The heading included Nikolaj Kljuev’s texts, taken
up in detail as articles or translations at the site. In view
of absence of the academic collected Kljuev’s works, his works
are quoted according to different editions.
Belaya Indiya (“Na
dne vseh mirov, okeanov i gor…”)
“Nasha sobachka u
(“Chto napishu i chto reku, o Gospodi!”)
1. Pesn' Gamajuna
(“K nam vesti gor'kie prishli…”)
2. “Ot Lache-ozera do
1. Vyshel len iz mochisha…
2. Ya rodil Emmanuila…
3. Ya rodilsya v vertepe…
4. V dni po voznesenii
5. Neugasimoe plamya…
6. Moi usta — goryuchaya
7. Gospodi, opyat' zvonyat…
8. Voiti v Tvoi rany
— v zhivuyu kupel'…
2. Tvoe prozvishe — russkii
Translations will make possible to trace features
of alien perception of Nikolaj Kljuev poetry. The material is
submitted without regard for a professional level of translations.
1. Pesn' Gamajuna
(“K nam vesti gor'kie prishli…”) (transl. by G.Sitko)
2. “Ot Lache-ozera
do Vyga…” (transl. by G.Sitko)
Dedications make up small poetic anthology, which
it is possible to name “Garland to Nikolaj Kljuev”. Here
verses of different years (including not published earlier) are
submitted. This will allow to see in Kljuev both the participant
of alive dialogue with the contemporaries, and inspirer of the
“Ty dolgo, Rus', zhdala predtechu...”
Kljuevu (“Ya vse prostil Tebe, Poet…”)
Klyuevu (“O Rus', vzmahni krylami…”)
O muza, drug moi
lyubov' moya ne ta.
(“Izdrevle russkii nash Parnas...”)
V.T. Kirillov. Iz
dnevnika 18-go goda («Byl vecher rozov, gorod
«Postav' na polochku, gde Osip i Nikola…»
Vs.A. Rozhdestvenskii. «Gluboka
pamyat' o Klyuevskih konferenciyah v slavnom gorode Vytegre
(«Ya vernulsya v tot krai zabytyi...»)
(«Zheltoi ranoi istekaet listopad…»)
Sever (“Na Vostoke ala zor'ka zanimaetsya...”)
P.G. Tychina. “I
Belyj, I Blok...”
Kljuevu (“Govoril ty mne, chto malo u menya udalyh strok...”)
N.Yu. Bel’chenko. “Plach
o Sergee Esenine”: ritual mythical interpretation of the
In the article the ritual mythical approach
is used for interpretation of Nikolaj Kljuev poem “Plach o Sergee
Esenine”. The author mentions, that N. Kljuev’s creative
work in “Plach o Sergee Esenine” consecrated on all the stretch
by national tradition represents the perfect sample of the symbolical
text of the special sort. N.Yu. Bel’chenko defends the thought
that the highest form of realization of the symbolical
forms of conduct is the ritual in its interconnection with
an orb of sacred. The author also attempts to reveal definite
ritual intentions in the text under research. In space “Plach
o Sergee Esenine” N. Kljuev creates for Esenin-suicide,
whose sin, on a canon, is inexcusable, conditions, in which the situation:
discord — victim — rescue is simulated, in continuity,
peculiar to ritual. “Plach o Sergee Esenine” as the art text,
saturated by ritual information, bears a field of force
of other kind, not art order in addition to known aesthetic
impressions. For perceiving consciousness usual polyfunctionality
of the text is directed into a channel of predominant — and
especially practical — function: rescuing of soul as lien
of a space equilibrium. Ritually oriented art text is purely pattern
subjected for realization, whose efficiency can not be doubtful
rather than structural — art interpretation of any abstract
patterns — invariants.
As a result of the analysis N. Bel’chenko
has come to a conclusion, that ritual elements are not
included passively in the art text with the decorative
purpose, and are not conditional imitation. The function
of the text, bound with attempt of interference in Esenin’s
post-mortem destiny, defines appropriate semantics and sintactics.
Ritual as the key to the
perusal of N.A. Kljuev’s cycle “Spas”
N.Belchenko proceeds from the methodological premise that the
ritual is assumed as the basis of many N. Kljuev’s works. For
research of ritual mechanisms the author involves not only a
poetic cycle “Spas”, but also many other texts of the poet.
The separate images (in particular, of Rasputin, Lion, tree,
city, Poet — of the Christ — of Russia, Word),
motives (transformation, conception), the structure of the text
(situation of an input-output etc.) are analyzed, specific character
of ritual means usage (dance, musical attending) is considered,
the attempt to interpret an image of the lyrical hero in Kljuev’s
text is made, anagram is reconstructed — as a result
N. Belchenko manages to prove, that the ritual is one of the
codes for the perusal of poetic heritage of the poet.
N.Yu. Bel’chenko. B.Chichibabin
and N.Klujev: The motif of Kindred and The Kindred
L.A. Kiseleva. Nikolaj
Kljuev’s poem “Mat’-Subbota”, 1922
The subject of analysis is one of the most
complicated and unexplored Kljuev’s works. The contradictory responses
of the contemporaries permit to understand a reason
of interpretative disputes and misunderstanding of the text of
the poem “Mat’-Subbota”. This is a unique sample of ornamental
poetics of mature Kljuev, and its decoding requires other epistemological
orientation, medieval comprehension of a word. In the article
the aesthetic, ontological and epistemological function of Kljuev’s
“ornament” have been researched; those cultural contexts which
allow to reveal both a structural and functional role of separate
elements and teleology of the text as a whole have
also been defined.
L.A. Kiseleva. Poetic
dialogues of Silver Age: N. Kljuev and К. Balmont
In the article the most noticeable elements
of poetic dialogue between Kljuev and Balmont are researched.
The special attention is paid to foregoing events of this
dialogue, its culturelogical sense. Thus Kljuev’s creativity is
interpreted as a new stage in development of national
L.A. Kiseleva. “Moi
drevnii brat Gomer...”: About epic beginning in Nikolaj Klujev’s
In this work the author made an attempt
to analyze “external” and “internal” factors influencing on building-up
of Kljuev’s creative epic self-consciousness. In particular, it
is mentioned: link with the national religious epos, poetics of
acathistus; orientation to a uniform supernarration; development
of metaplot on the basis of ornamental poetics
L.A. Kiseleva. “Pesni iz
Zaonezh’ya” — sources of Nikolaj Klujev’s “great epos”
For the first time the poems, which composed the
section of “Pesni iz Zaonezh’ya”, have been examined as single
cycle, the base codes, figurative constants, as well as mechanisms
of structure making and sorts of “formness”, which
are distinctive features of Klujev’s epos, have been defined.
The author of the article comes to conclusion, that Klujev’s
poetic word is incompatible with lexical values, it gravitates
to “traditional sense”, that is peculiar to the semantic language
of folklore tradition. Thus, Klujev’s epos demonstrates the alternate
tendency of creation of “Russian semantic poetics as potential
L.A. Kiseleva. The Esenin's
text in Nikolaj Kljuev’s poetry
I.V. Kulakov. Public
worship text in N. Kljuev’s poetry
The author of given article sets himself as an
object to partially reconstruct public worship code of N. Kljuev’s
some poetic works, espetially dwelling at length on the text of
poem “Mat’-Subbota”. I.V. Kulakov understands the liturgics
in extremely remote from church concretion sense: “Liturgics is
enjoy of the God-Word (Mystery of the Word), but public
worship formulas are signaling about availability of sacral senses”.
The author of the article raises a problem about eucharistic
chronotop of the text as about one of founding constants of N.A. Kljuev’s
creative work. Just eucharistic chronotop, which is present in
Kljuev’s poems converts verbal creativity into public worship.
By an example of separate Kljuev’s texts I.V. Kulakov
researches both sacral names (“poetic calindars”), and public
worship formulas, quoted by N. Kljuev, which change the poetic
text in public worship. By means of disclosure of structural,
formula and functional correspondences of a poem “Mat’-Subbota”
of Divine liturgics the attempt is made to reconstruct public
worship code of a poem. The material of research allows
the author to come to conclusion, that the question is not about
Kljuev direct following a canon of liturgics, but about availability
of sacral senses of a poem, its “eucharistic chronotop” so
to say converting a verbal service in public worship.
О.V. Pashko. Image
of the goose in Nikolaj Kljuev’s creative works (to the analysis
of ornithological code)
In the given article О.V. Pashko addresses
to the analysis of motivated complexes of ornithological
code in Nikolaj Kljuev’s poetical texts, in particular to
the characteristic of the goose (goose-female). The author
mentions, that ornithological code is interlinked with antropological
and “hlebnyi” (grain) codes.
The angelical nature of birds, motive of world
egg and a bird — demiurge subject is considered. The attention
is accentuated on closeness of motives of a peasant
house, Universe, World Tree and bird, as well as gnezdo —
izba (a nest — a peasant house) and ptica —
hram (a bird — a temple), an identification
of images of goose and gumno (threshing-floor) is commented
at greater length. The author of the article specifies
on traditional for mythology solar symbolics of birds
acquired by Kljuev.
The investigator dwells more in details
on parallels of Mlechnyi Put’ (Galaxy) — gusinaya doroga
(goose road) — path to paradise. O.V. Pashko also
mentions the following motives: pecking and catching of birds.
These motives are peculiar to an image of the goose in Kljuev’s
text. Finelly, the motive as the identification “a bird —
a poet” is reconstructed, that, in opinion of the author
of the article, directly is interlinked to family name
Kljuev. At the end of the article the revealed
names of birds in Kljuev’s poetic texts are listed.
O.V. Pashko. Sirin
and Alkonost in Nikolaj Kljuev’s poetry: To the question about
influence of Old Believer wall sheets upon it
In this article the contributor has made up his
mind not only to observe influence of Old Believer wall sheets
upon N.Kljuev’s creativity, but also to analyze the ornithological
code in researched poetry using an example of images of Sirin
and Alkonost birds. The parallels are drawn between an image
of the lyrical hero and bird; Sirin, Alkonost connexity with
paradise, understood as a log hut, tree, person, Russ, “verbal
paradise” is reconstructed; semantics of singing and crying
is interpreted; the attempt of interpretation of “two-head
Sirin” character is made; the space motives are considered when
creating the “paradise birds” images.
of The Town and The Forest in the mythopoetry of
N.Klujev and B.-I.Antonych
Kitezh in N.A.Kljuev’s poetic system
Mythologemma-toponymy Kitezh is regarded by S.N.Smol’nikov
as a key image of N.A. Kljuev’s poetic system. The author
particularly emphasizes the variety and heterogeneity of
the poet toponymy. Engaging an extensive historical
and ethnographic material as well as analysing in detail the
concrete word usage of the words Kitezh, kitezhane, kitezhskiy,
the scientist of Vologda illustrates the way of transfer
of real toponymy to objects of sacral (metaphysical)
space. The author comes to the conclusion, that the toponymy
(which can be referred to the mythonim category) Kitezh
has composite symbolical semantics, in divers works of the poet
it is not identical symbolically and functionly.
T.A. Shelkoplyas. Lexicologic-semantic
means of creation of implication in N.A. Kljuev’s poetry
The present article is attempt to research
Kljuev’s poetic vocabulary in connection with the problem of implication
of his works. The basic material of work — two N. Kljuev’s
poems: “Mat’-Subbota” and “Pogorel’shina”, most difficult for commenting.
Refusing from customary surface reading, Т.А. Shelkoplyas
makes thorough interpretation of concepts-characters “izba” (peasant
house), “pryalka” (spinning wheel), “solnce” (sun), “kovriga”
(loaf), “plotva” (roach), “sig” (sig), “petuh” (cock), “kukushka”
(cuckoo), lopar’ (Lapp) and chud' (chood).
The author of the article postulates
the thesis that the folklore and ethnographic aspects
are very important for the analysis of N. Kljuev’s poetic
lexicon. The dialect, local speech features “encoded” in
it, enable to discover in essence new senses which are not
accessible at traditional readings of the texts. This
thesis is confirmed by the texts of songs “Vinograd’e”,
which had existed in Obonezh’e, and also by the description
of the rites and legends.
The thesis about ambivalence of Kljuev images
of images is illustrated at explanation of concepts-characters
“babka” (grandmother), “pryalka” (spinning wheel), “petuh” (cock).
In the article the attention is also paid to toponimic
aspect aspect, — in particular, at interpretation of the
name village Sigovyi Lob (Pogorel'shina).
T.A. Shelkoplyas comes to a conclusion that
Nikolaj Kljuev does not abuse with local dialects, being dipped
in elements of public Russian language, and deepens, enriches
and historically renders concrete our ideas about him.
G.S. Sit'ko. Ornamental
pattern as a basis of the cosmological system in Nikolaj Kljuev’s
poem “Belaja India” (White India). A possibility of interpretation
The basis of a methodological principle of G. Sit’ko
article is conception about Nikolaj Kljuev’s poetry as realizations
of ornamental poetics. The contributor chooses poem “Belaja
India” as a subject of his observations. The attempt to observe
the existence of verbal and representational ornament has been
made on the example of the analysis of separate images.
Michael Makin (University of Michigan, USA).
British first descoverer of late
This article of the professor of Michigan
University Michael Makin is devoted to essentially important (for
study of Kljuev) aspect of scientific activity of the professor
of Russian philology of Bristol University Gordon MacVay.
It is dealing with materials of talk between Michael Makin
and G. MacVay, held in 2001. Having briefly thrown the light
upon Mac Vay’s biography as well as acquainted the reader
with the bibliography of his works, author pays the basic
attention to the talk about work of British scientist at
N. Kljuev’s Works, edited by G.P. Struve and B.A. Filippoff,
issued in 1969. “Young British Slavonic philologist who actually
is specialist in study of Esenin than of Kljuev.
In this issuing he has exposed about 60 unpublished
earlier texts from the Soviet archives These are letters
and poems, — the last are, true, in draft copies. These
publications, alongside with the issuing “Pogorel’shina”
of the New York collectio of 1954 (from archive of Italian
Ettore lo Gatto) can by right be considered to be the main
achievement of western Slavonic philologists regarding Nikolaj
E.B. Meksh (University of Daugavpils, Latvia).
Az Bog Vedayu Glagol Dobra (“Izbjanoj
cosmos” as the future of Russia in N. Klujev’s “Poddonnyi
In accordance with E.B. Meksh’s opinion, in
“Poddonnyi psalom” not only special “image of the world”
is constructed but “image” of the author is also transmitted.
The author of article suggests that Kljuev has lined
up his Utopian “probable world” in traditions of cultural
syncretism. As Lithuanian scientist considers, just N.F. Fedorov’s
statement “kindness is the saving of life for living and
returning it to those who has lost and is losing the life” is
the foundation of ideological matter of “Poddonnyi psalom”.
In his poem Kljuev reconstructs ideal model of that spatial area,
where this law is in effect. For the poet such ideal world is
his peasant Russia, psalm-reader of which he realizes himself.
E.B. Meksh interprets some images of “Poddonnyi
psalom”, in particular, “baba-hozyaika” (peasant women —
house-wife), “izba” (peasant house), “el'” (fur-tree), “kon'”
(steed), “Sirin” (Siren), “zhivotnyi hleb” (animal bread), “raduga”
(rainbow), “more” (sea), “klyuchi” (keys); gives an example of
symbolical interpretation of characters; reconstructs Kljuev’s
conception about a person, resurrection, death, life, rest.
E.B. Meksh (University of Daugavpils, Latvia).
Chronotop of “izbianoy
kosmos ” in N. Kljuev’s poem “Nasha sobachka u vorot otlaiala…
The author defends idea that the chronotop of
“izbianogo kosmosa” in a context of N. Kljuev’s creativity should
be understood as extensive national-cultural chronotop. He illustrates
it by an example of the poem “Nasha sobachka u vorot otlaiala…”,
in many respects anticipating the poem “Pogorel’schina”. And
not only folk art, faith of grandparents, sacralized life but
also literary orientations from Pushkin and Gogol up to Esenin
are being understood as “national-cultural chronotop”. The composite
build-up of the poem under analysis is considered, “the signal
signs” of the subject are selected, and its folklore mythological
content is considered.
A.I. Miha’lov (Sankt-Peterburg, The Pushkin’s
House). History and destiny
in a mirror of dreams: on Nikolaj Kljuev’s dreams
The article of Peterburg scientist, doctor of philological
sciences Alexandr Ivanovich Miha’lov is devoted to historical-literary
understanding, interpretation and functional analysis of Nikolaj
Kljuev’s dreams, written down on the stories of the poet
by N.I. Arhipov and N.F Hristoforova-Sadomova in 1920—1930.
The author defends the thought that N. Kljuev’s
dreams — phenomenon that goes beyond the limits of the literature
with its creative conceptions and traditional poetic engineering.
They directly, mystically correlated with destiny of their “author”,
and with destiny of his country. A.I. Miha’lov defines
the purpose of the article — to indicate the most
significant plots and images of dreams. The contributor
also mentions providence nature of Kljuev’s dreams. А.I. Miha’lov
picks out the following basic motives: dangerous place, blood,
searches, rescuing from the persecutors, world salutary. But the
rescuing — not final, therefore a theme of loss arises. The
author of article builds parallels with Vladimir Nabokov’s
creativity, especially with the novel “Priglashenie na kazn’”.
But after the death the hero of N. Kljuev’s dreams
sees “light at the end of the tunnel”: he again finds native to him
the world of the nature, orthodoxy, native peasent
house, Russia, Sacred Rusi (Svyataya Rus’) — their light
glimmers to him behind feature of earth life. А.I. Miha’lov
also mentions in details development of Esenin’s theme and not
only in “the texts of dreams”, but also during all creativity
of the poet.
A.I. Miha’lov (Sankt-Peterburg, The Pushkin’s
House). Nikolaj Kljuev
and “Serapionovy brat’ya”
For the first time after O. Forsh’s novel “Sumasshedshii
korabl’” (“The Mad ship”) the article of doc. phil. Alexandr
Miha’lov deals with historic-literary comparison of Nikolaj
Kljuev’s creative work and literary group “Serapionovy brat’ya”.
The contributor considers the conflict between “muzhickii
genii Mikula” (“muzhik’s genius Mikula”) and vyrazitelyami “govora
i povadki novyh grazhdan Soyuza” (mouthpieces of “dialect and
habits of the new citizens of Union”), fixed by O. Forsh,
as manifestation of tragedy of splitting of the Russian literature
in the Soviet period. O. Forsh’s novel “Sumasshedshii korabl’”,
N. Kljuev’s texts, recollections of contemporaries are the basis
of the article material. Especially explicitly the author
mentions creative interrelation of N. Kljuev and N. Tihonov,
touching upon the subject “Poet i Vlast’” (“the Poet
Jezi Shokol’skiy (Institute of Slav philology,
Polish Academy of Sciences, Warszawa). On
all sides of the doomsday. To the question about apocalyptic motives
in Nikolaj Kljuev’s creativity
In the article of Polish scientist Jezi Shokol’skiy,
apocalyptic motives in Nikolay Kljuev’s creativity are exposed
to the versatile analysis. The allusions, quotations and semi-quotations
from “Otkrovenia Ioanna Bogoslova” are revealed, the chronotop
of apocalyptic images undergoes analysis, the comparison of Kljuev’s
texts motif with old ritual and sectarian conceptions is carried
out and the question about messiah of the lyrical hero of N.Kljuev’s
poetry is raised.
L.G. Yatskevich, S.H. Golovkina (University
of Vologda, Russia). The project
of Kljuev’s poetic dictionary
Vologda school of the contributors under L.G. Yatskevich’s
leadership introduces “N.A. Kljuev’s poetic dictionary” project,
in which different sorts of links and relations of poetic
words are supposed to be fixed stage by stage.
At the first stage “Frequency index of phrase forms”
is created and the most primary task — to fix all phrase
forms (word usage), met in N.A. Kljuev’s texts is to be solved.
At the second stage “Lexems Dictionary” is created.
Late on it will enable to reveal subject groups of words —
key ones in system organization of the dictionary of the poet.
At the third stage the work on “Poetic phraseology
dictionary” is going on. This stage is to solve the following
tasks: to compile the poetic phrases dictionary with words, dominating
in a poetic lexicon; to describe both grammar models of phrases,
and their semantic-syntactical models; to characterize associative —
semantic models of figurative values.
As the illustration of the first three stages of
creation of the dictionary the word “chelo” (brow) is used.
At the fourth stage “Poetic paradigms dictionary”
is created, and upon this some of them are selected. Examples
are paradigm “chelovek” (person), the terms of affinity, word
“Rus’” (Russia) and “mat’” (mother).
This reference material is recommended to those,
who begin acquaintance with Nikolaj Kljuev's creative works, pupils,
students, teachers-philologists, as well as experts in the history
and theory of the literature.
of works of the Kiev N. Kljuev's creative works
k sborniku “Sosen perezvon”
o russkoi poezii
den' russkoi poezii
stat'ya k sborniku N.Kljueva "Bratskie pesni"
techeniya v sovremennoi russkoi poezii
Ch. V-skii (Vasilii Cheshihin-Vetrinskii). Nikolaj
Kljuev. Sosen perezvon. Lesnye byli
Ivanov-Razumnik (R.Ivanov). “Prirody
Kljuev. Mirskie dumy
Kljuev. “Mirskie dumy”
“Mirskih Dumah” N.A.Klyueva (It is published
Ivanov-Razumnik (R.Ivanov). Poety
i tvorchestvo (Russkaya literatura pred licom revolyucii)
Ivanov-Razumnik (R.Ivanov). Tri
Offers to get acquainted with educational works
about life and Nikolaj Kljuev works: term papers, degree and dissertation
compositions (abstracts). We invite young contributors - participants
of groups and seminars for cooperation!
Stefano PANCALDI (Italy, Bologna's University).
Kljuev: Truths in poetry and in
reality. Kljuev and his relationships with some german philosopher
and writers. Doubts, problems, and disputes
His Majesty's Feodorovsky Cathedral, Tsarskoye