Klyuev chronological table of life and work. Klyuev Nikolay Alekseevich

Klyuev Nikolai Alekseevich(1884-1937), Russian poet , representative of the so-called new peasant direction in Russian poetry of the XX century.

Born on October 10 (22), 1884 in the village of Koshtug, Vyshegorodsky district, Olonets province, one of the remote villages of the Russian North, in a peasant Old Believer family of a traditionally strong moral temper, which had a great influence on the character and work of the future poet. From his mother, Praskovya Dmitrievna, he inherited a love for folk art - for songs, spiritual poems, tales, legends. She also taught him to read. In 1893-1895 he studied at the parochial school, did a lot of self-education. Then he moved to a two-class city school, after which he studied for a year at the Petrozavodsk paramedic school. Left due to illness. At the age of 16, having put on chains, he went to “rescue himself” to Solovki, then he labored in the role of the psalmist David in the schismatic “ship”. Wanderings in Russia, participation in the movement of sectarians, which in those years had a distinct character of social opposition, largely determined the work of Klyuev.

He published his first poems in 1904 (“Rainbow dreams did not come true ...”, “Widely vast field ...”). For revolutionary propaganda in 1906 he was imprisoned. In 1908, in Nashe Zhurnal (No. 1), he anonymously published the article "In Black Days." (“From a letter of a peasant”), where he proved “the innate revolutionary nature of the depths of the peasantry”. In 1907-1912 he corresponded with A.A. Blok, who saw in Klyuev the personified embodiment of his dream of the unity of the two Russias, mystical-patriarchal and peasant-rebellious, and helped Klyuev publish in Moscow the poetry collections The Pines Chime (1911, 2nd ed. 1913, with a foreword by V. Ya . Bryusov, where the master noted Klyuev's "primacy" among peasant nuggets), "Brotherly Songs" (1912), "Forest were" (1913). Sustained in the style of schismatic hymns, spiritual poems and apocrypha, gravitating towards the denunciations of Archpriest Avvakum (which led some critics to see in Klyuev, first of all, a talented imitator and imitator), they were also close to the symbolism of the Blok model.

In 1915-1916, Nikolai Klyuev was the head of the so-called new peasant poets (S.A. Yesenin, who called Klyuev "a gentle apostle", S.A. Klychkov, P.V. Oreshin, V.A. Shiryaevets (Abramov), etc.) . In 1916 he published the collection Worldly Thoughts dedicated to the events of the war years, containing mainly poems close to folk lamentations and lamentations. In 1917-1918, the poet was supported by the literary group "Scythians", in her almanac of the same name, Klyuev published the cycles "Earth and Iron", "House Songs" (dedicated to the mother, "epic" and "song"), etc.

The main thing for Nikolai Klyuev was the preservation of the "grandfather's faith" - even in the context of the revolutionary transformations adopted by the poet (collections "Songs", books 1-2, "Copper Whale", both 1919; "Cabin Songs", 1920; "The Hut and the Field" , 1928; poems "Mother Saturday", 1922; "Lament for Yesenin", "Zaozerye", both 1927).

After the publication of the poem "The Village" (1927), Klyuev was sharply criticized for longing for a ruined rural "paradise" and declared a "kulak poet". The notes of the “kulak” protest sounded in Klyuev’s poems “Solovki” and “Firefighters”, known from fragments, 1927; in the poem “Song of the Great Mother”, published in 1991, imbued with autobiographical and providential motifs, in the poetic cycle “What the gray cedars rustle about” (1933).

In 1932, from Leningrad, where he had lived since the early 1910s, Nikolai Klyuev moved to Moscow. In 1934 he was arrested and deported from Moscow for a period of five years to the city of Kolpashevo, Narym Territory, Tomsk Region. “I was exiled for the poem “Pogorelshchina”, there is nothing else for me,” he wrote from exile. By the middle of 1934, Klyuev was transferred to Tomsk, where he continued to write a lot, despite his depressed state of mind and illness. Painfully experiencing his forced separation from literature, he wrote: “I don’t feel sorry for myself as a public figure, but I feel sorry for my bee songs, sweet, sunny and golden. They sting my heart hard."

On June 5, 1937, the semi-paralyzed Nikolai Klyuev was arrested in Tomsk "for counter-revolutionary insurgent activity." The Siberian NKVD fabricated a case about the Union for the Salvation of Russia, an ecclesiastical-monarchist organization that was allegedly preparing an uprising against Soviet power, in which the role of one of the leaders was attributed to Klyuev. Between October 23 and 25, 1937 Nikolai Klyuev was shot.

Lifetime poetry books

  • Brotherly songs. (Songs of Calvary Christians). M.: To the new earth, 1912. 16 p.
  • Brotherly songs. (Book Two) / Intro. Art. V. Sventsitsky. M.: new earth, 1912. XIV, 61 p.
  • Forest were. M.: 1912.
  • Forest were. (Poems. Book 3rd). M.: 1913. 76 p.
  • Pine chime. / Foreword. V. Bryusov. M.: 1912. 79 p. 2nd ed. M.: 1913. 72 p.
  • worldly thoughts. Pg.: 1916. 71 p.
  • Songbook. Book. 1-2. Pg.: 1919.
  • Copper whale. (Poems). Pg.: 1919. 116 p.
  • Unfading color: Songbook. Vytegra: 1920. 63 sheets.
  • Whacky songs. Berlin: Scythians, 1920. 30 p.
  • Song of the Sun. Earth and iron. Berlin: Scythians, 1920. 20 p.
  • Lion bread. M.: 1922. 102 p.
  • Mother Saturday. (Poem). Pb: 1922. 36 p.
  • Fourth Rome. Pb.: Epoch, 1922. 23 p.
  • Lenin. Poems. M.-Pg.: 1924. 49 p. (3 editions)
  • Klyuev N. A., Medvedev P. N. Sergey Yesenin. (Poems about him and an essay on his work). L.: Surf, 1927. 85 p. 4000 copies (included Klyuev's poem "Lament for Sergei Yesenin").
  • Hut and field. Selected Poems. Leningrad: Surf, 1928. 107 p. 3000 copies

Major posthumous editions

  • Klyuev N. A. Poems and poems. / Comp., text preparation and notes by L. K. Shvetsova. Intro. Art. V. G. Bazanova. (Series "Poet's Library". Small series. 3rd ed.) L .: Soviet writer, 1977. 559 p. 15,000 copies
  • Klyuev N. Heart of the Unicorn: Poems and Poems. / Foreword. N. N. Skatova, entry. Art. A. I. Mikhailova; comp., preparation of the text and notes by V. P. Garnin. St. Petersburg: RKHGI Publishing House, 1999. 1072 p. (in notes: Klyuev 1999 )
  • Klyuev N. A. Word tree. Prose. / Entry. Art. A. I. Mikhailova; comp., preparation of the text and notes by V. P. Garnin. St. Petersburg: Rostock, 2003. 688 p. (in notes: Klyuev 2003)
  • Nikolay Klyuev. Letters to Alexander Blok: 1907-1915. Publication, introductory article and comments - K. M. Azadovsky. M.: Progress-Pleyada, 2003. 368 p.

(October 10, 1884 - between October 23 and 25, 1937)

Poet and prose writer, one of the largest representatives of Russian culture in the first third of the 20th century.

The fate of Klyuev - both biographically and literary - was not easy. He was born in one of the villages of the Koshtug volost, which, according to the then territorial-administrative division, was part of the Olonets province. In which particular village is unknown, since in the parish book of the Sretenskaya Church with. Koshtugi, where future poet was baptized, only the volost is indicated as the place of birth. Klyuev's father, Alexei Timofeevich (1842 - 1918), a native of peasants, was a native of the Kirillovsky district of the Novgorod province; returning after fifteen years of military service, he became a sergeant (lower rank of the county police), and then - a prisoner in a state-owned wine shop in the village of Zhelvachevo, Makachevsky volost, Vytegorsk district. The poet's mother, Praskovya Dmitrievna (c. 1851 - 1913), was brought up in an Old Believer family. Thanks to her, Klyuev, already a seven-year-old boy, mastered the letter of the Book of Hours, "like a palace decorated", joined the folk poetic creativity and spiritual heritage Ancient Russia. Early printed and handwritten books, as well as icons of pre-Nikon writing, were part of the parental home.

In 1893 - 1895. Klyuev studied at the Vytegorsk parochial school, then graduated from a two-year city school, entered the Petrozavodsk paramedic school, but left it a year later for health reasons.

There is almost no documentary evidence of his biography at the turn of the century. The poet's own memoirs about this period of life (autobiographical notes, the story "Loon's Fate") are clothed in an artistic form and cannot be regarded as completely reliable. According to these memoirs, young Klyuev underwent a severe training with the Solovetsky elders, belonged to the sect of "white doves-Christs", wandered around Russia from the Norwegian coast to the mountains of the Caucasus. During these wanderings, he happened to see Leo Tolstoy and perform religious chants of his own composition in front of him.

Revolutionary ferment in Russia at the beginning of the 20th century. captured Klyuev. For inciting the peasants of the Makachevo volost to take anti-government actions, he was captured in January 1906 by the police and spent six months in the prisons of Vytegra, St. Petersburg and Petrozavodsk. Klyuev continued to engage in political activities even after his release. He maintained ties with the All-Russian Peasant Union, with the Social Revolutionaries and Social Democrats. In 1907, Klyuev had to put on a soldier's overcoat. For refusing to take up arms on religious grounds, he was subjected to another arrest. The doctors of the Nikolaev military hospital in St. Petersburg declared him unfit for military service. After that, he settled in the village of Zhelvachevo and took up literary work. Klyuev lived in this village from 1895 to 1915. From time to time he had to visit St. Petersburg on publishing business.

Klyuev first published his poems in the St. Petersburg almanac "New Poets" in 1904. The turning point in his biography was the correspondence with A. A. Blok, which began in 1907. Blok saw in Klyuev a representative of healthy popular forces and helped him enter the world of literature. The poet's works began to appear in well-known periodicals - both reputable, with an established reputation, and newfangled (in the journals Sovremennik, Russian Thought, Testaments, Northern Notes, Golden Fleece, Hyperborea, in supplements to the Niva magazine, in the Birzhevye Vedomosti newspaper, etc.). In 1912, Klyuev's first poetic book "Pine Chime" was published. It was followed by others: "Brotherly Songs" (1912), "Forest Songs" (1913), "Worldly Thoughts" (1916). The works written by Klyuev attracted the attention of critics. They were reviewed by well-known writers: V. Ya. Bryusov, S. M. Gorodetsky, N. S. Gumilyov, Ivanov-Razumnik (R. V. Ivanov), V. L. Lvov-Rogachevsky, P. N. Sakulin, D. V. Philosophers. Klyuev was invited to read poetry by the owners of fashionable salons and organizers of concerts and poetry evenings.

Sophisticated public of the early XX century. he appeared as a poet from the depths of the people and struck her with unusual images, rich language, deep knowledge of the hidden aspects of the spiritual life of the northern peasantry. The world that opened up in Klyuev's poetry was admired by Alexander Blok and Nikolai Gumilyov, Anna Akhmatova and Sergei Yesenin. These verses made a deep impression on Empress Alexandra Feodorovna.

In terms of subject matter, Klyuev's work was adjacent to the "peasant poetry", represented by the names of A. V. Koltsov, I. S. Nikitin, I. Z. Surikov, S. D. Drozhzhin. Klyuev himself did not refuse such a literary relationship. But almost from the very beginning it was clear that the scale of his talent was not limited to a masterful description of village life and sympathy for the bitter fate of the peasant. The constant desire to discover their deep essence behind the appearance of phenomena, to feel the “presence of the Creator in creation” gave reason to consider him the heir of the symbolists. For some time, the young poet was counted in their ranks by acmeists.

For some time, the closest to him was the literary group "Scythians", formed in 1916. In the program settings of this group, Klyuev was attracted by the rejection of bourgeois civilization, spiritually relaxing a person, relying on the creative power of the national element, the aspiration of revolutionary changes, faith in the saving role for Russia peasant socialism. It was also important for him, apparently, that the group included people who were creatively close to him: S. A. Yesenin, A. M. Remizov, P. V. Oreshin, A. P. Chapygin. However, the "Scythians" did not become a reliable ideological and aesthetic stronghold for Klyuev. He never connected his creative fate with any of the literary trends and none of the groupings of the early 20th century. and remained, in essence, a lone poet, without permanent companions.

Klyuev enthusiastically accepted not only the February, but also October revolution 1917 and, like many contemporary writers, tried to present it in his works as a long-awaited transformation of all life, as a grandiose spiritual upheaval, equal in significance to the creation of the world. But the events taking place in the country quickly dispelled poetic illusions. In the first post-revolutionary years, despite everyday troubles and difficulties, he still felt himself an active participant in cultural life. Mass public events in Vytegra would not take place without him. He collaborated in the local periodical press, gave readings of his works in Petrograd. Books of his poems and poems were published in separate editions (“Red Song” - 1917, “Copper Whale” - 1919, “Songbook” - 1919, “Pussy Songs” and “Fadeless Color” - 1920, “Lion's Bread”, “Mother Saturday ”and“ The Fourth Rome ”- 1922,“ Lenin ”- 1924, etc.). Then the situation began to change noticeably.

For the adherents of the Soviet ideology, Klyuev was a stranger even in the first post-revolutionary years, when at least relative free-thinking was allowed. In 1920, he was expelled from the Russian Communist Party "for his religious beliefs." He did not want to give up these beliefs and could not. The poet's attempts to feel the spirit of "socialist construction", sing in his own way the leader of the proletariat and come to terms with the dominance of Bolshevism in the country were unsuccessful. He continued to remain faithful to the peasant way of life and considered the hut the "sanctuary of the earth", and the village the keeper of the main human values. Industrialization was perceived by him as evil, as a threat to culture (“The invisible Tsargrad is not subject to the turbine”, “The chisel does not yearn for Tyutchev”).

Utopian images of the invisible city of Kitezh and White India begin to play an ever greater role in Klyuev's work. Both of them go back to ancient Russian literature and folklore. The first of them is connected with the belief in the indestructibility of the beautiful spiritual essence of Russia and in the miracle of the coming revival of this essence. And the second became for Klyuev the focus of the most expensive ideas and motives. In the image of White India, the poet expressed his conviction that historically and spiritually Russia is closer to the East than to the West. This image clearly embodied his idea of ​​an earthly paradise, where tirelessly fertile land provides fabulous abundance, where people live in harmony with the surrounding world and do not know enmity towards their neighbor, where peoples merge into united family, and the human spirit, sensitive to the trembling of the "seraphim's resurrections", reaches an unprecedented flowering.

The stubborn unwillingness of the “singer of the Olonets hut” to submit to the “demands of the era” led to the fact that spokesmen for the interests of the proletariat hastened to bury him as a poet and declare him creatively untenable. Throughout the 1920s. there was a gradual displacement of Klyuev from literature.

In the summer of 1923 he was arrested and brought to Petrograd. He was released very soon, but decided not to return to Vytegra, hoping to find more favorable conditions for creative life on the banks of the Neva. Hopes, however, did not materialize. It was more and more difficult to find the way to the reader of his works. Klyuev was ranked among the "kulak poets", and the word "Klyuevshchina" was used to stigmatize "muzhik" writers who did not find the strength to renounce the centuries-old culture of the Russian peasantry. The poem "The Village", published in the January issue of the Leningrad magazine "Zvezda" in 1927, was sharply criticized. argument against it. A year earlier, the XV Congress of the CPSU (b) (All-Union Communist Party of Bolsheviks) proclaimed a course towards collectivization Agriculture, and any expression of affection for the old village was perceived as the intrigues of the class enemy.

In 1932, the instinct of self-preservation prompted Klyuev to move to Moscow. But the poet was destined for the same fate as many of his contemporaries. In February 1934 he was arrested and exiled. Last years his life was spent in Tomsk. These years were filled with deprivation and suffering, both spiritual and physical. In June 1937, the poet was again arrested on false charges of creating a monarchist and church organization, and a few months later he was shot. The execution took place on 23, 24 or 25 October. It is impossible to establish the exact date of the end of Klyuev's earthly journey.

For almost half a century, Klyuev's literary heritage was withdrawn from cultural circulation. For several generations of readers, such a poet simply did not exist. Re-printing of his works, and then in small print runs for those times, began only in the 1970s. And the real scale of the poet's legacy was revealed to the reading public at the very end of the 20th century, when works that had not been published before became available.

Unfortunately, not all of Klyuev's works "survived the ashes" of the creator and "fled away decay." The text of the play "Red Easter", apparently, has been irretrievably lost, little remains of the poem "Cain". But, fortunately, the manuscripts of the unfinished poems "Pogorelshchina" (1928), "Solovki" (1928), "The Song of the Great Mother" (1931), the poetic cycle "What gray cedars rustle" (1933) have been preserved. Several works written in exile have come down to us. They testify that Klyuev's talent, in extremely unfavorable conditions for creativity, not only did not die out, but also reached new heights. Klyuev's last poems are large-scale works dedicated to the fate of the people at the turning points of their history. Despite the dominant tragic flavor, the main thing in them is the belief in the transformation of long-suffering Russia, in the indestructible ability of the people's soul to rebirth.

Petersburg composer V.I. Panchenko wrote a cycle of songs and romances based on Klyuev's poems. In Vytegra, where the poet lived in the late 1910s and early 1920s, there is his museum. Since 1985, annual Klyuev readings have been held in this city. Department of Russian Language Vologda Pedagogical University released a series of compilations scientific works dedicated to the work of the poet.

S. Yu. Baranov, Ph.D., professor

    Klyuev, Nikolai Alekseevich- Nikolai Alekseevich Klyuev. KLYUEV Nikolai Alekseevich (1887-1937), Russian poet. The poetry of peasant patriarchy, the desire to discover in the hutted Russia an ancient spiritual culture that opposes the West, a mystical romantic interpretation of Russian ... ... Illustrated Encyclopedic Dictionary

    Poet. Born into a peasant family; literary activity began in 1912. K. is one of the most prominent representatives of the kulak style in Russian literature, which took shape before the war of 1914 on the basis of forced separation ... ... Big biographical encyclopedia

    Klyuev, Nikolai Alekseevich Russian poet Klyuev, Nikolai Alekseevich lieutenant general, commander of the XIII Army Corps in Samsonov's army ... Wikipedia

    - (1887, Olonets province, - August 1937, Siberian Railway), Russian Soviet poet. Born into a peasant family. Received home education. The first collections - "Pine Chimes" (1912, with a preface by V. Bryusov), "Brotherly Songs" ... ... Great Soviet Encyclopedia

    - (1887 1937) Russian poet. Poetry of peasant patriarchy, opposing the industrial West, the desire to discover ancient spiritual culture in hutted Russia, mystical romantic interpretation of the Russian national character, folk ... ... Big Encyclopedic Dictionary

    Klyuev, Nikolai Alekseevich- Klyuev Nikolai Alekseevich (1884–1937; repressed), the prophet of peasant poetry, walked around St. Petersburg salons in boots and a kosovorotka, decorated his room like an Olonets hut; on behalf of the inscrutable people threatened A. Blok; wrote poetry... Russian poets of the Silver Age

    - (1887 1937), Russian poet. Poetry of peasant patriarchy, opposed to the industrial West, the desire to discover ancient spiritual culture in "hut Russia", mystical romantic interpretation of the Russian national character, ... ... encyclopedic Dictionary

    KLYUEV Nikolai Alekseevich- (1884-1937), Russian Soviet poet. Book. poems "Pine Chimes" (foreword by V. Bryusov), "Brotherly Songs" (both - 1912), "Worldly Thoughts" (1916), "Songs" (books 1-2), "Copper Whale" (both - 1919 ), "Pussy Songs" (1920), "Lenin" ... ... Literary Encyclopedic Dictionary

    Klyuev, Nikolai Alekseevich: Klyuev, Nikolai Alekseevich (general) Klyuev, Nikolai Alekseevich ... Wikipedia

    Wikipedia has articles about other people with that surname, see Klyuev. Nikolai Alekseevich Klyuev Date of birth May 5, 1859 (1859 05 05) Place of birth St. Petersburg, Russian empire Date of death ... Wikipedia

Books

  • Red roar, Klyuev Nikolai Alekseevich. Nikolai Alekseevich Klyuev (1884-1937) - Russian poet, representative of the "new peasant" trend of the early 20th century, whose work is characterized by references to the theme of rural Russia. "Red ...
  • Ecological and analytical monitoring of the persistence of organic pollutants, Klyuev Nikolai Alekseevich, Maystrenko Valeriy Nikolaevich. V study guide summarized data on the organization and conduct of environmental and analytical monitoring of persistent organic pollutants (POPs) - polychlorinated dioxins, dibenzofurans, ...

Klyuev Nikolai Alekseevich (1887-1937), poet.

Born on October 22, 1887 in the village of Koshtug, Vytegorsky district, Olonetsk province (now in Karelia) into a peasant family.

In 1893-1895. studied at the parochial school in the city of Vytegra (now in the Vologda region), then at the city school and at the medical assistant's school in Petrozavodsk (now the capital of Karelia).

At the beginning of the XX century. with fellow countrymen who sold fish and furs in the capital, he went to work in St. Petersburg.

At the same time, Klyuev began to write poetry in the tradition of "new peasant poetry": the mournful, indignant muse of the poet complains about the suffering of the tiller and sends curses to his enslavers (published in the collective collection New Poets, 1904).

Since 1905, under the impression of revolutionary events, Klyuev became involved in active political activity - he distributed proclamations of the All-Russian Peasant Union in Moscow and the Olonets province. Klyuev's works were born at the junction of two poetic cultures - oral folk art and avant-garde poetry. This predetermined the success of his first books "Pine Chime" and "Brotherly Songs" (both 1912) in the camp of the Symbolists, and then the Acmeists.

Klyuev traveled a lot in the Russian North, visited monasteries, memorized and wrote down folk tales, songs, legends, legends.

The collection "Brotherly Songs" is in many ways a poetic arrangement of "overheard" and talentedly reproduced sectarian chants. In addition, Klyuev’s poetry clearly has its own lyrical themes: the conflict between Nature and Civilization (the peasant “hut paradise” suffers under the onslaught of the machine “iron” culture) and an attempt to “marry the religious with the revolutionary” (“The Fourth Rome”, 1921) .

Since the mid 20s. the position of the poet is rapidly deteriorating. He lives alternately in Vyborg and Leningrad, trying to establish contacts with local and central authorities.

He creates a poem about V. I. Lenin, joins the ranks of the Bolsheviks, from where he is soon expelled for religious views.

In 1934 Klyuev was arrested and exiled to Siberia for five years.

Comments

    ... accusations (of "anti-Soviet agitation" and "compilation and dissemination of counter-revolutionary literary works”) were presented to Klyuev in connection with his other works - “Gamayun’s Song” and “If the demons of plague, leprosy and cholera ...”, which are part of the unfinished cycle “Ruin”. V last poem, for example, the White Sea-Baltic Canal is mentioned, built with the participation a large number dispossessed and imprisoned:
    That is the White Sea Death Canal,
    Akimushka dug it,
    From Vetluga Prov and aunt Fyokla.
    Great Russia got wet
    Under the red downpour to the bone
    And hid tears from people
    From the eyes of strangers into the deaf swamps ...
    On June 5, 1937, he was arrested again and shot at Kashtachnaya Gora at the end of October. Nikolai Klyuev was rehabilitated in 1957, but the first posthumous book in the USSR came out only in 1977.

The beginning of the 20th century, also called the Silver Age, was the heyday of Russian literature. New directions and trends appeared, the authors were not afraid to experiment and discover new genres and themes. One of these poets was Klyuev Nikolai Alekseevich. He belonged to the new peasant poetic direction.

Biography

Born on October 10, 1884 in the village of Koshtugi, Vytegorsk district ( Vologodskaya Oblast) Nikolay Klyuev. The biography of the writer begins in the family of a simple constable Alexei Timofeevich. But most of all, Klyuev loved his mother, Praskovya Fedorovna, who was an excellent storyteller. She was also engaged in teaching her son, thanks to her Nikolai could read, write and learned the basics of the folk song warehouse.

In 1895 he graduated from the parochial school in Vytegra. Then he went to Petrozavodsk, where he studied at the medical assistant's school. After graduation, Klyuev Nikolai Alekseevich, together with fellow countrymen who were engaged in the sale of fur and fish to the capital, leaves for St. Petersburg to work.

In the capital, he begins to write poetry as part of the direction of the new peasant poetry. In his works, the poetic muse complains about the torment and suffering of the tillers and curses their enslavers. Klyuev's first poems were published in the 1904 collection New Poets. However, soon Klyuev returned to his small homeland.

Impressed by the revolutionary events that had begun, the poet became involved in active political activity in 1905. Starts distributing proclamations. For this, Klyuev was arrested in 1906.

Klyuev and Blok

A significant event for the poet was his acquaintance with Alexander Blok. The correspondence of writers began in 1907. At first, Nikolai Klyuev is rather timid in his messages to the recognized poet, but gradually he becomes convinced that Blok himself is interested in their conversations. Gradually, Klyuev begins to talk about the spirit of protest that is brewing among the people, about social injustice. But writers are not only talking about politics. Nikolai Alekseevich notes the power of the poetic spirit, which is contained in the common people, but due to domestic reasons, it cannot be fully revealed.

Blok was greatly impressed by Klyuev's letters. He repeatedly quotes them in letters to friends and in his articles. Thanks to Blok's assistance, Beak's poems are printed in Novaya Zemlya, The Golden Fleece, and many others. literary magazines. Metropolitan writers pay attention to the works of the poet from the hinterland. Klyuev manages to get acquainted with many of them. Among them is Valery Bryusov.

creative success

In 1911, Nikolai Klyuev published his first collection "Pine Chime". The preface to the publication is written by Bryusov. The book was received with approval and interest in poetic and literary circles. Such poets as Nikolai Gumilyov and others spoke positively about her. The public was struck in Klyuev's works by their unusualness, the absence of a pronounced individuality, the orderliness of tropes, images, rhythms.

Klyuev sings of nature, the rural way of life, the people. At the same time, he believes that the godless culture that dominated the 19th century is dying, and it is being replaced by something new, alive and popular.

Gumilyov, in his review of the collection, predicts the future of Klyuev's poetry - he says that this is only the beginning of a new movement in literature. And he turns out to be right. Klyuev becomes one of the first representatives of the new peasant poetry.

Klyuev and Yesenin

Nikolai Klyuev for a long time alone defended the right of peasant poetry to life. But in 1915 he received a letter from a young poet from the Ryazan province. Yesenin's letter inspires Klyuev. Despite the fact that they are familiar in absentia, other writers who write within the framework of the peasant theme unite around these two poets.

In the poetry of Klyuev and Yesenin, there really were a lot of similarities, which is why they quickly found mutual language and united. The year 1915 was the peak of their conscientious creative successes. Together they attended literary evenings, read their poems.

However, the union did not last long. Yesenin's gift was much wider than the new peasant poetry, and in 1917 the friendship of the two poets came to an end.

Attitude towards proletarian poetry

Nikolai Klyuev, whose poems were sung by the common Russian people, however, did not consider himself a proletarian poet. The revolution found the writer in his native places. Klyuev received her arrival with unprecedented enthusiasm. But he imagined it as an offensive "paradise for a man."

In 1918, Nikolai Klyuev joined the Bolshevik Party. Engaged in propaganda work, reads poetry about the revolution. However, at the same time, he remains a religious person, which is contrary to the new order. It becomes clear that he is promoting a completely different revolution. And in 1920 Klyuev was expelled from the party. Stop publishing his poems. He started to annoy new power his religiosity and disagreement with the proletarian poets, calling their works propaganda forgeries.

A difficult time began for the poet. He was in poverty, was persecuted, could not find a job. Despite this, he continued to openly oppose Soviet power.

The poet's struggle ended on February 2, 1934, when he was arrested for "compiling and distributing counter-revolutionary works." He was sentenced to exile in the Narym Territory. And in October 1937, Klyuev was shot on a fabricated case.

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