• 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 light eyes far shifted under up harsh corners Eyebrows, with baked rustic mouths, with a shaggy bearded, and hair is all wild-blond, is 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, the deep national feeling of proximity to the native nature was strong side lyrics of "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 narrow out about religious feelings, for too many points of contact in the teaching of the commune with people's faith in the triumph of the best began a 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 noise and dust big 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.

Novokrestendian poetry

An original phenomenon in the literature was the so-called Novokrestest poetry. The literary direction submitted by the works of N. Klyuev, S. Yesenin, S. Klychkov, P. Karpova, A. Shiryaevtsa, developed and established in Ser. 1910s. This is evidenced by the Correspondence of Klyyev with Shiryaews, faced in 1913. "Oh, Mother Desert! Paradise Soul, Paradise Mind! How hateful and black seems to be the whole so-called civilized world, and what would have given, whatever cross, whatever Calvary suffered America did not come to the Sizeoperator, to a chapel in Bor, on a hare from a stack, on the hut-fairy tale ... "(from the letter of Klyuev Schiryaevtsi on November 15, 1914).

The term first appeared in the literary criticism at the turn of the 10-20 xx century in Articles V.L. Lviv-Rogachevsky and I.I. Rosanova. This term was used to separate the poets of the "Peasant Cold" (by definition of S. Yesenin) from the peasant poets XIX. in.

Novokresteyan poets united - with all the differences in creative handwriting and talent measure - island love for 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" of the Novokrestest lyrics and epics; At the same time, their creators were intended and the style of the "Russian Modern" aspirations. The synthesis of an ancient shape and new poetics led to the artistic peculiarity of their best works, and communicating with the block, Bryusov, other symbolists helped creative growth. The fate of the Novokrestendian poets after October (at the time of their greatest achievements) was tragically: the idealization of them of the village old croup was found "Kulack". In the 1930s, they were ousted out of the literature, became victims of repression.

The philosophy of "elected space", all-in-law pathos, love for the motherland, a cult of labor morality, blood connection with his native nature, the blessing of their soul to the world of beauty and harmony - these are the main common foundations that united the poets "Novokrestest" Pleiads. In 1918, in the book "Klyuchi Mary", Yesenin, exploring the nature of the "Angelic" image, formulated common features poetic world His and his fellow, creating, in fact, the theoretical substantiation of the poetic school of folk spiritual realism, embodying the eternal aspiration of the Russian soul to move in sound, paint, creating material world In eternal communication with heaven. "We would love the world of this hut with all the roosters at the shutters, skates on the roofs and doves on the prince of the porch are not a simple love of eyes and the sensory perception of the beautiful, and would love and knew the samoye truthful path of the wisdom, on which every step of the verbal image is being done in the same way As the nodal connection of the nature itself ... The art of our time does not know this zeriski, for the fact that she lived in Dante, Gebele, Shakespeare, and others. Artists of the Words, for representatives of it from today was a dead shadow ... The only wasteful and sloppy, but all The keeper of this mystery was half-harded by the villagers and the villagers and the villages of the village. We will not hide that this world of peasant life, which we visit the mind of the heart through images, our eyes caught, alas, together with a flourishing on Ade of Death. " The spiritual mentor of the "peasant foster" Kiyev knew too well the alien to his fellows to the surrounding literary world. "My pigeon is white," he wrote Yesenin, "after all, you know that we are a goat in the literary garden and only in the grace of us in it ... to be green in the grass, and on the stone gray - here is our program to not To die ... I have a cold from the memories of those humiliations and patrons, which I made from the dog's public ... I remember that the wife of Gorodetsky in the same meeting, where they praised me on all the frets, waiting for a calm in a conversation, rolled his eyes and then he was removed: "Yes , good to be peasant. " ... You see the spirit of your spirit, the immortal in you, and it is interesting that you are holly and Ham-Smerdyakov, spoke to ai-part ... ".

After 2 years, the same thought will take off the same thought in his letter to Shiryaevtsu: "God with them, these St. Petersburg writers ... After all, the Scythia, who took the eyes of Andrei Rublev Byzantium and Scripture the Kozma Indicoplov with the believers of our grandmas, that the land on three whales should be And they are all romance, brother, all Westerners, they need America, and we have a song in the Zhiguli, a fire of a wall of razin. "

Before the revolution, the poet "Novokresyna" made attempts to organizely unite, then creating the literary society "Beauty", which took the 1915 poetic evening, who received a big and far from a benevolent press, taking part in the creation of the literary and artistic society "Strada". But these of societies lived for a long time and the connection of poets with each other always remained more spiritual than the organizational.

They took the revolution with the "peasant bias". It was primarily in the fact that the poets adopted a revolution as a folk dream of world justice that coincided for them with justice social. It is not only the establishment of justice in the expanses of Russia, but also the fraternity of the peoples of the whole land. Such an interpretation had deep roots leaving our history in the XIX century, in the idea of \u200b\u200bPushkin and Dostoevsky on the "all-in-interest" of a Russian nature, in the peculiar ideas about the cultural and historical unity that prevailed in the work of Russian writers in the presentation of Moscow - the third Rome whose predecessor was Byzantia ... Dr. The topic in their poetry is the topic of peasant labor, his deep ties with life, with folk creativity, with labor morality. The historically established relationship of "nature", the "slicer of bread" and, finally, "the words" in his own way, to the best of his dating, reflected each of the poets of the "peasant poverty". "Preparing the grandfather of the croup, help ravage networks, Lucina to light up and, listening to the blizzard, as in a fairy tale to trichno on the thirty centuries, in Sadko whirlwinds Il to Wolga. These poems of Klyuev embody the thought on labor, as a creative act, consecrated by thousand-year tradition, creating simultaneously with material and spiritual values, a binder of a person, land and space into a single whole. No wonder P. Radimimov, demonstratively named "Pashnya", "harvest", "bread", "haircut sheep", "Soldering of cucumbers", when reading is perceived not just as an image of the labor process, but also as a solemn aesthetic action, which is beneficial on Human soul.

Another topic that unites the poets of the Novokrestest Pleiads is the theme of the East, extremely essential for Russian poetry, for East in it was understood as not as geographical, but as a socio-philosophical concept opposite to the bourgeois west. For the first time Asia - "Blue country, painted with salt, sand and lime" - appeared in Yesenin in "Pugachev", like the earth is beautiful, far away, inaccessible ... A little later, it arises in Moscow Kabatskaya already as a memoratory of the outgoing peasant world, whose symbol It becomes again the hut with a stove, who took the face of a brick camel and thereby united Russia and the East ... And then there were already all memorable "Persian motives". Klyuyev made a bold attempt to organically allocate the riches of "Vedas" and "Mahabharata" with the pictures of the nature of Olonetsk forests and revolutionary anthems. "White India" enters an integral part in the "Having Space" created by its creative imagination. And Karpov in the post-revolutionary years reached the soul to the fabulous pranodine of Slavs: "The Mountains of the Caucasus, Himalayas, as a card house, and in the cache of the Golden OAZ, we go fiercely ...". Elegant lyrical miniatures in the style of Old Ancient Poetry A. Shiryaevtsy are remembered, and V. Sogdiana Cycle, performed by the admiration of the nature and architecture of the East.

"Riding with us, the Soviet power rustles with the most tender, 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. Klyuev S. Yesenin in 1922. change of power for poets - "Novokrestian" Nothing has changed in best side - They were continued to drive and rush with even greater fierce. After the death of Yesenin to thek. 20 keys, fangs, nuts and their younger companions and followers of the Naswkin, the pribadudes were declared ideologists to the "foolishness" and spokesperson to the "Kulack Moraley Mirohedov". The Jewish godless power was alien and hated the poets of the "peasant pierce", all of them, in addition to actually disappeared from the literature Karpov, were destroyed by the end of the 30s.

The identity of Nikolai Alekseevich Klyuev (1884-1937) attracted the block back in 1907, from the peasants of the Olonetsky region, Klyuev, who taught the "Song Scenic" Mother, a teacher and crying, became a sophisticated master of the poetic word, tied "oral" and "book" , thinly stylizing epics, folk songs, spiritual poems. In Klyov, even the revolutionary motives present in the early lyrics, religiously painted, from the first book ("pine chime", 1912) the image of the people is seen in mystico-romantic tones (K. Azadovsky). Laroeepik on a folk basis, the poetic re-creation of rural life expressed, starting with the collection "Forests" (1913), Novokrestest tendency. It's no coincidence that the keys rejected the negative image of the village Bunin and appreciated Remizov, Vasnetsov, and he highlighted the "dance" and "Babia song", famous delets, vitality of a folk nature. One of the vertex creatures of the Klyuev, the "Ilimal Songs" cycle (1914-16), embodied the features of the world's north-Russian peasantry, the poetry of his belts, rites, the connection with the land, centuries-old way and the "real world. At the heart of the thick image of the key with its "folk hyperbololism" (V. Bazanov) - the personification of natural forces. The poet's language enriched with regional words and archaisms is distinguished. In the pre-air verses, Klyuyev developed a myth about God's immobility "Having Rusi", this "White India", its lively principles opposed - in the spirit of the ideas of the "Scythians" group - a dead machine civilization of the West. At first, by taking October, the Klyuev soon felt the tragedy of what had happened, many of his prophetic pages did not see the light; In 1934, he was exiled, in 1937 - shot.

If an ideologist and preacher felt in the Klyuev created, then the huge poetry gift of Sergei Alexandrovich Yesenin (1895-1925) conquered the immediacy of the self-expression, the sincerity of the song vote. The main for myself, the poet considered the "lyrical feeling" and "imagery", the origins of which saw in the "nodal navigation of nature with the essence of a person", which remained only in the world of the village. All Esenin metaphorics is built on the mutual way of man and nature (in the beloved "sheep hair of oatmeal", the "grain of the eye"; dawn, "like a kitten, washes her mouth"). Yeshenin, he said, studied at the bloc, white, Klyuev. Proximity to Kurai - in the subject, shaped "screensavers", in combination of pantheism and worship of the Christian saints, in the romance of Russia in the key of Novokrestest poetry. However, the Yesensky image of the Motherland is significantly multifaceted and authentic than that of Klyov. The features of the Klyuevian Inak, Bogomolets, the Wanderer inherent in the lyrical "I" of early Yesenin (the first collection of "Radunitsa", 1916). But already in the poem "Oh, Rus, waving wings!" (1917) "Monastery" by the image of the teacher Yesenin opposes his, "robbery", declares the dispute with the "secret God", fond of young. At the same time (in the poem "was saved, the rain of spring") the poet is aware of his recognition as a doomed on the peasant flour of creativity. The art of Yesenin has reached its vertices in the 1920s. But then the deep mental crisis led the poet to death.

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, Sergey Yesenin was grew: "Songs were located that I heard myself, and my father even gave them." Novoksellayan was quite consciously treated with his biography and did not refuse birth to accept what was expressed in their appearance, clothes. According to V.G. Bazanov, they "played social water waters with dressing", "turned out their lifestyle, and their appearance in a visual agitation," the purpose of which is the approval of the intrinsicness of the peasant world. The researcher emphasizes the awareness, demonstration, the polemical sharpness of this "Waterville", whose task is to "emphasize the importance of peasant poets in public and literary movement," to oppose themselves by Petersburg literary salons, with disregard relating to the village. However, the protest of Novokrestian was not an inlets, raging. They wanted to be heard and therefore spoke in the language, understandable society. Seeing in such behavior of the Novokrestest poets "a certain literary position", V.G. Bazanov enters it into the context of the culture of the beginning of the XX century, for which it was characterized by "masquerading, stylization, rhythm". 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 its worldview, but, in our opinion, did not want to dissolve in someone else's environment. From here, the underlined rostility N. Klyuev, "HETRI" -VALENKI S. Yesenin, etc. Depth relationship with the People's Spirit, awareness of the scenitivity of the peasant worldview, the new public situation contributed to the fact that, unlike its predecessors, Novokrestendian poets were seen in the nature of the Russian farmer.

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 . Its typological qualities were the orientation for the tradition and its duration, the known rituality in the choice of heroes, sharp, fresh feeling of nature, attitude to the peasant life as a holistic and value world, etc.

The revolution of 1917, taking the destiny of the country, its future with the proletariat, significantly changed public opinion. The proletarian culture, seeking not only its own poetic language, ideology, but also the reader, aggressively poured poets-Novokrestian, quite recently by the votes of the people, the translators of the folk culture. In the middle of 1917, the movement of the breakdowns is drawn up, which sets a large-scale task - the creation of proletarian culture. Based on the absolute denial of the past, the breakdowns are trying to create a new, revolutionary art with a pure sheet, denying tradition as a deterrent. Creator new cultureIn their opinion, only the proletariat could become a social layer, not rooted in the former life. A huge cultural layer, the spiritual experience of the people who fed the work of Novokrestest poets, was not demanded in the new aesthetic situation. Thus, the model of culture offered by the Tolericults, rejected the peasant culture. The literary confrontation of the Tolericultov and Novokrestian was destined to go beyond the framework of culture, since extractive factors intervened in the controversy.

Since the 1920s, a negative attitude towards Novokrestest poetry was determined by a dynamically changed political situation: first by the introduction of the Sprivant, then individual taxation in the village, later - a course on the industrialization and mass degradation. Novokrestest poets quite soon became an object not only literary persecution and trace. Their names were synonymous with life-threatening definitions: "singers Kulack village", "Kulatsky poets", "Bard Kulacksky Village" (O. Beskin about S. Klychkov). They were accused of nationalism, anti-Semitism, the "reverent idealization of the past", "admiration for the patriarchal slave owner" (O. Beskin about S. Klychkov, V. Knyazev about N. Klyuev), in hostility to new, individualism, mysticism, the reactionary idealization of nature , and sometimes directly enrolled in the category of class enemies (O. Beskin, L. Averbach, P. Zamoysky, V. Knyazev). The thought of the readers was introduced to the idea of \u200b\u200bthe futility of Novokrestendian poetry, her class alien.

The political content of the accusations made was confirmed by the ban on creativity. At the end of the 1920s, a course was taken for Radiation Klyuev, Klychkova, Oresen, Yesenin (posthumously) from literature. New peasants became the object of mockery of articles and parodies. A. Izmansky's attacks on N. Klyuev, literary and political controversy O. Beskin and S. Klychkov, but perhaps the most crushing blow was applied by S. Yesenin Article N. Bukharina "Evil Notes", published in the newspaper in 1927 "Truth". The chief ideologist of the party, N. Bukharin realizes that the target of his straight and fake attacks is the largest national poet, which is impossible to destroy gross political quenching. Yesenin verses are not amenable to falsification, ridiculously even such a controversial as N. Bukharin. And therefore he goes to the brass. He writes allegedly not so much about the poet Sergey Yesenin, how much about "Eseninsk region is the phenomenon of the very harmful, deserving real scursery" (41, 208). Arriving in the article with the left poet, he chose his condemant word in those who, after the death of S. Yesenin, continued to think of the categories of peasant culture. The desire to compromise not only a poet, but above all its poetry, worldview, the public position was part of the state policy of launching, fighting a man.

The 1930s - the period of creative silence and silence of Novokrestest writers: they write "in the table", are engaged in translations (for example, S. Klychkov). Their original works are not published. The reprisals followed in 1937, the names of Nikolai Klyuev, Sergey Klychkova, Peter Oreshina, and others from literary use.

The interest in the creative heritage of the peasant poets is resumed only in the 1960s and 1980s with the return of the poetry of Sergei Yesenin. One after the other is the work on the work of the poet, E.I. Naumova, A. M. Marchenko, Yu.L. Prokusheva, B. C. Extenders, V.G. Bazanov and others.

Quite quickly found "social order", determined by the attitude of Soviet criticism to the peasantry in the revolution. 1960s. The creativity of S. Yesenin is narrowed until the consideration of one rustic topic. Yesenin is not immersed in the literary process of the first third of the XX century, his work is represented as an illustration of political immaturity and provinciality, from which S. Yesenin gradually gets rid (or can not get rid of). Considering the poet in line with the idea of \u200b\u200bthe revolutionation of the peasantry, the literary critics of the 1960s. It is noted by his "passive public position" (E. Naumov, Yu. Prokushev, P. Yushin, A. Volkov). A serious obstacle to the creation of a slim picture of the political growth of the poet was the religious motives of his creativity and suicide, the circumstance of which still cause many speculations. In the 1980s, as a hundred years ago, an interest in peasant culture resumed, to her mythological basis. In 1989, the work of M. Forinina "Russian people. His customs, rites, legends, superstition and poetry", are published by B.A. Rybakova "Paganism of the ancient Slavs" (1981), "paganism of ancient Russia" (1987), returned to research use of A. Afanasyev, dictionaries appear, books on slavic mythology. As at the end of the XIX century, public and cultural thought seeks to master the aesthetics of the peasant life, to comprehend the peasant culture as a civilization, to see in the folk experience the possibility of understanding modern problems.

List of used literature

1. Mikhailov A. Ways of the development of Novokrestest poetry. M., 1990;

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 immudy - metaphor, often metaphorical chains associated various elements Two images are 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.

In the Russian democratic press of the last third of the XIX century. Tom Village takes an extremely important place. This topic is closely intertwined with the problem of people and nationalities. And the people at this time are primarily a multi-million Russian peasantry, which constituted the nine tenths of the entire population of Russia.

During the life of Nekrasov, the peasant self-taught peasant poets began to speak, of which Ivan Zakharovich Surikov (1841-1880) was released. In 1871, he published the first collection of his poems, and after two years in the "Herald of Europe" was published by his epics "Sadko at the Maritime King".

By the end of the 60s. Around Surikov, a group of peasant self-taped writers was united, and with them, with the active participation of Surikov himself, it was possible to organize and publish in the early 70s. Collection "Dawn", in which works (poetry and prose) of sixteen authors were presented: Poems Surikov, stories and poems S. Derunova, Essays I. Novoselov, Ethnographic-household sketches O. Matveev and others. These works were combined with the general direction of the subject : pictures from nature, scenes from the life of peasants and urban poor, as well as the processing of epic scenes and folk legends.

Following the first, the edition assumed to release the collection of the collection, which was not implemented. The publication ceased after the first release.

The value of the collection "Dawn" was that for the first time not separate self-taught writers, and the whole group of them declared their existence, indicating the awakening of the people of traction to creativity and the desire to tell themselves about their lives. But the total culture of the authors was low. None of his participants, with the exception of Surikov, did not leave any noticeable track in the literature.

Surikov - Singer of the poor, heir to Koltsova and Nikitin, partly Shevchenko and Nekrasov, author of the poems "Ryabina" ("What is noise, swinging ...", 1864), "in the steppe" ("Snow and snow around ...", 1869 ) And others who have become popular folk songs. The main circle of the subject of his songs and poems is the life of a flammore village ("with grief", "Quietly skinny horse ...", "hard and sad ...", "Childhood", "Mount", "on the road", " Pond "and others).

His heroes are a worker-poor man who beats in poverty, adversity and the troubles of which there is no end, the peasantry-workers with their gravitative shares. The whole cycle is verses dedicated to childhood memories, rustic children. Surikov and plot poems are found in which the author appeals to the everybody picture of the people's life.

This is a sad story about the share of land workers. He also turns to the plots folk ballad and epic ("delete", "Nonhech", "Bogatyan wife", "Sadko at the Maritime King", "Vasilko", "execution of a wall of razin"), Surikov infects the work of the agriculture ("Kosari", "Summer", "in the field " and etc.). City, urban life - Unknown, alien to Mirosoznia of the peasant poet Start:

City noisy, dusty city,

City, full poverty,

Accurately crypt raw, grave,

Bodry spirit you give you!

("That's the steppe with your Krasu ...", 1878)

A lot of sincere strings devoted to Surikov to the peasant worker, orphans, larders:

I am not my mother's daughter -

Girl hired;

Hired - do it,

Not tired not knowing.

Do, at least kill

Will not give pictures ...

Herself you, share

Bathers dat!

The poet self-taught turns to a rustic topic from the side, but from the inside of life situations, the most social drama. They are managed by the desire to touch the Dotol's weakly lit in poetry of the corners of people's life, to tell in all the bitter truth about the "breadwinner" of the Russian Earth.

In the poems of Surikov, the immediate proximity to the nature of the village resident, from the small years, accustomed to the noise of the forest, the silence of the steppe, protrusion of fields, fragrance of flowers and herbs:

You go, you go - the steppe and the sky,

Definitely don't have the edge

And stands at the top, above the stepma,

Silence is dumb.

The edge of the distant sky

All the glow can

Glow fire

Blesses and burns.

Walk fire

Stripes in the river;

Sad somewhere song

Pour in the distance.

(See also: " Summer night"," Morning in the village "," On the road "," From the trees of the shadows ... "," in the night "," in the glow by firefight ... "," on the river ", etc.). Many Surikov's scenery in verse are made with great love and warmth. They resemble the paintings by F. A. Vasilyev in the nature of the world.

Such a poem of Surikov, as "Grandfall Klim", "Winter" and others reflect the patriotic feeling; Love for native elements. Despite the reigning poverty and the mountain of the people, Surikov knew how to find in the village life and her poetic side, find poetry and beauty in the peasant labor (Kosari, "in the summer", "dawn is engaged, the sun sits down ...", "Morning in Village "," caught fire over the steppe of the dust ... ").

In the "songs" Surikov - "sobbing souls", "Mount and Tosca". "We have little songs fun. Most of our folk songs is distinguished by severe sadness, "wrote N. A. Dobrolyubov in the article about Koltsov. And Surikov has no "light love songs." In content and sad tonality, they are close to the Russian folk song. The peasant poet often enjoys her vocabulary, its traditional images:

Is I in the field yes not a herbushka was

I did not grow green in the field;

Took me, tricky, squirmed,

On the sun in the field was silent.

Oh, you, my grief, Gorushko!

Know, such my dat!

In the poems of Surikov, a bitter complaint against the "villain-life", "villain-fate" sounds. In them, the author deliberately follows the tradition of a folk song ("What is not a river ...", "What is not burning stray ...", "Good to so much ...", "Crucinushka", "Jince", "Crimit" , "Farewell", "in the field smooth road ..." and others).

The influence of Shevchenko on Surikov, direct appeals, recovery of individual motifs from the Ukrainian folk song ("There is no joy, fun ...", "Widow. From T. Shevchenko", "Duma. On the motive Shevchenko", "in the garden near Brod ... "," I grew up the orphan ... "," and dream of me that under the mountain ... "," Syrotinka ", etc.).

Truthfulness, sincerity, hot sympathy for disadvantaged worker, simplicity and clarity of the language and images characterize the best verses of Surikov. They turned to them, wrote the music of P. I. Tchaikovsky on their texts ("I was in the field Yes, I was not her herbal ...", "The sun was tired ...", "took the dawn ...", "in the garden near Brod ... "), Ts. Kyui (" lit up in Dali, caught fire around ... "), A. T. Grechaninov (" in glow with fire ... "). The text of the epics of Surikov "Sadko at the Maritime King" served as the basis of the plot of the Opera N. A. Rimsky-Korsakov.

Surikov's poetry suffers to the monotony of motives, the limited circle of observations, which is explained by the fate of the poet, the circumstances of his life. For the most part, he remains on the positions of beetopography. Surikov rarely concerns the reasons for the nurse's existence of the labor nation, is not prettring to the roots of social evil.

Peasant poets continued, on the one hand, the traditions of Nekrasovskaya poetry, and on the other hand he followed Koltsov, Nikitin, Shevchenko.

After the death of Surikov, new groups of self-taped poets arose. So, in 1889, a collection of a Moscow mug of writers from the people "Native Sounds" was published, which included poems S. Derunova, I. Belousov, M. Leonov et al. In the 90s. Around M. Leonov, a numerous group was united. In 1903, she received the name of the Surikov literary and musical circle.

Self-taught writers belonged to Spiridon Dmitrievich Yezhazh (1848-1930), who has passed difficult life school. Twelve years he was serf. Long and persistently sought him his place in life, changed not one profession. His muse "was born in the peasant hollow" ("My Muse", 1875).

His creativity is dedicated to the Russian village, the life of a rustic worker. The reader constantly feels that the author, for whom the phenomena described by them, the sorrowful pictures of the people's life - native elements can be written. The verses of yellite are written by proper, without embellishment and exaggeration, are striking the nudity of the harsh truth:

Coldly on the element,

Children's crumbs are pumped.

Fun silver

Launched the windows.

Mold covered

Ceiling and walls

Neither a piece there is no bread,

There is no firewood.

Pummies, children cry

And no one knows

That their mother is with a soullow

The world is selected,

That father on the bench

Sleeps in the coffin pine

With head covered

Savan canvas.

Sleep softly, and the wind

Shutters knocks

And in the hut is sad

Winter day looks.

("Winter Day", 1892)

(It should be noted the freshness and impeditionality of the impressions, the author's observation, his love for characteristic details: "White Yenem" hat, "Frozen on the frost of his mustache and beard", "Swimming Snow Dust Blizzard" outside the window of the hut, "gray grandmother" for A hill, threatening with the "bony hand" with crying kids ("two pores", 1876). In the poems of this kind - the author's gravity to bulge, visibility, art. He, as it were, the details of the people's life.

They are also expressed by concreteness of life situations: a man, wagging barefoot for hiding ("in his native village", 1891), His heavy Duma about how to live, feed the family: "The lifts for the whole year is not paid, for the last cow fuses From the courtyard "(" in drought ", 1897). Even in terms of the dictionary, the texture of the Language of Yehzin's Poetry is all impregnated with the Russian village: "Rural Temple", "coated with a straw hut near the river", "Sokha", "Treag", "Rye thick", etc.

Yezhazh sneezes the nature of the motherland, rural driving, "Forest Wilderness and Sloign of Breastfields", "Size smoke behind the river" and "rural morals are simplicity", rest peasant.

In the rustic landscape of Drezhzhin, the sounds of folk songs are often heard, heard "human flour" ("Evening Song", 1886). His songs are designed "among grief and works to console the poor" ("I am not needless wealth ...", 1893).

With the song, the work argues, with the song it is easier to live, it not only consoles, but also hesitates hope ("Do not be sad about that ...", 1902). Yezhazhin consciously follows the folk song and in the subject, and in the style and vocabulary ("angry share", 1874; "Ah, I am, Mlada-Mladushenka ...", 1875; "You are good, the soul of Krasno Girl", 1876 ). "The tongue of the heritage of yezzine with oral poetry is so deep," L. Ilyin notes rightly, "that sometimes it's impossible to distinguish, where the folklore ends and where the creativity of the poet himself begins."

Sometimes yeasting to create original poems, close, related to folk sicks; In them, he continues the Koltsovskaya, Nikitinskaya, Surikov line ("As a leaflet cut off ...", 1877; "That is not a swallow-kingochka sings ...", 1885; "My storming ...", 1909; "Not wormwood with Herbal grass, 1894). Sometimes his poems leave the impression of the stylization, imitating the folk song, crowds of folk motifs (for example, "Kalinka, Kalinka ...", 1911).

Yezhazhj and other peasant poets did not rise to social chief. Their thought was not associated with the thought of revolutionary configured peasantry. The sympathy for the workers of the village and the city is expressed in the yezhzhin and in the 80s. And at the beginning of the XX century. In the most common form. His social ideal is reflected in lines:

No need for me not a good one

Neither honors rulers mighty;

Give me calm fields

.................

So that I saw the people satisfied and happy

Without grief bitter, without pain ...

The peasant poets were hotly loved Russia, were singers of labor and folk grief. They turned to themes that previously remained outside the sphere of poetry. Their role was significant in the democratization of literature, enriching its new layers of vital observations.

Poems and Surikov's songs, yellown in their best samples make a remarkable page in the history of Russian democratic poetry. In its depths, as an organic link in the development of her labor motives, a working topic arose, which was previously met in folklore. The appearance of this topic is associated with the process of the proletarization of the village.

In the development of the topic of the city, the peasant poets had its own specific aspect. The city as a whole, the factory life of Yezhazh showed through the perception of a village resident, who was in a huge plant among cars:

And knocking, and noise, and thunder;

Like a large iron chest

Sometimes from them from all sides

There is a heavy moan.

In the poems of yezzine "In the capital" (1884) and "From the poem" Night "(1887), a hot sympathy for workers living in" suffocating dwellings ", in basements and in attics, in the fight against" eternal need "were expressed. Working theme Peasant poets are the organic part of the general theme of the "worker-nation".

The most sensitive of the poets of the end of the century felt "Precreasure" breathing, the rise of the new wave of the liberation movement.

In this atmosphere, the first sprouts of proletarian poetry, verses of the poets-workers E. Nechaeva, F. Shkuleva, A. Nosdrin, etc. The Russian proletariat was published on the historic arena, as organized social force. "The seventies, I wrote by V. I. Lenin, was touched by completely insignificant tops of the working class.

His fronts have already shown themselves as great leaders of working democracy, but the mass is still sleeping. Only in the early 1990s it began to awaken, and at the same time began a new and more glorious period in the history of all Russian democracy. "

In the early proletarian poetry based on the working folklore and the revolutionary poetry of populists, the hard fate of the working people, his dreams about the best share, the beginning of the opposing protest.

History of Russian literature: in 4 volumes / edited by N.I. Protkova and others - L., 1980-1983.

"Novokrestendian" poetry with full right can be considered an integral part of the creative heritage of the Russian silver century. It is significant that the peasant spiritual Niva turned out to be significantly fruitful than the proletarian ideological soil, on bright creative personalities.

The term "Novokresteyansky" in modern literature is used to separate the representatives of the new formation - modernists who updated Russian poetry, relying on folk creativity, from traditionalists, imitators and epigones of Nikitin's poetry, Koltsov, Nekrasov, stamping poetic sketches of rustic landscapes in the lubricacy - Patriarchal style.

The poets, belonged to this category, developed the traditions of peasant poetry, and did not close them. The poetization of the village life, non-good peasant crafts and rural nature was the main topics of their poems.

The main features of Novokrestest poetry:

Love for "small homeland";
. following the age-old folk customs and moral traditions;
. the use of religious symbols, christian motives, pagan beliefs;
. Appeal to folklore plots and images, introduction to the poetic use of folk songs and chastushk;
. The denial of the "vicious" urban culture, the resistance of the cult of machines and iron.

At the end of the XIX century, no large poets died from the peasant environments. However, the authors who came into literature then largely prepared the soil for creativity of their particularly gifted followers. The ideas of the old peasant lyrics were reborn on another, a higher artistic level. The theme of love for native nature, attention to the public life and national character was determined by the style and direction of the poetry of the new time, and meditation about the meaning of human existence through the images of people's life was made in this lyrician leading.

Following the people's-ethical tradition was inherent in all Novokrestest poets. But each of them had a particularly acute feeling of a small homeland in her delicate, unique concreteness. Awareness of his own role in her fate helped find his way to reproduction of the poetic spirit of the nation.

The creativity of the symbolists, primarily the Blok and Andrei White, who contributed to the development of romantic motives in the poetry, Yesenin and Klychkov romantic motives in the formation of the Novokresztian Poetic School literary techniquescharacteristic of the poetry of modernists.

The entry of Novokrestest poets into greater literature has become a noticeable event of pre-revolutionary time. The core of the new flow was the most talented people from the woodland - N. Klyuev, S. Yesenin, S. Kychkov, P. Oreshin. Soon A. Shiryaevets and A. Ganin joined them.

In the fall of 1915, in many respects, thanks to the efforts of S. Gorodetsky and writer A. Reizov, who felling young poets, a literary group "Beauty" was created; On October 25, a literary and artistic evening was held in the concert hall of the Tenishevsky school in Petrograd, where, as Gorodetsky wrote later, "Yesenin read his poems, and in addition, sang a chastushki under the harmonica and with the Klyuev - suffering ...". There was also announced about the organization of the eponymous publishing house (it ceased to exist after the release of the first compilation).

However, to talk about some collective status of Novokrestest poets would be unlawful. And although the listed authors were part of the "Beauty" group, and then in the literary and artistic society "Strada" (1915-1917), which became the first association of poets (by definition of Yesenin) of the "peasant pierce", and let some of them participated in " Scythians "(Almanac of the Level Economic Direction, 1917-1918), but at the same time, for most" Novokresteyan ", the word" team "itself was only a hated stamp, verbal cliché. They are more connected to personal communication, correspondence and general poetic shares.

Therefore, the Novokrestest poets, as indicating in its study, S. Semenov, "it would be more correct to talk about as a whole poetic pleiad, which expressed in consideration of individual peacefulness other than the proletarian poets, the vision of the National Being Device, its highest values \u200b\u200band ideals - Other sensation and understanding of the Russian idea. "

All poetic currents of the beginning of the 20th century had one common feature: their formation and development occurred in the conditions of struggle and rivalry, as if the presence of a controversial object was mandatory condition The existence of the flow itself. Not passed the bowl of this and poets of the "peasant foster". Their ideological opponents were the so-called "proletarian poets".

Becoming after the revolution by 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 was supported by the party part, was the principle of "spiritualization" of the revolutionary struggle. "The poets of the revolution are the inexorable critics of the whole old and name forward, to the struggle for the bright future ... They violated all the characteristic phenomena of modernity and paint in squeezed, but deeply truthful paints ... in their creations, much is still not polished until the end. But a certain bright mood is distinctly expressed with a deep feeling and peculiar energy. "

The acuteness of social conflicts, the inevitability of the confrontation of the opposing class forces was the main topics of proletarian poetry, finding the expression in a decisive opposition of two hostile mills, two worlds: "The talked world of evil and inappropriate" and "rising young Russia". Groznyeniy crusions have been overwhelmed into passionate romantic appeals, exclamation intonations dominated in many verses ("Clearly, tyranny! ..", "On the street!", So p.). A specific feature of proletarian poetry (rod motives of labor, struggle, urbanism, collectivism) was reflected in verses of the current struggle, combat and political tasks of the proletariat.

The proletarian poets, defending the collective, denied all the individual-human, all that makes the identity of the unique, ridiculed such categories such as the soul, etc. Peasant poets, unlike them, saw main reason Evil in the separation from natural roots, from the people's worldview, which is reflected in the everyday life of peasant life, folklore, folk traditions, national culture.