Stylization and myth-making: stages of N. Klyuev's creative evolution

In the article the question is raised about the world view evolution and the poet's style. In pre-revolutionary N. Klyuev's verses and poems created after the revolution, there are aspects of his God-seeking, passion in people's heresies: Khlystism and Skopchestvo. This was accompanied by Klyuev's searches in the folklore and in the Biblical stylization, in post-revolutionary period the searches waned because of the poet's return to the traditional Christianity, in-depth study of the Old Believers. He perceived absorption of folklore by literature as a threat of killing the word. In the genre preferences (the songs and eposes) was hidden the choice of destination (for farmers) and the choice of the symbol of creative behavior: "dedicated from the people'', a passerby in the alien world of "the city". In the first miscellany "The chime of Pines" were first folk stylizations. The second book "Brotherly Songs" is the stylization of the Khlysti chants. We can see the newest semantic layer: the secondary mythologizing of the type. The question of the artistic level of stylization in this miscellany remains debatable: Khlysti songs-orisons stylistics is poorly understood. In the 1910 "Khlysti discourse" was suddenly in high demand, as god-seeking aspirations of the pagan renaissance era. For early Klyuev usage of folklore song resources is an organic way, but from the first steps of the poet, he faced the choice of using the ethnographic reserve or following the Symbolists. The originality of Klyuyev's style is the application of the principles of myth-making based on folklore. The beginning of "The Song of the Great Mother" is the style of The Kalevala. The ideal of the national poet was no longer connected with the idea of the aesthetic transformation of life. Rather, the poet was concerned with the persistence acquired by Russia, not a measureless expansion of spiritual wealth. Calling himself ''Longfellow from Olonets'' Klyuev denoted one more high sample, The Song of Hiawatha. It is known that Longfellow was inspired by the success of The Kalevala reconstructed as a whole out of disparate songs. However, ''Kalevala's Castor Grandson" (Klyuev's self-determination) tested his own forces on the Indian, Iranian, and his native North-Russian epics, "I will tell an epos to the world ..." In Russian poetry Klyuev is one of the most skilled stylists, probably comparable only to Remizov in the artistic level. In N. Klyuev's poems created after the revolution, there were reflected moments of his God-seeking. In conditions of the post-revolutionary Russia Klyuev overcame the interest in heresies and in his later years he returned to traditional Christianity.

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