Youth years in Ukraine

Neonil's grandmother, a very well-read woman who passionately loved poetry, instilled in Dmitry a love of poetry, was engaged in the literary education of her grandson: she read from her notebook Pushkin, Lermontov, Nekrasov, as well as in the original - Shevchenko and Mickiewicz. Grandmother became the first listener of Kedrin's poems.

Among the poet's ancestors were noblemen, Kedrin's daughter Svetlana even calls him "a pure-blooded nobleman". Kedrin was barely 6 years old when the family settled in Yekaterinoslav (now Dnepropetrovsk). In 1916, 9-year-old Dmitry was sent to a commercial school. On the way to the school along the green Nadezhdinskaya (now Chicherinskaya) street to a wide avenue, he always stopped on the boulevard where the bronze Pushkin towered. “From the monument to Pushkin, my craving for art begins,” the poet later recalled.

In his youth, Kedrin did a lot of self-education. He studied not only literature and history, but also philosophy, geography, and botany. On the table were volumes fiction, encyclopedic Dictionary, "The Life of Animals" by Brehm, writings from various areas Sciences. Even at the commercial school, Dmitry succeeded in epigrams and poems on the topic of the day. Seriously engaged in poetry began at the age of 16.

Revolution and Civil War changed all plans. He began to publish in 1924 in the Yekaterinoslav provincial Komsomol newspaper "The Coming Change". One of the first published poems was called "So ordered Comrade Lenin".

In Moscow and at the front

In 1931, following his friends, the poets Mikhail Svetlov and Mikhail Golodny, he moved to Moscow. Kedrin and his wife settled in the semi-basement of an old two-story house on Taganka in Tovarishchesky Lane. He honestly wrote in his questionnaire that in 1929 he was imprisoned in Ukraine "for not reporting a well-known counter-revolutionary fact." The fact was that his friend's father was a Denikin general, and Kedrin, knowing this, did not report him to the authorities. For this "crime" he was sentenced to two years, spent 15 months behind bars and was released early. With this event, as well as with Kedrin's refusal to be a secret informer of the NKVD (sexot), a number of researchers associate the subsequent problems of the poet with the publication of his works, as well as the mystery of the death of Dmitry Borisovich under circumstances that have not yet been clarified.

After the birth of their daughter, in December 1934, the Kedrin family moved to the village of Cherkizovo, Pushkin District, near Moscow, where the poet first had a “working room”, a nook behind a curtain.

He worked in the factory newspaper "Forge" of the Mytishchi plant "Metrovagonmash", then as a literary consultant at the publishing house "Young Guard" and at the same time as a freelance editor at Goslitizdat. Here he publishes such poems as Gorky noticed "Doll" (1932), "Moscow Autumn" (1937), "Winter" (1939), the ballad "Architects" (1938), the poem "Horse" (1940). Kedrin's works are very psychological, addressed to historical, chamber and intimate themes, he glorified the creators - the creators of timeless true beauty. The poet was almost indifferent to the pathos of contemporary pre-war reality, for which the Secretary General of the Writers' Union of the USSR V. Stavsky severely criticized Kedrin and, according to the poet's relatives, even threatened him. Critics advised Dmitry Borisovich to run away from historical topics.

Neighbors and acquaintances in Cherkizov noted that Kedrin gave the impression of a silent, reserved, self-absorbed thinker: even during a walk, he often did not greet, did not answer greetings, did not enter into conversations with anyone. The poet did not part with a notebook and a pencil, he worked hard on the texts of his works.

I met here<на фронте>with exclusively interesting people… If you only knew how much daring courage, calm courage they have, what wonderful Russian people they are… important feeling, which I rarely experienced in Moscow, in our writing environment.

From Dmitry Kedrin's letters to his wife

Immediately after the war, in the summer of 1945, together with a group of writers, he went on a creative business trip to Moldova. On the way home, a neighbor in the compartment accidentally broke a jug of honey that Dmitry Borisovich was carrying to the children, which was interpreted by eyewitnesses as a mystical sign of imminent trouble. On September 15, on the platform of the Yaroslavsky railway station, for some unknown reason, unidentified persons almost pushed Kedrin under the train, and only the interference of passengers in last moment saved him. Returning home to Cherkizovo in the evening, the poet, in a gloomy foreboding, said to his wife: "This looks like persecution." He had three days to live.

Doom

At the head of the grave of Dmitry Kedrin, a 300-year-old oak grows, the oldest on the Vvedensky Mountains, which became the motive for a philosophical poem by Svetlana Kedrin dedicated to the memory of her father.

Creation

One of the most significant works of Kedrin is the poetic drama Rembrandt () about the great Dutch artist. The poem was first published in three issues of the October magazine in 1940. At the same time, the author was ordered to shorten the text of the drama, and Kedrin complied with the editorial requirement. Therefore the reader long time was familiar with the text only in its journal version, which was reprinted more than once. The full author's text of the drama was first published in SD Kedrina's book about her father only in 1996. In 1970-1980, the production was performed in several theaters in Russia as a drama and once as an opera. The poem was read on radio and television.

In the same genre of drama in verse, Parasha Zhemchugova was written before the war. According to the poet's daughter, tragic history serf actress Kedrin worked for about ten years. The almost completed thing disappeared without a trace in the fall of 1941 - along with a suitcase of manuscripts in a mess, when a family with two children was preparing for an evacuation, which fell through at the last moment.

In 1933, Kedrin begins and only seven years later finishes the poem "The Wedding" (first published more than 30 years later) - about the all-crushing power of love, which even the heart of Attila, the leader of the Huns, could not resist, who died on the night of his wedding, unable to stand surging and previously unknown feelings. The action of the poem unfolds against the background of a large-scale picture of the change of civilizations and contains the historiosophical understanding of the ongoing changes, characteristic of Kedrin.

In 1935 Kedrin wrote Dowry, a version sad fate poet Ferdowsi. According to the literary critic Yuri Petrunin, Kedrin equipped the poem with autobiographical overtones, enhanced its sound with his own experiences and gloomy forebodings.

The gift to penetrate into distant epochs, to be in them not an archivist researcher, but a contemporary, an eyewitness to events that have long sunk into oblivion is the rarest, exceptional property of Kedrin's talent. In history, as a rule, he was not interested in princes and nobles, but in working people, creators of material and spiritual values. He especially loved Russia, writing about her, in addition to "Architects", poems - "Horse", "Ermak", "Prince Vasilko of Rostov", "Song about Alena the Elder". At the same time, unambiguous symbolism is inherent in Kedrin's poetry: the lines in “Alena Staritsa” “All animals sleep. All people are sleeping. Some clerks execute people" - were written at the height of the Stalinist terror and are quoted by all researchers of the poet's work.

Dmitry Borisovich was not only a master historical poem and ballads but also by superb lyrics. One of his best poems “Do you want to know what Russia is - Our first love in life?” , addressed to the origins of the Russian spirit, is dated September 18, 1942, when the poet was waiting for permission to go to the front.

Poetry Kedrin received appreciated such writers as M. Gorky, V. Mayakovsky, M. Voloshin, P. Antokolsky, I. Selvinsky, M. Svetlov, V. Lugovskoy, Ya. Smelyakov, L. Ozerov, K. Kuliev and others. Before the war, Kedrin published poems in the magazines October, New world”, “Krasnaya Nov”, with poems - collections “Day of Soviet Poetry”, “Winners”. However, when it came to publishing a book, literary critics were merciless to the poet.

Kedrin made his first attempt to publish his poems as a separate edition at the State Fiction Literature Publishing House (GIHL) shortly after his arrival in Moscow in 1931. However, the manuscript was returned despite positive reviews Eduard Bagritsky and Joseph Utkin. Trying to find a compromise with the publishing house, Kedrin was forced to exclude many works from it, including those that had already received recognition. After thirteen returns of the manuscript for revision, several renamings, the only lifetime poetic collection - "Witnesses", which included only 17 poems, was published in 1940.

In 1942, Kedrin handed over to the publishing house " Soviet writer» The book «Russian poems». However, the collection did not see the light of day due to negative feedback reviewers, one of whom accused the author of "not feeling the word", the second - of "lack of independence, an abundance of other people's voices", the third - of "unfinished lines, sloppy comparisons, unclear thinking". Decades later, literary scholars characterize Kedrin's creative palette in a completely different way: his poetry of the war years was nourished by intonations of confidential conversation, historical and epic themes, and deep patriotic impulses.

Soviet editions Dmitry Kedrin.

Kedrin in the Library of Soviet Poetry.	Leningrad edition of "Children's Literature".	Perm "thick" edition of Kedrin with a circulation of 300,000 copies.

Going to the front in 1943, Kedrin gave new book poems "Day of Wrath" in Goslitizdat, but she also received several negative reviews and was not published. Probable cause refusal was that Kedrin reflected in verses not the heroic side of the war, but meager life rear, nights in the shelter, endless queues, endless human grief.

Many of my friends died in the war. The circle of loneliness is closed. I'm almost forty. I don't see my reader, I don't feel him. So, by the age of forty, life burned out bitterly and completely senselessly. This is probably due to the dubious profession that I have chosen or that has chosen me: poetry.

Along with original work, Kedrin did a lot of interlinear translations. From the end of 1938 to May 1939 he translated from Hungarian the poem "Janos the Knight" by Sandor Petofi, then from the Polish poem "Pan Twardowski" by Adam Mickiewicz. In 1939 he traveled to Ufa on the instructions of Goslitizdat to translate Mazhit Gafuri's poems from Bashkir. In the first years of the war, before being sent to a front-line newspaper, Kedrin did a lot of translations from Balkar (Gamzat Tsadasa), from Tatar (Musa Jalil), from Ukrainian (Andrey Malyshko and Vladimir Sosyura), from Belarusian (Maxim Tank), from Lithuanian (Salomeya Neris, Ludas Gyra). His translations from Ossetian (Kosta Khetagurov), from Estonian (Johannes Barbaus) and from Serbo-Croatian (Vladimir Nazor) are also known. Most of these translations were published after the death of the poet.

Prior to the release of Kedrin's collection in the Poet's Library series (1947), his work was known only to a few connoisseurs of poetry. S. Shchipachev at the Second Congress of the SP in 1954 spoke out against the hushing up of Kedrin's work.

In his work, along with song poems about nature, there is a lot of journalism and satire, and narrative poems, often historical content. In his clear and precise verses, where the measure is skillfully observed in the figurative recreation of the spirit and language of past eras, the suffering and exploits of the Russian people, the meanness, ferocity and arbitrariness of autocracy are reflected.

Family

Wife - Lyudmila Ivanovna Kedrina (Khorenko) (January 10, 1909 - July 17, 1987), originally from Krivoy Rog, from peasant family. They met in 1926, got married in 1930. She was buried next to D. Kedrin at the Vvedenskoye cemetery in Moscow (plot No. 7). The Kedrins have two children - Svetlana and Oleg (1941-1948). Last address Kedrina - the village of Cherkizovo, Pushkinsky District, Moscow Region, 2nd School Street, house 5. A memorial plaque was installed on the house.

The daughter of the poet Svetlana Dmitrievna Kedrina (b., the village of Cherkizovo, Moscow Region), a poet, prose writer, artist, is known for her work on the study of her father's work. In 1996, in Moscow (Yaniko publishing house), her book of memoirs about her father, Living in spite of everything, was published. For the reprint of this book in Ukraine, Svetlana Kedrina was awarded in 2007 literary prize them. Dmitry Kedrin in the nomination "Prose".

In the mid-1930s, watching the persecution of Osip Mandelstam, Nikolai Zabolotsky, Pavel Vasiliev, Kedrin wrote a caustic epigram:

Poets have a strange lot,

The weak oppress the strong.

Music on poems by Kedrin

• Kedrin's texts are used in Moses Weinberg's Requiem (-).

• Composer David Tukhmanov in the 1980s composed the song "Duel" based on Kedrin's verses. Composer Igor Nikolaev wrote a song based on Dmitry Kedrin's poem "Babka Mariula".

• Kazan composer Rustam Zaripov writes to Kedrin's verses: "Voice", a vocal poem (in the original - "Record") and the cycle "Five choirs to the verses of Dm. Kedrin (for mixed choir a capella).

• In 1991, in Moscow, the Melodiya company released a giant vinyl disc by the Ufa musician and writer Sergei Krul “Everything involuntarily wakes up in memory ...”, which, in addition to songs and romances to verses by Rubtsov, Blok, Zabolotsky and Zhigulin, included two ballads on Kedrin's poems - "Heart" and "Blood". In April 2007, the same author recorded the CD "Plate" (8 songs) and donated it to the poet's daughter Svetlana Kedrina.

• Based on the poem “Wedding”, the group “Aria” wrote the song “Attila”, released on the album “Phoenix” in 2011. The text of the song tells about Attila, the leader of the Huns.
• Composer N. Peiko wrote the vocal cycle “Pictures and Reflections” on Kedrin's verses, and Peiko's students (Vulfov, Abdokov) also wrote on Kedrin's verses.

Compositions

• Witnesses, 1940
• Rembrandt. Play, 1940
• Selected, 1947, 1953, 1957
• Poems and poems, 1959
• Beauty, 1965
• Selected Works, 1974, 1978
• Architects, 1980
• Poems. Poems, 1982
• Nightingale decoy, M., "Book", 1990

Sources

• Cossack V. Lexicon of Russian literature of the XX century = Lexikon der russischen Literatur ab 1917. - M .: RIK "Culture", 1996. - 492 p. - 5000 copies. - ISBN 5-8334-0019-8

Links

	Portal "Literature"
	Portal "Personalities"
	Dmitry Kedrin at Wikiquote
	Dmitry Kedrin at Wikimedia Commons
	Project "Russian history"

• Kedrin Dmitry poems in the Anthology of Russian Poetry
• Biographies. Interview. Stories > Classical poets > 105 poems by Dmitry Kedrin
• Military literature > Poetry of war > Poems by D. Kedrin
• "Lilac on the Window" (centenary of Dm. Kedrin through the eyes of its participant), Sergey Krul, February 2007

From the bibliography

• "Live Against Everything"(the secret of the birth and the secret of the death of the poet Dmitry Kedrin). - M.: "Yaniko", 1996. - S. 228. - ISBN 5-88369-078-5.
• "Live Against Everything"/ Compilation, foreword by A. Ratner. - Dnepropetrovsk: Monolith, 2006. -368 p., ill.
• "Four Winds", 2005.
• "Transformation", 2008. (poems about people of difficult fate, about nature and long road to the Temple.)
• "My Island", 2009. (poems about the motherland and spiritual quest, about joyful and sad, about the nature of creativity, about spring and autumn.)

• "Network Literature" > Alexander Mikhailovich Kobrinsky:

Notes

1. Dmitry Kedrin. Kedrin Dmitry Borisovich
2. Lib.ru/Classic: Kedrin Dmitry Borisovich. Yuri Petrunin. Intentions and accomplishments
3. The fate and fate of the poet | Number 05 (2007) | Literary Russia
4. TV channel "Culture". Kedrin Dmitry. Seeing a lot, knowing a lot, knowing hatred and love
5. Dmitry Kedrin. Foreword by Lyudmila Kedrina. // Poems and poems / Ed. D. Demerdzhi. - Dnepropetrovsk: Dnepropetrovsk regional publishing house, 1958. - S. 3-10. - 104 p.

Kedrin Dmitry Borisovich (1907-1945), Russian Soviet poet playwright, translator.

Born on February 4 (17), 1907 in the Bogodukhovsky mine, now the village. Shcheglovka (Donbass). Studied at commercial school, then at the Technical School of Communications in Yekaterinoslav (Dnepropetrovsk), where in 1924 he became a literary employee of the local Komsomol newspaper. Since 1931 he lived in Moscow, in 1933-1941 he worked as a literary consultant to the publishing house "Young Guard".

Gained fame after the publication of the poem Doll (1932), warmly supported by M. Gorky, touching and sincere poems about Russian nature (Moscow Autumn, 1937; Winter, 1939, autumn song, 1940) and related to the folk-song beginning in the work of Kedrin (Two songs about the pan, 1936; Song about a soldier, 1938) poems Architects (1938) - about the legendary builders of the unprecedented beauty of the Church of the Intercession (Basil the Blessed), by order of the king blinded, when they inadvertently confessed that they could build a temple even more beautiful and thereby diminish the glory of the one erected; Song about Alena-Staritsa (1939), dedicated to the legendary participant in the rebellion Stepan Razin; The Horse (1940) - about a semi-legendary builder-architect "city builder" of the late 16th century. Fedor Kon.

Only one came out in 1940. lifetime collection poems Kedrin Witnesses. In 1943, despite poor eyesight, the poet was assigned as a special correspondent to the aviation newspaper Sokol Rodina (1942-1944), where he published, in particular, satirical texts under the pseudonym Vasya Gashetkin.

The intonations of a confidential conversation, historical and epic themes and deep patriotic impulses fed Kedrin's poetry of the war years, where the image of the Motherland rises, with the bitterness of the first days of the war and the unshakable will to resist (poems and ballads 1941, Raven, Raid, Deafness, Prince Vasilko Rostovsky, This whole region, dear forever ..., Bell, Judgment Day, Victory, etc.).

Images and rhythms of Russian folk art, traditional plots of Russian culture are saturated at this time and Kedrin's landscape and intimate-chamber lyrics (poems and ballads Beauty, 1942; Alyonushka, 1942-1944; Lullaby, 1943; Gypsy, One-horned Month ..., both 1944, etc.). The dramatic nature of Kedrin's poetry, saturated with dialogues and monologues (poems Conversation, Ballad about sworn brothers, Griboyedov), was most clearly manifested in poetic dramas (Rembrandt, 1938, published in 1940; the manuscript of Parasha Zhemchugova, lost during the evacuation of 1941), and laconic imagery his poetry - in the poem The Duel (1933, which is also interesting for its peculiar poetic self-portrait of the writer: “A boy comes to visit us / With fused eyebrows, / Crimson thick blush / On his swarthy cheeks. / When you sit next to me, / I feel that between you / I'm boring, a little superfluous / A pedant in horn-rimmed glasses").

The depth and energy of thought differs philosophical lyrics poet (Homer was blind and Beethoven was deaf ..., 1944; Immortality, Record (“When I leave, / I will leave my voice ...”), I, 1945). For the planetary thinking of Kedrin, as well as others domestic poets his generation, is characterized by a constant sense of its successive connection with world history and culture, signs of which were poems and ballads dedicated to the history, heroes and myths of other nations / Noble Ferdus...”); Pyramid, 1940 (“...Memphis lay on a bed of brocade...”); Wedding (“King of Dacia, / Lord's scourge, / Attila...”), Barbarian, both 1933-1940, and others. Kedrin translated poetry from Ukrainian, Belarusian, Estonian, Lithuanian, Georgian and other languages.

Constant for Kedrin was the theme of the tragic opposition of people of a bold creative spirit (among them were not only recognized geniuses, but also unknown masters) to brute force, power and self-interest, against which talent, honesty and courage are always defenseless. The very fate of Kedrin was a sad confirmation of this: the poet died in an electric train near Moscow at the hands of bandits on September 18, 1945.

At the beginning of the Great Patriotic War Volunteer goes to the front, becomes a correspondent for the aviation newspaper "Falcon of the Motherland" (1942-44). Wartime poems are imbued with pain and sorrow in the first months of the war, which are replaced by a mighty will to win (“1941”, “Lament”, “Deafness”, “Bell”, “Victory”).

KEDRIN Dmitry Borisovich (02/14/1907 - 09/18/1945), Russian poet, translator. Orphaned at an early age, Kedrin was brought up by a well-educated grandmother, a noblewoman, who introduced him to the world of folk art, introduced him to the poetry of Pushkin, Lermontov, Nekrasov, Shevchenko. Already in 1923, having left his studies at a technical school, he began working in a newspaper, writing poetry, and was fond of poetry and theater. By the end of the 1920s, Proletkult’s “iron poetry” breaks with certain tendencies, in his poems there is a tendency towards epic and historicism (“Death Man”, “Execution”, “Petition”). His father was a railway accountant, his mother was a secretary in commercial school.

Kedrin studied at the Dnepropetrovsk Institute of Communications (1922-1924). After moving to Moscow, he worked in the factory circulation and as a literary consultant at the publishing house "Young Guard".

He began to publish in 1924. Despite the fact that Gorky himself wept when reading Kedrin's poem "The Doll", the first book "Witnesses" was published only in 1940.

Kedrin was a secret dissident during Stalin's time. Knowledge of Russian history did not allow him to idealize the years of the "great turning point". Lines in "Alena Staritsa" - "All the animals are sleeping. All people are sleeping. Some clerks execute people” - were written not sometime, but during the years of terror.

In 1938 Kedrin wrote his very own famous poem"Architects", under whose influence Andrei Tarkovsky created the film "Andrey Rublev". "Terrible royal grace”- the eyes of the creators of St. Basil the Blessed, gouged out on the orders of Ivan the Terrible, echoed the Stalinist mercy - a ruthless reprisal against the builders of a socialist utopia. It is no coincidence that Kedrin created a portrait of the leader of the Huns - Attila, a victim of his own cruelty and loneliness. (This poem was published only after Stalin's death.)

The poet wrote with pain about the tragedy of Russian geniuses who were not recognized in their own Fatherland: “And he built the Horse. Who covered the villas in Luca with carving patterns, in Urbino whose big hands have the pillars been taken out of the cathedral?” Kedrin glorified the courage of the artist to be a ruthless judge not only of his time, but also of himself. "How badly this god is drawn!" - this is what Kedrinsky Rembrandt exclaims in the drama of the same name.

During the war, the poet was a war correspondent. But knowledge of history helped him understand that victory is also a kind of temple, whose builders can gouge out the eyes.

Unknown killers threw Kedrin out of the vestibule of an electric train near Tarasovka. But it can be assumed that this was not just an accident. "Deacons" could well send their henchmen.

In 1929 arrest follows. Since 1931, after his release, Kedrin settled in the Moscow region, served as a literary consultant in the publishing house "Young Guard". The problems of his work are expanding, he is interested in “living and museum history”, that is, the connection of history with modernity. In 1938 Kedrin created a masterpiece of Russian poetry of the 20th century. - the poem "Architects", poetic embodiment legends about the builders of St. Basil's Cathedral. The verses “Alena-Staritsa” are dedicated to the Moscow holy fool warrior, the poem “Kon” (1940) is dedicated to the semi-legendary nugget-builder Fyodor Kon. The historical and patriotic theme prevails in Kedrin's poetry even during the war years, when he was freed from military service, seeks his appointment to the front-line newspaper "Falcon of the Motherland": "The Thought of Russia" (1942), "Prince Vasilko Rostovsky" (1942), "Ermak" (1944), etc.

During the war, Kedrin declares himself as a major lyric poet: “Beauty”, “Alyonushka”, “Russia! We love dim light”, “I keep imagining a field with buckwheat...”. He starts writing a poem about women tragic fate- Evdokia Lopukhina, Princess Tarakanova, Praskovya Zhemchugova. Orthodox motifs sound more and more distinct in his poems. Upon returning from the front, Kedrin notices that he is being followed. The premonition of trouble did not deceive the poet: three months after the end of the war, he would be found killed near the canvas. railway.

The only lifetime collection of poems Kedrin "Witnesses" (1940) was severely curtailed by censorship.

In the 1960s and 70s, the widest, popular interest in creative heritage Kedrina defined him true place in Russian patriotic poetry.

At the beginning of the Great Patriotic War, he volunteered for the front, becoming a correspondent for the aviation newspaper Sokol Rodina (1942-44). Wartime poems are imbued with pain and sorrow in the first months of the war, which are replaced by a mighty will to win (“1941”, “Lament”, “Deafness”, “Bell”, “Victory”).

KEDRIN Dmitry Borisovich (02/14/1907 - 09/18/1945), Russian poet, translator. Orphaned at an early age, Kedrin was brought up by a well-educated grandmother, a noblewoman, who introduced him to the world of folk art, introduced him to the poetry of Pushkin, Lermontov, Nekrasov, Shevchenko. Already in 1923, having left his studies at a technical school, he began working in a newspaper, writing poetry, and was fond of poetry and theater. By the end of the 1920s, Proletkult’s “iron poetry” breaks with certain tendencies, in his poems there is a tendency towards epic and historicism (“Death Man”, “Execution”, “Request”). His father was a railway accountant, his mother was a secretary in a commercial school .

Kedrin studied at the Dnepropetrovsk Institute of Communications (1922-1924). After moving to Moscow, he worked in the factory circulation and as a literary consultant at the publishing house "Young Guard".

He began to publish in 1924. Despite the fact that Gorky himself wept when reading Kedrin's poem "The Doll", the first book "Witnesses" was published only in 1940.

Kedrin was a secret dissident during Stalin's time. Knowledge of Russian history did not allow him to idealize the years of the "great turning point". Lines in "Alena Staritsa" - "All the animals are sleeping. All people are sleeping. Some clerks execute people” - were written not sometime, but during the years of terror.

In 1938, Kedrin wrote his most famous poem, The Architects, under whose influence Andrei Tarkovsky created the film Andrei Rublev. The "terrible royal mercy" - the eyes of the creators of St. Basil the Blessed, gouged out on the orders of Ivan the Terrible - echoed Stalin's mercy - the ruthless reprisal against the builders of a socialist utopia. It is no coincidence that Kedrin created a portrait of the leader of the Huns - Attila, a victim of his own cruelty and loneliness. (This poem was published only after Stalin's death.)

The poet wrote with pain about the tragedy of Russian geniuses who were not recognized in their own Fatherland: “And he built the Horse. Who decorated the villas in Luca with carvings, in Urbino whose big hands of the cathedral brought out the pillars? Kedrin glorified the courage of the artist to be a ruthless judge not only of his time, but also of himself. "How badly this god is drawn!" - this is what Kedrinsky Rembrandt exclaims in the drama of the same name.

During the war, the poet was a war correspondent. But knowledge of history helped him understand that victory is also a kind of temple, whose builders can gouge out the eyes.

Unknown killers threw Kedrin out of the vestibule of an electric train near Tarasovka. But it can be assumed that this was not just an accident. "Deacons" could well send their henchmen.

In 1929 arrest follows. Since 1931, after his release, Kedrin settled in the Moscow region, served as a literary consultant in the publishing house "Young Guard". The problems of his work are expanding, he is interested in “living and museum history”, that is, the connection of history with modernity. In 1938 Kedrin created a masterpiece of Russian poetry of the 20th century. - the poem "Architects", a poetic embodiment of the legend about the builders of St. Basil's Cathedral. The verses “Alena-Staritsa” are dedicated to the Moscow holy fool warrior, the poem “Kon” (1940) is dedicated to the semi-legendary nugget-builder Fyodor Kon. The historical and patriotic theme prevails in Kedrin's poetry and during the war years, when he was released from military service due to sight, he seeks his appointment to the front-line newspaper "Falcon of the Motherland": "Duma about Russia" (1942), "Prince Vasilko Rostovsky" (1942) , “Ermak” (1944), etc.

During the war, Kedrin declares himself as a major lyric poet: “Beauty”, “Alyonushka”, “Russia! We love dim light”, “I keep imagining a field with buckwheat...”. He begins to create a poem about women of tragic fate - Evdokia Lopukhina, Princess Tarakanova, Praskovya Zhemchugova. Orthodox motifs sound more and more distinct in his poems. Upon returning from the front, Kedrin notices that he is being followed. The premonition of trouble did not deceive the poet: three months after the end of the war, he would be found killed near the railroad tracks.

The only lifetime collection of poems Kedrin "Witnesses" (1940) was severely curtailed by censorship.

In the 1960s and 70s, the widest, nationwide interest in Kedrin's creative heritage determined his true place in Russian patriotic poetry.

Biography

Kedrin, Dmitry Borisovich - Russian Soviet poet. Born February 4, 1907 in the Donbass village of Shcheglovka in the family of a miner. He began to print in 1924. Studied in Dnepropetrovsk railway technical school(1922-1924). At the beginning of World War II, he volunteered for the front. He worked as a correspondent for the aviation newspaper "Falcon of the Motherland" (1942-1944). After moving to Moscow, he worked in the factory circulation and as a literary consultant at the publishing house "Young Guard".

The first collection of poetry - "Witnesses" was published in 1940. One of the first significant works of Kedrin is the wonderful verse drama Rembrandt (1940) about the great Dutch artist.

The poet had a wonderful gift to penetrate into distant epochs. In history, he was interested not in princes and nobles, but in working people, creators of material and spiritual values. He especially loved Russia, writing about her, in addition to "Architects", poems - "Horse", "Ermak", "Prince Vasilko of Rostov", "Song about Alena the Elder", etc.

Dmitry Borisovich was not only a master of the historical poem and ballad, but also an excellent lyricist.

September 18, 1945 he tragically died under the wheels of commuter train(according to Igor Losievsky, was thrown out). He was buried in Moscow at the Vvedensky cemetery.

Kedrin Dmitry Borisovich (1907–1945) is a remarkable Russian poet, playwright and translator. AT early age became an orphan and was raised by a noble grandmother. She introduced the future poet to folk art, acquainted with the poetry of such famous writers like Pushkin, Nekrasov.

Born in the Donbass in the village of Shcheglova. Educated at the Commercial School and Technical School of Communications. In 1924 he was already published in the local Komsomol newspaper, wrote poetry. He was fascinated not only by poetry, but also by theater. From 1933-1941 worked as a literary consultant at the Molodaya Gvardiya publishing house in Moscow.

Fame came to the poet after the publication of the poem Doll (1932), touching poems about the nature of Russia (Moscow Autumn, 1937; Winter, 1939; Autumn Song, 1940). A number of poems are permeated with notes of historicism and epic "Death Man", "Execution", "Petition". In 1938, Kedrin published a wonderful poem "Architects", which was dedicated to the builders of St. Basil's Cathedral. The poet dedicated the poems "Alena-Staritsa" to the Moscow warrior.

Witnesses (1940) is the first and only collection of the poet's poems. In the same year, Rembrandt was published - dramatic story about the Dutch artist. In 1943, Kedrin worked as a correspondent for the Sokol Rodina newspaper, where he published under the assumed name of Vasya Gashetkin. During this period, the poet's work reflected the bitterness of wartime, an unshakable will to win. He was worried about the topic, different social strata population. He fought for the rights of talented, honest and brave people who were defenseless against authority, brute force and profit. Dmitry creates a poem dedicated to women with hard fate- Evdokia Lopukhina, Princess Tarakanova, Praskovya Zhemchugova.

Kedrin devoted many works to world history, its connection with modernity, the culture of other peoples (Wedding, Barbarian, etc.)

He loved his homeland and devoted to Russia more than one work "Horse", "Ermak", "Prince Vasilko of Rostov", "Song about Alena the Elder".

Kedrin D.B. declared himself not only as a master of poems, ballads, but also as a wonderful lyricist and translator. He translated many poems from Georgian, Lithuanian, Ukrainian and other languages.

On September 18, 1945, a talented poet died under the wheels of an electric train at the hands of scoundrels. He foresaw trouble and more than once noticed that he was being followed.