Democratic writers gave a huge
material to knowledge of economic
life ... psychological features
people ... depicted its morals, customs,
his mood and desires.
M. Gorky

In the 60s of the XIX century, the establishment of realism as a complex and diverse phenomenon is associated with the deepening of literature to the coverage of peasant life, in the inner world of the person, to the spiritual life of the people. The literary process of realism is an expression of various faces of life and, at the same time, the desire for a new harmonious synthesis, a merger with the poetic element of folk art. The artistic world of Russia with its original, highly screw, invalid national art of folk poetry constantly caused the interest of literature. Writers appealed to the artistic understanding of the people's moral and moral and poetic culture, aesthetic essence and poetics of folk art, as well as folklore as a holistic folk minerow-session.

It was the folk principles that were an exceptional factor that determines to some degree of development of Russian literature for the second half of the XIX century and especially Russian democratic prose. Folklore and ethnography in the literary time process becomes the phenomenon that determines the aesthetic nature of many works of 1840-1860s.

The theme of the peasantry permeates the whole Russian literature of the XIX century. Literature is deepening to the coverage of peasantian beetopography, in the inner world and the national nature of the people. In the works of V.I. Dalya, D.V. Grigorovich, in the "Notes of the Hunter" I.S. Turgenev, in "Essays from the Peasant Life" A.F. Pisem, in the stories of P.I. Melnikova-Pechersky, N.S. Leskova, early L.N. Tolstoy, P.I. Yakushkin, S.V. Maksimova, in the Russian democratic prose of the 60s and in general in the Russian realism of the second half of the XIX century, the desire to recreate the pictures of people's life was imprinted.

Already in 1830-1840, the first works appear on the otherwise ethnographic study of the Russian people: the congregions of songs, fairy tales, proverbs, legends, description of the morals and customs of antiquity, folk art. A plurality of song and other folk-ethnographic material appears in magazines. At this time, ethnographic surveys, as noted by the famous literary critic and critic of the XIX century A.N. Dwypin, proceed from the conscious intention to study in the content of people's life and legends of the old nature of the people in its genuine expressions.

The collection of ethnographic materials in the next 50s "took the dimensions of truly grandiose." This was facilitated by the influence of the Russian Geographical Society, the Moscow Society of History and Antiquities, a number of scientific, including literary, expeditions of the 50s, and also emerged in the 60s, a new body of national studies - Moscow society of natural science lovers, anthropology and ethnography.

The role of an outstanding folklorist-collector P.V. Kireevsky. Already in the 30s of the XIX century, he managed to create a kind of collecting center and attract its prominent contemporaries to the study and collecting folklore - to A.S. Pushkin and N.V. Gogol inclusive. Songs, epics and spiritual poems published by Kireevsky were the first monumental assembly of Russian folklore.

In the collection of songs, Kireevsky wrote: "Who did not hear the Russian songs over his cradle and whom her sounds did not spend in all movements of life, of which, of course, the heart will not start with her sounds: it is not similar to those sounds on which her soul rose, or she will be incomprehensible to him as a coarse mobile echo, with which he does not feel in general; Either, if it has a special musical talent, it will be curious to him as something original and strange ... "1. Attitude towards a folk song, in which personal inconsistencies and ideological beliefs were embodied, led to his appeal to practical work on collecting Russian songs.

The love of the Russian song will unite later and members of the "Young Editor" of the magazine "Moskvatik", will write about it S.V. Maksimov, P.I. Yakushkin, F.D. Nefedov, the song genre of folk poetry will be organically in their literary creativity.

The "Moskvatian" published songs, fairy tales, descriptions of individual rites, correspondence, articles about folklore and folk life.

MP Pogodin, the editor of the magazine, the writer and the prominent public figure, with exceptional perseverance, put forward the tasks of the gathering of monuments of folk art and national life, intensively recruited collectors from different layers of society, attracted them to participate in the journal. He promoted and first steps on this field P.I. Yakushkin.

A special role in the development of the ethnographic interests of writers was played by the "Young Edition" of the magazine "Moskvatikan" headed by A.N. Ostrovsky. The "young edition" at different times included: A.A. Grigoriev, E. Endelson, B. Almozov, M. Stakhovich, T. Filippov, A.F. Pisemist and PI Melnikov-Pechersky.

Already in the 40s-early 50s, Russian literature appeals more in-depth to the peasant theme. In the literary time, the leading place of the Natural School 2 occupies.

Genuine School - the designation of the existing one in the 40-50s of the XIX century russian realism (according to the definition of Yu.V. Manna), which is continuing related to the work of N.V. Gogol and developing his artistic principles. The early work of I.A. Goncharova, N.A. Nekrasova, I.S. Turgenev, F.M. Dostoevsky, A.I. Herzen, D.V. Grigorovich, V.I. Dalya, A.N. Ostrovsky, I.I. Panayeva, Ya.P. Butkova, etc. The main ideologist of the genuine school was V.G. Belinsky, the development of its theoretical principles also contributed to V.N. Mikov, A.N. Plescheev and others. Representatives were grouped around the "Patrican Notes" and Later "Contemporary". Software for the natural school were the collections "Physiology of St. Petersburg" (Part 1-2, 1845) and Petersburg Collection (1846). In connection with the last edition, the name itself arose.

F.V. Bulgarian ("Northern Bee", 1846, No. 22) used him in order to discredit the writers of the new direction; Belinsky, Mikey and others took this definition by filling it with positive content. The most clearly novelty of the artistic principles of the genuine school was expressed in "physiological essays" - works that make iteming extremely accurate fixation of certain social types ("physiology" of the landlord, peasant, official), their species differences ("Physiology" of the St. Petersburg official, Moscow official), Social, professional and household peculiarities, habits, attractions, etc. The desire for documencies, to the exact part, using statistical and ethnographic data, and sometimes the introduction of biological accents in the typology of characters "Physiological Essay" expressed the tendency of a well-known approach of the figurative and scientific consciousness at this time and ... contributed to the expansion of the positions of realism. However, it is unlawful to the formation of a genuine school to "physiology", because Other genres rose over them - novel, Tale 3 .

Writers of the Natural School - N.A. Nekrasov, N.V. Gogol, I.S. Turgenev, A.I. Herzen, F.M. Dostoevsky - famous students. However, speaking of this literary phenomenon, one should consider such remaining outside the literary education of schoolchildren writers as VI. Dal, D.V. Grigorovich, A.F. Pisemsky, P.I. Melnikov-Pechersky, with the work of which students are not familiar, and in their works the peasant theme is being developed, being the beginning of literature from the peasant life, continued and developed by the Sixtiest Bellevistami. Acquaintance with the work of these writers seems necessary and deepens the knowledge of schoolchildren about the literary process.

In the 1860s, the peasant elements most widely penetrate the cultural process of the Epoch. The "People's Direction" is approved in the literature (Termina A.N. Pyptina). Peasant types and people's lifestyle are full of literature.

A Russian Democratic Prose, presented in the literary process, presented in the literary process of creativity N.G. introduced his special contribution to the image of a folk life. Pomonyovsky 4, V.A. Sleptsova, N.V. Assumption, A.I. Levitova, F.M. Reshetnikova, P.I. Yakushkin, S.V. Maksimova. Entering the literary process during the revolutionary situation in Russia and in the postrelforming era, she reflected a new approach to the image of the people, highlights the real paintings of his life, became "Sign of time", recreated in Russian literature the peasant world at a critical historical moment, captured various trends in the development of realism 5.

The emergence of a democratic prose was caused by changed historical and social circumstances, the social and political living conditions of Russia for the second half of the XIX century, the arrival of writers in the literature, for whom "The study of people's life has become needed" (A.N. Pypin) 6. Democratic writers originally reflected the spirit of the era, her aspirations and hopes. They wrote A.M. Gorky, "gave a huge material to the knowledge of the economic life, the psychological characteristics of the people ... depicted its morals, customs, his mood and desire" 7.

His impressions of the sixties were drawn from the depths of people's life, from direct communication with the Russian peasant. The peasantry as the main public strength of Russia, determining the concept of the people at that time, became the main theme of their creativity. Democratic writers created in their essays and stories the generalized image of the people of Russia. They created their special social world in Russian literature, their epic of folk life. "All hungry and scored Russia, settled and stray, ruined by serfdom and sprinkled by predatory bourgeois, clamor, reflected, as in the mirror, in a democratic essay literature of the 60s ..." 8.

For the works of the sixties are characterized by a circle of related topics and problems, the community of genres and structural-composite unity. At the same time, each of them is creative personality, everyone can notice their special style. Gorky called them "diverse and squeezed talented people."

Democratic writers in essays and stories recreated the art epic life of peasant Russia, approaching and individually disconnecting in his work in the image of a folk topic.

Their works reflected the most essence of the most important processes that have compiled a content of Russian life in the 60s. It is known that the measure of the historical progressiveness of each writer is measured by the degree of its conscious or spontaneous approaching to a democratic ideology reflecting the interests of the Russian people. However, democratic fiction reflects not only the ideological and social phenomena of the era, it is definitely and widely beyond the framework of ideological trends. The prose of the sixties is included in the literary time process, continuing the tradition of a genuine school, compare with the artistic experience of Turgenev, Grigorovich, which reflected a peculiar artistic coverage of the Democratic Writers of the People's World, including the ethnographically accurate description of the life.

Democratic fiction with its ethnographic orientation, elected from the total flow of development of Russian prose, took a certain place in the process of the formation of domestic realism. She enriched him next to artistic discoveries, confirmed the need for a writer of the use of new aesthetic principles in selection and coverage of life phenomena in the context of the revolutionary situation of the 1860s, who had served a new problem of the people in the literature.

The description of the people's life with a reliable accuracy of an ethnographic nature was noticed by revolutionary-democratic criticism and expressed in the requirements for the literature to write about the people "Truth without any embellishment", as well as "in the correct transmission of real facts", "in circulation of attention to all parties to life of the lower classes " The realistic length of it was closely related to elements of ethnographis. Literature appeared in a new way to the life of peasants and the existing conditions for their life. According to N.A. Dobrolyubov, the explanation of this case was no longer a toy, not literary priest, but a lot of time. Sixtiene writers originally reflected the spirit of the era, her aspirations and hopes. Their creativity clearly recorded changes in Russian prose, its democratic nature, ethnographic orientation, ideological and artistic originality and genre expression.

In the works of the sixties, the general range of related topics and problems, the community of genres and structural-composite unity is distinguished. At the same time, each of them is creative personality, everyone can notice their individual style. N.V. Uspensky, V.A. Slepts, A.I. Levitov, F.M. Reshetnikov, G.I. Uspensky made their understanding of peasant life into literature, each in his own way captured the folk paintings.

Sixtiets showed deep people's interest. Democratic literature sought to ethnographism and folklorism, to the development of people's life, merged with her, penetrated the people's consciousness. The works of the sixties were the expression of everyday personal experience of studying Russia and the life of the people. They created their special social world in Russian literature, their epic of folk life. The life of the Russian society is the pre-reform and the flame era and, above all, the peasant world is the main theme of their creativity.

In the 60s, the search for new principles of the artistic image of the people continues. A democratic prose gave samples of the limit for the art of the truth of reflection of life, confirmed the need for new aesthetic principles in selection and illumination of life phenomena. The harsh, "idle" image of life led to a change in the nature of prose, its ideological and artistic originality and genre expression 9.

Democratic writers were artists-researchers, intophels, in their work artistic prose entered into close contact with the economy, with ethnography, with a class 10 in the broad sense of the word, operated on the facts and numbers, was strictly documentary, it was strictly documentary to the same Time by artistic study of Russia. The Sixtiene Belletrists were not only observers and recorders of the facts, they tried to understand and reflect the social reasons that gave birth to them. Lithuania contributed to their work tangible concreteness, vitality, accuracy.

Naturally, Democratic writers focused on popular culture, on the tradition of folklore. In their work, the enrichment and deepening of Russian realism occurred. Democratic topics expanded, literature has been enriched with new facts, new observations, traits of life and morals of the people's life, mainly peasant. Writers with all the brightness of creative individualities were close in the expression of their ideological and artistic trends, they were united by ideological proximity, artistic principles, the search for new topics and heroes, the development of new genres, general typological features.

The sixties created their artistic forms - genres. Their prose was predominantly narrator-essay. Essays and stories of writers appeared as a result of observing and studying the life of the people, his social status, life and morals. Numerous meetings on the bodies, taverns, at postal stations, in the train cars, on the road, on the steppe road identified a kind of specific style of their works: the predominance of a dialogue over the description, the abundance of skillfully transmitted folk speech, contacting the storyteller with a reader, concreteness and factuality, Ethnographic accuracy, appeal to aesthetics of oral folk creativity, introducing abundant folk inclusions. In the artistic system of the sixties, there was a lot to be aware of life concreteness, strict documentary, objective fixation of sketches and observations, the originality of the composition (disintegration of the plot into separate episodes, scenes, sketches), journalism, orientation on the folk culture and the tradition of folklore.

The story-sore democratic prose was a natural phenomenon in the literary process of the 60s. According to M.E. Saltykova-Shchedrin, the sixties did not claim to create holistic, artistic and completed paintings. They were limited to "passages, essays, scenes, while remaining at the level of facts, but they prepared the ground for new literary forms, more widely embracing the diversity of the surrounding life" 11. At the same time, in the very democratic fiction, the holistic paintings of the peasant life, achieved by the idea of \u200b\u200bthe artistic communication of essays, the desire for epic cycles ("steppe essays" A. Levitov, Cycles F. Reshetnikova "Good people", "Forgotten people", "From Route memories ", etc., the contours of the novel from the people's life (F.M. Reshetnikov) were shown, the ideological and artistic concept of the people was formed.

The story-sore democratic prose of the sixties organically joined the literary process. The tendency of the image of the people's life itself was very promising. The traditions of the sixties developed domestic literature of subsequent periods: People's fiction, essays and stories D.N. Mine-Sibiryaka, V.G. Korolenko, A.M. Gorky.

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 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.

S. Rodetsky: Klyuev - quiet and the most, the Son of the Earth with an in-depth in the distance in his mind 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 lowered and scooped man is all the appearance of their own appearance about the divine singement force living in it and creative.

"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.

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 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 Klyuyev demonstratively signed them - the 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 winter, in the years Klyuev 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.

Attitude towards the revolution, 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 .. "

Poet's religiosity In March 1920, the third county conference 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 honoring 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 Listfall ... I love the cemetery closure of non-residential, frightening comfort, long ringing and with crosses of a spoon, in whose threads of the spell live ... a dressed quiet, harmonica in dottech, smoke of the Ovina, in dears hemp. Far descendants will be prompted by my vast "love" ... that before 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 nothing 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, a meeting of the top of the management of the NKVD of the Novosibirsk region decided" Klyueva Nikolai Alekseevich to shoot. Personally belonging to him to confiscate "October 1937 (as indicated in the statement out of the case), the ruling of the troika was pursuant.

Archaic, folklore vocabulary creates a special lyrical attitude in the poem, the atmosphere of an eleven fairy tale. Wheat, Berevian Paradise lives his life, far from the noise and dust of large cities. In an immentable fairy tale, the poet saw intimacy aesthetic and moral values. 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 greeves the diminishers to every tree of earthly, animals, birds and gadas, 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 Klyuev calls a pine chime, the forests were, songs from the fright, alone. 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 keeve is the widespread 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 is also male, apart, the Word Gold, 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 city cycle, Rusi began. Slavs of antiquity, according to a modern researcher, receive such a surroundings of the natural environment from Roerich, which is inherent in themselves: they merge with her, and their beauty, and their strength arises from the beauty and strength of nature itself, felt by the heart of the people of Russian himself . 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.

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

Organizational peasant writers - N. A. Klyuev, S. L. Yesenin, S. L. Klychkov, A. A. Ganin, A. V. Shiryaevets, P. V. Oreshin and entered into literature already in the 1920s. P. N. Vasilyev and Ivan Pribrudad (Ya. P. Ovcharenko) 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. The indomitable pagan life - a distinctive feature of the lyrical hero A. V. Shiryaevtsa:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

How well, when in the family.

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

Not enough on the bench

Under the old blast place ...

Then, having left the fate as everything

Not in Divo to meet death in the evening,

How zhnitsa in young oat

With a sickle thicker on the shoulders.

("Tired of daylight ...")

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

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

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

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

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

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

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

They apoed her living soul:

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

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

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

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

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

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

For N. A. Klyov exists:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

I am angry at you and sorrowfully,

That ten years a singement horse,

Diamond zero, from gold hooves,

Popon the same consonant embroidered

You did not give and handled oats

And not allowed into the meadow where drunk dew

FRESHED B WILL BEED BERED WINGS ...

In the coming millennium, we are destined to read in the work of Novokrestest writers in a new way, for they reflect the spiritual and moral, philosophical, social aspects of the national consciousness of the first half of the XX century. They laid true spiritual values \u200b\u200band genuinely high morality; In them, the spirit of the Spirit of High Freedom is from power, from Dogma. They are approved by 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.

Novokrestean Poetry (Klyuev, Yesenin, Klychkov, Shiryaev residents)

Novokrestendian poetry is the course of poets that have come out of the folk medium. They relied on the folk tradition and literary tradition of the XIX century (Nekrasov, Koltsov, Nikitin, Surikov). Basic motifs - the life of the village, nature, the relationship of the life of the village with the life of nature. Main problems - opposition City / Village and Tragic Contradictions within the Village itself.

First wave peasant poetry - 1903-1905. (Yezhazh, Leonov, Shkulev), they united inside the Surikov literary and musical circle, published collections, collaborated with proletarian poets.

Second wave - 1910th. (Klyuev, Yesenin, Klychkov, Shiryaev residents, Oresms). In 1916, the collection of Yesenin "Radunitsa" comes. Were met as envoys of a new Russian village. The group was heterogeneous: different fates, various ideologies, a different approach to the development of the poetic tradition. Therefore, this is the name, though traditional, but quite conditional.

Novokrestest poets experienced impact of symbolism and aqmeism. The symbolists have experienced interest due to trends inherent in themselves in the years preceding the First World War: nationalist sentiment, reflections on the "folk element", the fate of Russia, interest in Slavic mythology. The same trends were observed in the religious and philosophical searches of the Russian intelligentsia.

Another representative of Novokrestest poetry - Sergey Klychkov. The main theme of his collections (" Songs», « Hidden garden") - Rustic nature. The influence of the block, Gorodetsky and Klychkov is obvious. Thus, we can talk about the synthesis of symbolism, aqmeism and folklore tradition.

His landscapes are conditional, decorative, in the images of Slavic mythology. Reality as it ignores. Most of his poems are the processing of Slavic myths: the goddess of spring and fertility of Lada, about her sister Kupava, about the grandfather, who rules the world of nature.

Unlike Klychkov, who has a leitmotement "sadness-sadness", creativity Alexandra Shiryaevtsa Life-affirming pathos was imbued. The sincerity and the immediacy of the poetic feeling relates him to Yesenin, and the Slavic mythology and folk topics (Vanka-Klyaknik) with Klychkov. But in his verses there is more feelings than Klychkov (love for his homeland, to the will, to life).

Peasant poets

The movement of peasant poets is closely connected with the revolutionary movements, which began in Russia at the turn of the XIX and XX centuries. Typical representatives of this movement were Yezhzhin Spiridon, Yesenin Sergey, Klychkov Sergey, Klyuev Nikolay, Oretss Peter, Potemkin Peter, Radimov Pavel, and more I will stay on the biographies of Demyan Poor (Codviv Efim Alekseevich) (1883 - 1945 years)

Born in the village of Livovka Kherson province, in the family of a peasant.

He studied in a rural school, then - in the military-paramedic school, in 1904-1908. - At the Historical and Philology Faculty of St. Petersburg University.

Began to be printed in 1909

In 1911, in the Bolshevik newspaper "Star" published poems "On Demyan Poor - Men's Harmful", from where and take the poet's alias.

From 1912 and until the end of his life was printed in the newspaper "True".

Bolshevik Party, Nature - the main features of Demyan's Creativity Poor. In software verses - "my verse", "Pravda-uterus", "Forward and above!", "On the nightingale" - captured the image of the poet of a new type that has set itself a high goal: to create for the broad masses. From here - the appeal of the poet to the most democratic, guess genres: Basna, a song, a chastushka, a campaign poems.

In 1913, the Basney Collection was released, which was highly appreciated by V. I. Lenin.

During the civil war, the poems and songs played a huge role, raising the spirit of the Red Army, satirically exposing the class enemies.

During the Great Patriotic War, Demyan poor works a lot again, it is printed in the "truth", in the "TASS windows", creates a patriotic lyrics, anti-fascist satire.

He was awarded the Order of Lenin, the Order of the Red Banner and Medals.

Poets outside the flows

These include the Agnivzian Nikolai, Bunina Ivan, Efimenko Tatyana, Ivneva Rurik, Pasternak Boris, Tsvetaeva Marina, Shangeli George, whose creativity is either too diverse or too unusual to attribute them to any course.