S. A. Klychkov's favorite season (1889-1937) is autumn. In his poetics, it is represented by a rich set of visual techniques and images, bright and fresh metaphors, epithets, and comparisons.

The motif of multicolored leaves, variegated autumn nature is associated by Klychkov with images of a holiday, a feast: "The forest behind the village shakes off its brocade clothes, as if the feast and fun are over, now it's time to rest until the new spring bell"; with the theme of death and the funeral cover: "now Pelageya Prokofyevna lies on the edge of the Chertukhinsky grove in a golden autumn cover, more lush, flowery and bright than that with which priests cover the dead carrying it through the village to the cemetery." The richness of autumn colors is associated with folk Russian costume: "embroidered-green, muslin-misty tree headdresses"; "thin-thin shawls on the hills", zarya " red-red,.. as if a red Basilisk sundress is drying"; "beaded stars with kiki"; "a branch that looks like a sewn shirt sleeve".

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The multicolored fields are compared to shawls: "Oh, my God, my God, what a beautiful, bright country we are! What thin shawls are spread over its hills, fields and ravines, with what a delicate and intricate pattern"; with a painted canvas: "like large canvases with a hurried charcoal drawing, fields and glades are spread out."

The removed flax, one of Klychkov's recurring motifs, is sometimes likened to the icon's salary, sometimes it serves as a comparison with which the dawn is described: "flax lies like an icon's salary near the river"; "in the windows, as if they hung tattered flax, it turned white."

Several times there is a comparison of the autumn forest with a temple, a church: "quiet... in the forest, as in a church, with a key locked"; "he goes through the forest, as in the church of the bridegroom waiting for the arrival of the bride."

The motif of the wheel is characteristic of Klychkov: "even in the morning the last low wheel of the rainbow will get stuck up to the very mortars and will sag behind the rain sackcloth"; "the wind, having driven the fallen leaves to the road, twists and turns them and bends them into leafy wheels and rolls the wheel after the wheel").

The most important method of depicting autumn is anthropomorphism: "The dawn went out, spilling cold blood across the field, the wind drove yellow leaves down the street, swept them under the fences, and a round tray rolled into the sky behind the extreme hut just above the run, with a painted face slightly twisted to one side, the moon-not yellow, not red, but as if from a tree. pumped, forged copper". Autumn branches are compared to human hands: "a rowan branch looks like a thin, tanned hand"; The red berry brush is "a pack of whimsical wind-blown cards"; the aspen tree "stretches out its branch to the road like a hand with a broad palm"; the tree stretches out "a powerless hand in the tattered patches of half-dead leaves for alms".

Often the image in the landscape passes, varying, several times: "Dawn shook off the red feathers from her wings, like a bird on a long flight"; " ten blue doves flutter above them, dropping the blue feathers of dawn to the ground from their wings."

Wind, darkness, trees - elements and objects of the landscape are represented: "Once on a bright day in early autumn, when the last leaf falls from the trees and each tree babbles to them in a quiet wind..."; "autumn darkness tilted its black face low to the ground, wrapped in whirlwinds and winds"; " the wind calls, swaying the bare branches like a drunken bell-ringer in a belfry."

Klychkov's autumnal landscapes have a strong mythological element.

It sounds clear, for example, in the picture of the flight of cranes: "a flock of cranes flew high over our heads, taking with them the ruined, difficult souls of soldiers under their wings."

Details of the landscape give rise to a detailed mythopoetic picture: the cloud is drovni, and goose flocks are Nikita's reins-Gus-

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Spans: "it's not time to get a white fur coat yet: Nikita-Huse-Prolet has not yet startled the ducks from the lake, carried the crowns of cranes high over the field, and himself has not yet left on the first cloud of snow, stretching and scattering goose flocks from it all over the vast sky, like wicker reins with rolling logs, similar to a cloud to the human eye." Or, for example, the image of a bear with a month in its teeth: "there is a big brown bear with a long coat, from which sparks are falling like this. He stands with his head turned down, as if looking at us, and holds a broken moon in his teeth from the edge, and the moon is no longer red, but yellow and white."

Nature appears in Klychkov's works mysterious, full of unread meanings. The starry sky is like a fortune-telling book: "green autumn stars winked on thin cobwebs, as if they were afraid to break down and draw a prophetic golden line across the sky, according to which Chagoduy brides will guess about the return of their grooms, and guess - their certain death, death and obscurity in a foreign direction."

The reason for the autumn starfall is explained in a fairy-tale and mythological way :" beyond the edge of [the earth] is a heavenly wasteland and a blue meadow with golden flowers: at midnight, flowers pluck from the branches in a quiet, exorbitant wind and fall from above to the ground, drawing a golden arc over the ground."

With the help of images of autumn nature, the portrait of the hero is described, his inner state is conveyed: "in Feklusha's head, a leisurely home thought floated calmly, like a thick fog over a swamp, a contented silence lay on her heart, as if in autumn in a harvested field"; in the dead Pelageya, " golden strands of hair near the mournful forehead, now gray as if also faded by autumn, along with the grass in the meadow"; "The Gypsy woman squatted down next to her, a chill ran from the skirt dawns, and from the black-blue eyes rolled star after star, as only in early autumn happens"; " a gloomy, harsh thought crept into the dark peasant heart, similar to an autumn night in which you'll get lost on whatever road you want"; " The power is still the same, only in the beard and in the hair a little bit began to turn silver, like on a spider's web in the fall in the first zazimok..."; " howled under his greatcoat, like a wolf on the road in the fall."

The theme of autumn poverty, poverty, and squalor includes the motif of beggars and wanderers in Klychkov: "a green wanderer is a small tree, like a shabby beggar"; "low clouds like kaliki"; "and cranes sleepily stand on one leg at every house near the well, also like beggars, asking for alms with an eternal bow"; motif of rain-sackcloth, rain-whip: "the rain hangs over the field like sackcloth"; "rain sackcloth"; "rain in the morning, like a whip, lashed the tear-stained windows"; motif of old clothes, dirty rags: "it [the sky] hangs smoky, like dirty rags hung"; "as if the sky is covered with plain."

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Autumn, as the aging of the year nearing its end, is reflected in Klychkov's images of old age: "Layered clouds hung motionless in the sky, like wrinkles under the eyes of a good old woman"; " pochnet... outside the window drizzle frequent rain, like a woman's silent tears"; " so similar to the old old women squalid huts on the other bank."

The theme of sadness, infirmity of autumn nature is revealed by the writer with the help of motifs related to injury, death: "it's a pity that their huts have roofs arched in the middle, like broken backs"; "withered ribs of the hut"; " shadows from the frames fall from the windows to the boots, like crosses... at the cemetery"; "he touched the water of the river with his hand, it seemed cold to him, like the forehead of a deceased person is cold"; " everything is muddied before his eyes, as if someone carries away the world wrapped in a misty shroud, which has fallen asleep in a prophetic dream under the stars."

The onset of autumn darkness is associated with putting on a hat, with the attack of a bear: "until evening descends on the ground, like a brown bear on a hunter in a dark forest"; "autumn darkness will put a black cap with ears on the field and forest"; "until the evening-deliverer descends, putting the robber's impenetrable darkness on the ground".

The paintings of autumn created by S. A. Klychkov eloquently testify not only to how deeply this time of year affected him in any of its manifestations, but also to the extraordinary imaginative gift of perception of nature that this wonderful writer possessed.

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