amateur to talk to various topics, the rhythm of this prose is often very good. The city, cars, iron and factory pipes as the symbols of the proletarian revolution, turn for canchkova with its attachment to the metaphysical world of the village and les in the tools of Satan.

novokrestendian poetry is an original phenomenon in the Russian literature of the 20th century. In this peculiar branch of domestic poetry, the agricultural peasant world was reflected with his unique culture, philosophy and fate, with its contradictions and weaknesses, unused possibilities. Novokrestest poetry is rooted in the depths of national being, reflecting both the creative memory, the identity of the Russian people, and attempts to be realized in new historical conditions.
In the literary situation of the first third of the 20th century, a group of Novokrestest poets was not an organized, specially decorated literary flow with a single theoretical platform, a creative program, as it took place in the case of symbolism, futurism, acmeism, immoginism and other literary groups. It was a circle of poets whose relationship was realized by them not by the unity of art techniques (poetics), but rather the ideological and co-like. It is interesting to note that the poets themselves did not seek to consolidate their community programmatically, aesthetically, even uniting their name came from the side: they were allocated from traditional peasant poetry into a special group Critics V. Lvov-Rogachevsky, who gave them only in 1919 the name "Novokresteyansky" (178, 43). In it, he turned on N.A. Klyuev, S.A. Yesenina, S.A. Klychkova, P.V. Oretshina, A.V. Shiryaev, P.A. Radimova, A.A. Ganina, etc. Following V. Lviv-Rogachevsky in the 1920s, A. Lenznev in the spirit of time marked them as "Novokrestean Group" (160, 108). At the same time, the name "Novokrestendian poetry" was applied by I. Yebor to all peasant poets - contemporaries of the revolutionary era (92, 40). The tradition was sustainable. And in the 1960s, K. Zelinsky called them "Novokressyansky" or "Novo-
peasants "(109,174). Later, the thematic definition became the term, introduced into the" history of Russian literature "(119, 1983). They enjoy modern literary criticism, qualifying" Novokrestian "as" the nea-industrial direction in the Russian literature of the early XX century "(2 , 1979).
In this themed definition, the class is easily distinguished, the class component, characteristic of the revolutionary era ("peasant" - "proletarian" literature), the politicized orientation of which remained hardly throughout the 20th century. We want to pay attention to the first part of the term "new", the meaning of which seems more significant than a simple indication for the time ("old" - "new"). The poetry of those who were named by Novokressians were not a logical continuation of the creativity of the peasant poets of the second half of the XIX century, included in the literature as "poets from the people", "self-taught poets", and later "Poets-Surikovtsy" hardly not as an ethnic species of Russian lyrics. People's criticism, despite the declared sews against poets from the peasants, was aware of their non-independence in art solutions.
It is impossible for Novokrestendian poetry to consider the heiress and Koltsoy tradition in Russian lyrics, it is already one by one that the Novokressian has not taken attracted attitudes to itself as something exotic, as the poet Prasol was perceived. Spontaneous Talent A.V. Koltsova surprised the reading public, and the development of poetic topics was largely related to the world of nature and the place of man in it - from the image of the "Shard's share" of the poor man, characteristic of a self-taught poet, to delight before the "great secret" of nature, which took the lyrics A. Koltsov for thematically limited limits of peasant poetry. The delicate of peasant poets of the second half of the XIX century retained the Koltsovsky tradition of the joyful perception of nature ("and your animals
noise / Like a fairy tale fascinated ... "," everything in the world came to life with the spring, / seeded the field ... "(S. Yezhazh)), understanding of work on Earth as good (" Successfully work goes: / lands the earth by furrows; / And the sun on the pahacary pours / from heaven with golden rays "(S. Yezhazh)). However, this side of the Koltsovsky heritage turned out to be noticeably fastened to the social topic,

The concept of "peasant poetry", which included in the historical and literary traverser, unites the poets conditionally and reflects only some common features inherent in their world-uponymia and poetic manner. Unified creative school with a single ideological and poetic program They did not form. Like the genre "Peasant Poetry" formed Surikov. They wrote about the work and the behold of the peasant, about the dramatic and tragic collisions of his life. In their work, the joy of the merger of workers with the world of nature was reflected and the feeling of hostility to the life of a stuffy, noisy, alien nature of the city. The most famous peasant poets of the period of the silver century were: Spiridon Yezhazh, Nikolai Klyuyev, Peter Oreshin, Sergey Klychkov. Sergey Yesenin was also adjacent to this flow.

Imazinism

Imazinism (from lat. Imago - image) - the literary flow in the Russian poetry of the 20th century, whose representatives stated that the purpose of creativity is to create an image. The main expressive means of imagine - metaphor, often metaphorical chains that match the various elements of two images - direct and portable. The creative practice of the IMAZHINISTS is characterized by shocking, anarchic motifs.

Imazinism as a poetic movement emerged in 1918, when "Order of IMAZHINISTS" was founded in Moscow. Anatoly Mariengoof, the former Futurist Vadim Schenevich, who was previously in the group of Novokrestean poets, who was previously in the group of Novokrestend poets, who were previously in the group of Novokrestend's poets. The features of the characteristic metaphorical style were also kept in the earlier work of Shershevich and Yesenin, and Mariengoof organized the literary group of IMAZHINISTs in hometown. The IMAZHINIST "Declaration", published on January 30, 1919 in the Voronezh magazine "Siren" (and on February 10, also in the newspaper "Soviet country", whose editorial board was entered by Yesenin), besides them signed the poet Rurik Ivnev and artists Boris Erdman and Georgy Yakulov. On January 29, 1919, the first literary evening of the IMAZHINISTS took place in the poets union. Ivan Georgians, Matthew Roizman, Alexander Kushikov, Nikolai Erdman, Lion Monoszon, were also joined to imžinima.

In 1919-1925 Imazhinism was the most organized poetic movement in Moscow; They were arranged popular creative evenings in the artistic café, many copyright and collective collections were produced, the magazine "Traveling in Beautiful" (1922-1924, 4 rooms came out), for which the IMAZHINIST, Pleiad, "Chihi- Fihi "and" Sandro "(two latter was led by A. Kusikov). In 1919, the IMAZHINISTs entered the literary section of the literary train. A. Lunacharsky, which gave them the opportunity to ride and speak across the country and largely contributed to the growth of their popularity. In September 1919, Yesenin and Mariengof developed and registered in the Moscow Council the charter of the "Association of Volnodimtsev" - the official structure of the "Order of the IMAZHINISTS". The charter was signed by other members of the group and approved by the People's Commissar of A. Lunacharsky. On February 20, 1920, Esenin was elected by the Chairman of the Association.

In addition to Moscow ("Order of IMAZHINISTS" and "Association of Volnoduums"), the centers of immudy existed in the province (for example, in Kazan, Saransk, in the Ukrainian city of Alexandria, where the poet Leonid Chernov was created by the IMAZHINT group), as well as Fitrograd-Leningrad. The emergence of Petrogradsky "Order of Militant IMAZHINISTS" was announced in 1922 in the "Manifesto of innovators", signed by Alexei Zoltsitsky, Semyon Polotsk, Grigory Schmelson and Vlad. Korovica. Then, instead of the desired Zolotsky and Koroleic, Ivan Afanasyev-Solovyov and Vladimir Richiotti joined Petrograd immudy, and in 1924 Wolf Erlich.

Some of the IMAZHINIS poets performed with theoretical treatises ("Klyuchi Mary" Yesenin, "Buyan Island" of Mariengofa, "2x2 \u003d 5" Shershevich, "IMAZHINISM Most" Georgian). The IMAZHINISTS also acquired scandalous fame with their shocks, such as the "renaming" of the Moscow streets, "courts" on the literature, the painting of the walls of the passionate monastery with anti-religious inscriptions.

Imazhinism actually collapsed in 1925: in 1922, Alexander Kushikov emigrated, Sergey Yesenin and Ivan Georgians declared about the RosPask "Order" in 1924, Sergey Yesenin and Ivan Georgians were announced, other IMAZHINISTs were forced to have poetry, contacting prose, dramaturgy, cinema, in many ways for earnings. Imazinism has been criticized in Soviet printing. Yesenin found the dead at the Angleter Hotel, Nikolai Erdman was repressed.

The activities of the "Order of the Militant IMAZHINISTS" stopped in 1926, and in the summer of 1927, the elimination of the "Ordena of IMAZHINISTS" was announced. The relationships and shares of the IMAZHINTS were then described in detail in the memoirs of Mariengofa, Sheresshevich, Roisman.

Novokrestendian poetry is an original phenomenon in the Russian literature of the 20th century. The poetic course of the 1910s, presented by a group of poets, published from the national (usually peasant) environment. The main motives of their creativity - the life of the village, the Russian peasant; nature. In this peculiar branch of domestic poetry, the agricultural peasant world was reflected with his unique culture, philosophy and fate, with its contradictions and weaknesses, unused possibilities. Novokrestest poetry is rooted in the depths of national being, reflecting both the creative memory, the identity of the Russian people, and attempts to be realized in new historical conditions.
In the literary situation of the first third of the 20th century, a group of Novokrestest poets was not an organized, specially decorated literary flow with a single theoretical platform, a creative program, as it took place in the case of symbolism, futurism, acmeism, immoginism and other literary groups. It was a circle of poets whose relationship was realized by them not by the unity of art techniques (poetics), but rather ideally important and is estimated. It is interesting to note that the poets themselves did not seek to consolidate their community programmatically, aesthetically, even uniting their name came from the side: they were allocated from traditional peasant poetry into a special group Critics V. Lvov-Rogachevsky, who gave them only in 1919 the name "Novokresteyansky" . In it, he turned on N.A. Klyuev, S.A. Yesenina, S.A. Klychkova, P.V. Oretshina, A.V. Shiryaev, P.A. Radimova, A.A. Ganina and others. Following V. Lvov-Rogachevsky in the 1920s, A. Lenznev in the spirit of time marked them as a "Novokrestest group". At the same time, the name "Novokrestendian poetry" was applied by I. John to all peasant poets - contemporaries of the revolutionary era. The tradition was sustainable. And in the 1960s, K. Zelinsky called them "Novokrestesty" or "Novokresshany". Later, the thematic definition was the term, introduced into the "history of Russian literature". It enjoys modern literary criticism, qualifying "Novokrestian" as "an indefinlicate direction in the Russian literature of the early XX century." The poets that were not called themselves so not called this direction and did not form a literary association or direction with a single theoretical platform. However, all the "Novokrestest" poets in one way or another were inherent in appeal to the topic of Rustic Russia (contrary to Russia "Iron"), communication with the world of nature and oral creativity. At the same time, the style aspirations of the Russian Modern and the style of "Russian Modern" were intended.

The term "Novokrestest" is used in literary criticism in order to separate upgrades who updated Russian poetry, relying on folk art, from imitators and epigions of Nikitin's poetry, Koltsov, Nekrasov. Novokrestendian poets developed the traditions of peasant poetry, and did not close them. The poetization of the village life, non-good peasant crafts and rural nature were the main themes of their poems.

The main features of Novokrestest poetry:

· Love for a "small homeland";

· Following century folk custom and moral traditions;

· Use of religious symbols, Christian motives, pagan beliefs;

· Appeal to folklore scenes and images, introduction into the poetic use of folk songs and chastushk;

· Decitment of "vicious" urban culture, resistance to the cult of machines and iron.

S. A. Yesenin as a representative of Novokrestest poetry.

Sergey Aleksandrovich Yesenin (October 3, 1895, Village Konstantinovo, Ryazan province - December 28, 1925, Leningrad) - Russian poet, representative of Novokrestest poetry and (in a later period of creativity) IMAZHINISM. In 1915, the poem of Yesenin was published in the Children's Journal "Mirok". From the first poetic collections ("Radunitsa", 1916; "Rural parties", 1918) made a thin lyrics, a master of deeply psychological landscape, a singer of peasant Russia, an expert on the folk language and the People's Soul. In 1919-1923 entered the group of IMAZHINISTS. Tragic worldview, spiritual confusion is expressed in the cycles of "Kobylya ships" (1920), Moscow Kabatskaya (1924), the poem "Black Man" (1925). In the poem "Ballada about twenty-six" (1924), dedicated to the Baku Commissioners, the collection "Rus Soviet" (1925), the poem "Anna Snegina" (1925) Yesenin sought to comprehend the "Communion Bled Rus", although he continued to feel himself a poet ", Golden Breeding Hisness. Not limited to, unlike the keys and nuts (also representatives of Novokrestest poetry), the poetic aesthetization of the village archaic, he addressed close attention on what is happening B. real life processes -

Goy you, my dear Rus,
Huts - in the riza of the image ...
Do not see the end and edges -
Only blue sucks eyes.

How to go a mantist
I watch your fields.
And at low octools
Poplar is ringing.

Smell like an apple and honey
At churches your meek saved.
And buzzing for Corrod
On the meadows funny dance.

Run by mint
On the ledge of green lech,
Me to meet how coils
Sneaken girl laughter.

If the Holy Holy Wrinkles:
"Throw you rus, live in paradise!"
I will say: "I do not need paradise,
Give my homeland. "

24. Reality and fiction in the works of M. Bulgakov 20s. ("Fat Eggs", "Dog's Heart", "Ivan Vasilyevich" and "Eve and Adam").

Mikhail Afanasyevich Bulgakov (3 (15) May 1891, Kiev - March 10, 1940, Moscow) - Soviet writer, playwright and theatrical director. The author of the age frames, stories, fechens, plays, staging, filmcenereria and opera libretto.

Man wrote down the legends, not knowing how to explain the rain, the wind, the sun, good weather. Years passed, Earth evolved. Not realizing how the love arises, as a friendship arises, as the war flares out, the man blew out the gods, believed in them, brought himself sacrificing them. Looking at Aphrodite, Zeus, Apollon, people worshiped love, strength, beauty, did not bother to surround in nature Disrupt the harmony of the living world, transform natural on its discretion. But the development of civilization can not be stopped. Thexx century, who gave the world of great inventors, scientists, thinkers, gave the opportunity to turn the dead organism in a living, animal in a person (consequently, on the contrary). Human mind, ahead of the natural course of history, began to encroach on the right to create this story. What is the real writer? Of course, this is a prophet, as A. P. Chekhov claimed. Of course, this is a "bell on the eva tower", as the M. Yu. Lermontov proclaimed. The gift of prophecy is the Great Dar and a heavy burrow. One of the greatest prophetic works of Russian literature is the story of M. A. Bulgakov "Dog's Heart". Baduchi student M. E. Saltykov-Shchedrin, Bulgakov experienced "the deepest suffering" from "terrible damns" of their people: the blood-related intelligentsia believes "The best layer," places his hopes for her. To penetrate the essence of historical and social processes to the writer helps fantastic, grotesque forms. "The monstrous story" - so determined the genre of his work the author. "The monstrous" it is called because there is a cry about the help of those who have not yet touched the scalpel and the knife of the experimenters. "U-U-U-Wu-Gu-GU-GU-GU-UU!" - The tale of the "dog heart" begins with these strange sounds. It turns out that this is how the dog is most from pain and fear, but (oh, miracle!) Dog capable of evaluating and "rumor in a dirty cap" from the "dining room of a normal nutrition", which splashed boiling water and scalked her left side, and wipers, "from All the proletarians of the nasty mrazia. "Oh, look at me, I dare! The blizzard in the doorway roars to me, and I will be in with it. I disappeared, disappeared! " Any owner of sausage dog calls the "ruler" and asks for the permission to "lick the boot". The monologue of the ball is very important in the string of the story. He not only demonstrates the "slave soul", "we submit a share of the future (or present?) The main character, but also introduces the reader into the atmosphere of the life of the post-revolutionary Moscow. The dog's view aggravates the unsightly picture of the hungry, poor, humiliated city. And Professor Preobrazhensky decided to an unusual experiment: a pituitary transplant operation for the "alignment" of the animal. However, Philipp Philippovich could not assume that from Klima Chugulkin, who served as the material for Sharicikov ("single, non-partisan, sympathizing. Judged three times and justified ... theft. Profession - a game on balalaica on Tractors"), could only work by Klim Chugulkin . Instead good Psa. Before us is stupid, an aggressive polygraph polygraph of Polygraphovich is a generation of its time. "That's all with us on the parade - he teaches the doctors, - a napkin there, tie - here, yes" sorry ", yes" please "," Mercy ", and so that for real , it is not. Torment yourself as with royal mode. " The balls fits perfectly into socialist reality, moreover, makes an enviable career: from a rooted creature to the head of the cleaning of Moscow from the stray animals. Also in the face of Sharicikov, the "main" cleaning, also turned out to be the prophecy of Bulgakov. The author "predicted" the bloody cleansing of the 30s., When Karaly's Svonders first Preobrazhensky, and then other Schvonders, less successful. With the appearance of a new tenant and the apartments of Professor agrees. Everyone is busy not with their own business, no practical result is transfigurant, nor the border from experience gets. This conclusion is important for understanding the ideological meaning of the story, because the swordder is the same balls, only "derived" by another way. Operation during the week "Obligated" the dog, the "Operation" on "Operation" of the Swedder lasted longer, but the result, in essence, one. Gorky wrote in "untimely thoughts": "Lenin ... considers himself in the right to do a cruel experience with the Russian people, a pre-doomed on failure." The genius of MA Bulgakova is apparently that, demonstrating the consequences of a fantastic scientist experiment, the writer is a stamp of revolutionaries who conducted a historical experiment over millions of Schwonder. Preobrazhensky and bornetal in the frenzy shout Sharikov (and all the swords): "You are standing at the lowest stage of development ... and allow yourself ... Serve the tips of the cosmic scale and the cosmic stupidity of how to divide everything" .intellegent FF . Preobrazhensky understands (how can I disagree with him?) That it is not necessary to share it, created by others, and everyone (and proletaria too) work where it is intended: "... if I, instead of operating, each The evening will begin to sing in your apartment in the apartment, I will have devastation! ... Consequently, destruction is not sitting in closets, but in the heads! ". Tenses passed, replaced the system, and we, remembering the prophecy of Bulgakov, gave the" correct assessment "of the Communist Experiment. But can the prophetic power of this book run? Most recently, we believed that only the wonderful experience of Professor Preobrazhensky was fantasted in the story, and everything else was literally written off with reality. What can we say today when the animals are cloning and will soon get (or have already reached?) To man? It turns out that M. and Bulgakov predicted and this step of the "progressive" humanity, predicted and warned us. If only Klim Chugulkin can appear from Klima Cutlekina - this brilliantly showed a writer, and we believed in it, it is unknown if Einstein will work out from Einstein, and Jesus Christ is from fragments? Humanity overwhelmed the next wave of the experimentation, and Bulgakov from their far warns us with the words F.F. Preobrazhensky: "Science still does not know how to turn animals into people. So I tried, but only unsuccessfully, as you can see. " But the great gospel wisdom reads: there is no prophet in the Fatherland. We do not want to hear anything again.

"Fat Eggs" - fantastic story Mikhail Bulgakova, first published in 1925. Also printed in a shortened form called "Life Life" in the same year.

Writing a story "Fat Eggs" in 1924, Bulgakov puts his heroes in 1928.

Brilliant and eccentric zoologist Professor Vladimir Ipatievich Peacikov accidentally discovers the amazing phenomenon of the stimulating effect of light of the red part of the spectrum (which is symbolic) for embryos. Organisms, at the time of development irradiated with an open peach beam (for example, embryos in icons), begin to develop much faster and reach larger than the "originals". In addition, they differ in aggressiveness and incredible ability to rapidly multiply.

Just at that time, the chicken sea rolled throughout the country, and one state farm led by a man by the name Rockk decides to use the opening of Persikov to restore the livestock of chickens. According to the order, more than Rocca takes the Emitters Camera Persicov, with which the professor spent experiments, and takes them away. Rocca orders abroad chicken eggs, and peaches - snake eggs for experiments. Seeing "some dirty" delivered "chicken" eggs, Rockk calls Peach, Professor thinks that this is a mistake, "muddy" on eggs can not be, and therefore allowed Rocca to wash them. Rocca starts irradiation of eggs, in the evening of them are hatched anaconds and crocodiles of monstrous sizes, they kill Rocca's wife and who came to Chekists. Peaches, ready for experiments, gets chicken eggs. The professor is outraged by this mistake, his assistant Associate Professor Ivanov shows him an "Emergency Appendix" to the fresh number of the newspaper, where the photos are depicted in the photos of the anaconda ... from Smolensk province! Peachov understands that there was a monstrous mistake: chicken eggs sent him, and snakes - Rocca in state farm. For the "dirty" Rockc took a net drawing on snake eggs. Reptiles and ostrises are constantly breeding; Their hordes, despicable everything in their path, move forward, to Moscow.

In battles with reptiles, part of the Red Army enter, applying the chemical weapons, but under the onslaught of the reptiles are dying.

The capital, as well as the rest of the country, covers panic; Moved the crowd, deciding that this peaches dissolved the reptiles, and Rasvipyev, breaks into the institute, where Professor worked, and kills him. When it seemed that salvation would not be, suddenly fell scary by the standards of August, minus 18 degrees. And reptiles, without preparing him, died. And although even for a long time there were already wrought epidemics from the "corpses of the reptiles and people", the main danger passed.

Although the Associate Professor of Ivanov, a former Assistant of the Great Professor, now the institute who was heading, and tried to get a strange beam again, he had nothing left. "Obviously, there was something special, except for knowledge, which had only one person in the world - the late professor Vladimir Ignatievich Peacikov."

In the finals, the penetration of the abandoned crowds rogue the Laboratory of Professor, and his opening dies with him. The accuracy of the social diagnosis proposed by Bulgakov was appreciated by the above-mentioned criticism that wrote that it was completely clear from the story that "the Bolsheviks are completely unsushed for creative peaceful work, although they are able to organize military victories and protect their iron order."

"Adam and Eve" - \u200b\u200bPiece Mikhail Bulgakovwhich describes the technogenic end of the world as a result of a gas war. The play could not publish or put on the life of Bulgakov and for the first time it came out in 1971, in Paris. In the USSR, she was released in October 1987.

The plot: During the chemical war, Sunny gas and humanity goes out of control, only a few people living in the commune remain alive.

Bulgakov began writing a play in June 1931, and on August 22, the first edition of the text was completed. "Adam and Eve" planned to put in the Red Theater in Leningrad, in the theater. EVG. Vakhtangov in Moscow and in the Baku Operation Theater in Baku. The first agreement on the play Bulgakov concluded on June 5 with state folk house them. Karl Liebknecht and Rosa Luxembourg, and the second - July 8 with the theater. EVG. Vakhtangov. In the fall, I read J. I. Alksnis, who said that it was impossible to "put this play, because Leningrad dies." Bulgakov wrote a second editorial board, but she did not pass censorship.

(Ivan Vasilyevich - Remember the Soviet film, everyone looked at everything!).

25. Features of the conflict in Vampilov's drama. (as an example, took the "duck hunt").

The sixties of the XX century are more famous as poetry times. Many poems appear during this period of Russian literature. But the dramaturgy occupies an important place in this context. And the honorable place is given to the Alexander Valentinovich Vampilov. With his drama creativity, he continues the traditions of his predecessors. But much in his works are made as the trends of the era of the 60s and the personal observations of Vampilov himself. All this fully reflected in his famous "Duck Hunting" play.
So, K. Rudnitsky calls the Pieces of Vampilov Centripetal: The plays will certainly bring to the center, to the first plan of heroes - one, two, from the strength of three, around which the other characters are moving, whose fates are less significant ... ". Such characters in the "duck hunt" can be called Zilova and the waiter. They, as if two satellites, complement each other.

"Waiter. What can I do? Nothing. Himself must figure out
Zilov. That's right, Dima. You are a terrible guy, Dima, but I like you more. You at least do not break, like these ... give hand ...

The waiter and zilov humble hands ... ".

The attention of the drama of this period of Russian literature was aimed at the features of the "entry" of a person in the world. And the main thing becomes the process of approval in this world. Perhaps this world for Zilova only hunting is: ".. Yes, I want to hunt ... Go away? .. Fine ... I am ready ... Yes, now I go out."

A conflict was also special in the play Vampilov. "The interests of dramaturgy were converted ... on the nature of the conflict, which falls into the framework of the drama, but not the processes occurring within the human person," said E. Gushanskaya. Interesting such conflict becomes in the play "Duck hunting". In fact, there is no such usual conflict collision of the main character with a medium or other characters. The background of the conflict in the play becomes the memories of Zilova. And by the end of the plays, even such a construction has no resolution;
In the play, Vampilova often occurs strange and unusual cases. For example, this ridiculous joke with a wreath. "(I look at the wreath, raises it, spreads black ribbon, reads the inscription on it out loud). "An unforgettable untouchable in the work of Zylov Victor Alexandrovich from unworthiest friends" ... (silent. Then she laughs, but not long and without much fun). "

However, E. Gushanskaya notes that the Irkutsk geologist told the story with a wreath of Vampilov. "This colleague-geologist of friends sent a wreath with the inscription" Dear Yuri Alexandrovich, burned at work "." This oddity goes to the content of the "duck hunt". All play the main character Going to hunt, makes the necessary preparations, but it does not fall there in the play itself. Only the final speaks of his regular fees: "Yes, now I go out."

Another feature of the play is its three-stage final. On each of the steps it would be possible to finish the work. But Vampilov does not stop at this. The first step can be designated when Zilov, inviting friends to commemorate, "the trigger groped with a thumb ...". No wonder at the end of this phrase costs a lot. There is a hint of suicide.

Viktor Zilov crossed some kind of threshold in his life, once decided on such a step. But the phone call does not give the hero to complete the work started. And the friends who came later returned him to real life, the situation with which he wanted to break only a couple of minutes ago. The next step is the new attempt to "attempt" Zilova to his life. "Sayapin disappears.

Waiter. Come on. (Grabs Kuzakova, pushes it out of the door.) So it will be better ... And now the lower guns.
Zilov. And you get out. (A moment they look at each other. The waiter retreats to the door). Vividly.
The waiter delayed the Kuzakov appeared in the doors and disappeared with him. "
In the third final, the plays of Zilov never comes to some particular answer to those questions that arise for him along the play. The only thing he is solved is to hunt. Perhaps this is also some kind of a kind of transition to solving your life problems.

Pieces of Vampilov Some critics were considered in the symbolic vein. Items or symbol situations are simply filled with "duck hunting". For example, a phone call that returns to Zilova's life can be said from the world. And the phone becomes a kind of conductor to communicate Zilov with the outside world, from which he tried to breathe out from everything (after all, almost all the action takes place in a com-nate, where no one except him). The same binding thread becomes a window. It is a kind of yield in moments of spiritual stress. For example, with an unusual gift of friends (funeral wreath). "For a while standing in front of the window, the melody dresses the mourning music. With a bottle and a glass it is suitable on the windowsill. " "The window is like a sign of another reality nor present on the stage, - noticed by E. Gushanskaya, - but given in the play of the reality of hunting"
A very interesting symbol becomes hunting and all that is connected with it, for example, a gun. It was bought for hunting for ducks. However, Zilov tries him to themselves. Yes, and the hunt itself becomes an ideal symbol for the main character.

Victor so strives to get another world, but he remains closed for him. And at the same time hunting - like a moral threshold. After all, it is essentially a legal murder. And it is "erected into the rank of entertainment." And this world becomes a dream for Zilov, a. The conductor in this world becomes an image of the waiter.
As a waiter worries about the trip: "Well, how? Do you think the day? How many are we left there? .. Motorcycle on my go. Order ... Vitya, and the boat should be squeezed. You would write chrome ... Vitya! " And in the end, the dream is simply turning into a utopia, which it seems to come true.
Vampilova E. Streltsova Theater calls the "Theater of the Word, in which the author who was incomprehensible, could be able to combine unsecast." The extraordination, and sometimes the comicness of some situations unites with the memories with close and expensive hearts.
Its dramaturgy included new images of characters, a kind of conflict, strange and unusual events. And according to symbolic subjects, you can recreate a separate picture, which will become more brighter to shade the actions and behavior of the main character. A peculiar open finale characteristic of his other places gives hope that Zilov can find its place not only in their memories within the room.

M and M »as a share novel

"Master and Margarita" - Roman Mikhail Afanasyevich Bulgakov. The genre of the novel is difficult to definitely determine because the work is multi-layered and contains a lot of elements of such genres as: satire, farce, fantasy, mysticism, melodrama, philosophical parable. His plot made many theatrical performances and several films (in Yugoslavia, Poland, Sweden, Russia).

Roman (Bulgakovady it is called menippey and free Menippey) "Master and Margarita" was not published during the life of the author. He was first published only in 1966, 26 years after the death of Bulgakov, with bills, in a reduced journal version. Roman acquired noticeable popularity among the Soviet intelligentsia and up to the official publication spread to the reprinted manually. Writer's wife Elena Sergeyevna Bulgakov during all these years managed to keep the manuscript of the novel.

According to the historical statements in the archive, it is clear that the sources of information on demonology for Bulgakov served as dedicated to this topic of the encyclopedic dictionary of Brockhaus and Efron, Mikhail Orlov's book "History of human relations with the devil" (1904) and the book of Alexander Amphitheatrov "The Devil in Life, Legend and in the literature of middle ages "

Roman "Master and Margarita", which M. A. Bulgakov challenged not only Russian, but also by the world tradition, the writer himself called his "sunset", final work. It is with this novel that the name and creative credo of this outstanding artist is now identified. Despite the fact that the "Roman Roman" Bulgakov is closely connected with all the previous works of the writer, it is a bright and original work indicating that the author sought new artistic ways to solve his problems who worried about his problems. Roman "Master and Margarita" is distinguished by genre uniqueness: it can be called simultaneously and fantastic, and philosophical, and loving and lyrical, and satirical. This caused an unusual artistic organization of the work in which we open up as it were for three worlds, which, existing separately, at the same time closely intertwined and interact with each other.

The first world is mythological, biblical, or historical. It occurs the most important, key from the point of view of Christianity events: the phenomenon of Christ, his dispute with Pontius Pilate about truth and crucifixion. In Yerschlaim, the action of the "Gospel of Satan" unfolds. Bulgakov emphasizes that the events described in traditional Gospels do not correspond to the historical truth. True events are open only by Satan, Master and Ivan the homeless. All other sources certainly begin to distort the truth. Parchment Levie Matvey played a tragic role in the fate of Yeshua, because the words of the teacher about the destruction of the temple Levi understood literally. Describing the biblical events, the author "Master and Margarita" wanted to show that the knowledge of truth is available only to the highest forces or elected people. In the biblical plan of the novel, the most important philosophical questions are set: about the essence of a person, about good and evil, about the possibility of moral progress, about the freedom of choosing a person of its path and moral responsibility for this choice.

The second world is satyric, which describes the events of the 20-30s of the 20th century. In the center of his tragic fate of the talented writer - Master, the power of the imagination "guessing" the eternal truths, but not in demand by society and champion them. The writer Konstantin Simonov noted that when reading the "master and margarita", "people of older generations immediately striking that the main field for Satyric observations of Bulgakov was the Moscow philistine, including the accuracy and oilyatral, medium of the 1920s, with it, As they talked, "Nepa". " Satyrian scenes from the life of the Moscow literary and theatrical environment are written by a language resembling the comic works of Bulgakov. This language is characterized by officessels, spoken expressions, detailed descriptions acting persons.

The third world of the novel is a fantastic world, the world of the lord of the darkness of Voland and his suits. In this world, fantastic events occur, for example, Satan's ball is a peculiar parade of human vices and cunning.

Woland and his retinue are creating all sorts of wonders whose goal is to show the imperfection of the human world, the spiritual lowness and the emptiness of the townspeople. Fantastic characters are assigned a very important role in the novel. Their main activity is the balancing of good and evil forces, the implementation of a fair trial over human weaknesses and vices.

Woland, which means, the author himself, understands justice not only as mercy, but also as rewarding on the principle of "everyone in faith." "Do not differ, not by the correctness of the choice of mentality, but by choosing a heart, by faith!" Woland of every hero, the whole world is weighed on the scales of human conscience, humanity and truth. "I do not believe in anything from what I am writing!" - Ryukhin exclaims, realizing his media, human emptiness, and thus pays bills. The image of Voland turns out to be hardly the most important in the system of characters: it bonds all three planes of the story of the novel, carries out the main motive of retaliation, the court. Appearing in the first chapter "Masters and Margarita", he passes through all the work and goes into eternity along with the rest of the heroes at the end of the book.

Each of the worlds of the Bulgakov novel corresponds to its time scale. In the Yerschalaim world, the main action unfolds within one day and is accompanied by memories of the future preceding events and predictions. Time in the Moscow world is more blurry and flows relatively smoothly, obeying the will of the narrator. In the fantastic world, the time at all almost stopped, merged in a single moment, which symbolizes the clock last midnight on the ball at Satan.

In each of the three worlds there are their heroes, which are a bright reflection of their space and their time. Thus, the Master, Yeshua and Pilate takes place in the otherworldly world. The master writes a novel about Pontius Pilat, telling at the same time about the moral feat of Ga-Nozri, who even in the face of painful death remained firm in his humanistic preaching of universal kindness and freedomiff.

However, it cannot be said that the teachings of Yeshua or the master of the master exist in themselves. They are peculiar moral and artistic centers, which is repelled and to which at the same time the action of the entire novel is directed. That is why the image of the master, as well as the image of Voland, is present not only in its world, but also penetrates the rest of the storylines of the narration.

It acts both in modern and in the other world, connects the world historical with the world fantastic. And yet, satirical images are dominated in the novel.

According to the importance of harm to society in the first place in the modern world, you can safely put the image of Berlioz, Chairman of the Board of one of the largest Moscow literary associations and the editor of a Tolstoy magazine.

Homeless quickly wrote a work, but it did not satisfy Berlioz, by conviction of which main thought The poems should be the idea that Christ was not at all. We have two different, but equally harmful to society of the character. On the one hand, the official who inflicts moral and moral damage, which turns art into a customer and cripping taste of the reader; On the other hand, the writer, forced to engage in lifting and distorting facts.

Here we see and Delta from the theatrical life of the Roman who was most afraid of responsibility. Restore justice, as in other cases, called wave, which is most severely proving the reality of the existence of both Christ and Satan, who exposes in Vary not only art representatives, but also by the townships.

Here, in all its strength, we appear before us by Woland and his retinue.

A sudden meeting with an unclean force instantly identifies the essence of all these Berliosles, Latvian, Happy, Aloziev, Moganychi, Nikanov Ivanovichi and others. A fantastic turn allows us to see a whole gallery of unsightly characters. A session of black magic who gives Woland with his helpers in the capital's variety, in the literal and figurative sense, "strips" some viewers. And the case with Berlioz emphasizes the author's thought about that "that the moral law is concluded inside a person and should not depend on religious horror in front of the coming retribution, thereby terrible court, an ulcer parallel who can easily see in the death of the official who led Massol.

Thus, we see that all three worlds of the novel penetrate each other, reflected in certain events or images, are subject to constant assessment by higher Forces. The author drew a picture of the modern world, opened our historical and religious facts to us. Created a magnificent world of fantastic images and forced them to exist in constant and inseparable communication. In the "Master and Margarita", the present is the test by eternal truths, and the direct conductor of this test becomes fantastic power - Woland and his retinue, unexpectedly broken into Moscow, the capital of the state in which a gigantic social experiment is being held. Bulgakov shows us the failure of this experiment. In the imaginary kingdom of truth, people managed to do so much evil that in his background, real unclean power seems to be kind. With the advent of fantastic strength, all value references are shifted: what was perceived as terrible, appears to be ridiculous and ridiculous, the highest value of earthly ambitions - power over people - it turns out to be an empty fuss.

The links between the biblical heads of the novel and the rest of the narrative lines are also striking and diverse. These are primarily in common, phrases and motifs. Roses, red, black and yellow colors, phrase "O God, gods" - all this implies temporary and spatial parallels between heroes and events.

The description of Moscow largely reminds us of the painting of Jerusalem's life, which is repeatedly emphasized and reinforced by repetition of motives and structural elements, from the devil of the landscape to the real movement of the heroes in the city. "Combining Moscow and Ershalaim," wrote S. Maksurov, "the author loses one city in another, the story about events in Yerschlaim is happening in Moscow, we will learn about Moscow life and at the same time we see Yerschalaimskaya with Muscovites and the eyes of Muscovites ... It reminds Russian nesting, where each subsequent figure is made in the image and the similarity of the previous one and at the same time accommodates the subsequent ".

The worlds in the Bulgakov novel exist in themselves, separately from each other. They are woven, intersect, forming one-piece tissue of the narrative. Events, located apart for two millennia, plots, real and fantastic, are inextricably linked, they emphasize and help to understand the invariance of human nature, concepts of good and evil, eternal human values \u200b\u200b...