The world of images of Nikolai Gumilyov. “Motives and images of NS Gumilyov's lyrics. Homework check

The world of images of Nikolai Gumilyov

Acmeism A modernist trend that declared a concrete-sensory perception of the external world, the return to a word of its original, non-symbolic meaning. Akme - (Greek) tip, top. Young poets were close to symbolism, they attended "Ivanovo Wednesday" - literary meetings. In October 1911, they organized their own association "Workshop of Poets", its leaders were N. Gumilyov and S. Gorodetsky. From the declaration: "The struggle between acmeism and symbolism is, first of all, a struggle for this world in the totality of beauty and ugliness."

1) What is the composition of the poem, how many stanzas are in it, how many sentences are there in each stanza? 2) Determine the types of rhymes, name the rhyming words. 3) Give examples of sound writing. 4) Give examples of emotionally charged vocabulary. 5) How is artistic space expressed? 6) Why does the author use complex language syntactic constructions? 7) Find a mistake in the use of the adverbial phrase. Why is this verse line one of the most mesmerizing in the text?

The enthusiastic chanting of danger, struggle, the edge of the abyss became an invariable feature of Gumilyov's poetry. The first collections in 1905 - "The Way of the Conquistadors", 1908 - "Romantic Flowers", 1910 - "Pearls". Emphasized alienation from vulgar modernity, attraction to romantic exoticism, bright decorative colors and sonorous verse

ABSTRACT PLAN

1. The image of time in the works of poets of the Silver Age.

2. Biography of Gumilyov:

a. Formation of a poet: 1st collection of poems.

b. Early Romanticism: 2nd Collection of Poems.

3rd collection of poems.

4th collection of poems.

in. War in the life of a poet.

d. 5th collection of poems.

6th collection of poems.

e. The last three years of the life of NS Gumilyov.

7th latest collection of poems.

3. Analysis of the creativity of N.S. Gumilyov:

a. Images of world culture.

b. Poetry at different periods of the creative life of N.S. Gumilyov.

4. Conclusion:

Gumilyov is one of the best Russian poets of the early 20th century.

I The image of time in the works of poets

Silver Age.

The literature of the twentieth century developed in an atmosphere of wars, revolutions, and then the emergence of a new post-revolutionary reality. All this could not but affect the artistic searches of the authors of this time. The social cataclysms of the beginning of our century have intensified the desire of philosophers and writers to understand the meaning of life and art, to explain the upheavals that have befallen Russia. Therefore, it is not surprising that any area of \u200b\u200bliterature at the beginning of the twentieth century is striking in the unusualness and diversity of the author's attitudes, forms, structures. Literary currents opposing realism were called modernist. Modernists (from French "new", "modern") denied social values \u200b\u200band tried to create a poetic culture that promotes the spiritual improvement of mankind. Each author presented this in his own way, as a result of which several trends emerged in modernist literature. The main ones were: symbolism (in this direction, form prevails over content. Representatives of this trend rejected the heritage of the past. The main thing is the theory of symbol, symbolism, which reveals their relationship to reality), acmeism and futurism (from the word "futurum" - the future. Russian futurism is characterized by contradictions:

1. on the one hand, these are reactionary motives that led away from reality.

2. on the other hand, rebellious motives directed against bourgeois reality.

Futurists created their world, showing their uniqueness and hostility to social and literary rights). There were also artists of the word, organizationally not connected with these literary groups, but internally gravitated to the experience of one or the other (M. Voloshin, M. Tsvetaeva, etc.).

The development of modernism had a very tense history.

In sharp controversy, one trend was replaced by another. The period of creativity of the main representatives of modernism is usually called the "Silver Age" by analogy with the "golden"XIX century in Russian literature. Indeed, never before have there been so many talented authors. Conventionally, the beginning of the "Silver Age" is considered to be 1892, when the ideologist and oldest member of the Symbolist movement Dmitry Merezhkovsky read a report "On the causes of decline and new trends in modern literature." This is how the first modernists declared themselves.

One of the most famous trends in modernist literature was acmeism... The Association of Acmeists put forward its own aesthetic program of interaction with the world, its idea of \u200b\u200bharmony, which it sought to bring into life. From the Encyclopedic Dictionary:

“Acmeism (from Greekakme - the highest degree of something, blooming power), the current in Russian poetry in 1910 (S. Gorodetsky, M. Kuzmin, early N. Gumilev, A. Akhmatova, O. Mendelstam);

However, the "earthly" poetry of Acmeists is characterized by modernist motives, a tendency to aestheticism, intention or to the poeticization of the feelings of primordial man. "

The idea of \u200b\u200bsuch a new trend in literature was first expressed by Mikhail Kuzmin (1872 - 1936) in his article “On Excellent Clarity (1910). It set out all the basic postulates of future acmeists. Actually the acmeist movement arose in 1913 on the basis of the author's association "Workshop of Poets", which included N. Gumilyov,

S. Gorodetsky (1884 - 1967), Anna Akhmatova (1889 - 1966) and Osip Mandelstam (1891 - 1938).

II Biography of N. Gumilyov.

Becoming a poet . He was born on April 3, 1886 in Kronstadt in the family of a marine doctor. The poet spent his early childhood in Tsarskoe Selo, where his parents moved after his father's dismissal from military service... Kolya studied at the beginning with a home tutor - student B.I. Galazon, and then at the St. Petersburg gymnasium, led by the famous teacher Y. G. Gurevich

At this time, the boy developed a great passion for reading, mainly adventure literature and Pushkin. At the age of 12, he himself began to write poetry and published his first story in a gymnastic manuscript journal. 1900 the Gumilev family moved to the Caucasus and Nikolai entered the 2nd and then the 1st gymnasium in Tiflis. He enthusiastically writes poems about Georgia and early love. Gumilyov's first poem, published in a Tiflis newspaper (1902), bears a romantic character and depicts a lyrical hero rushing from the “city into the desert”, who is attracted by the restless “people with a fiery soul” and with a “thirst for good” (“I fled to the forest from cities ... "). B1903. The Gumilyovs finally settled in Tsarskoe Selo, and the young man was transferred to the 7th grade of the Nikolaev Tsarist-rural gymnasium, which was headed by the poet I.F. Ananensky. At this time, Nikolai's friendship was struck, first with Andrei Gorenko, and then with his sister Anna, the future poetess Akhmatova, to whom he began to dedicate his lyric poems. While still a high school student, N. Gumilyov creates his first book of poetry at the expense of his parents "The Way of the Conquistadors" (1905). This youthful collection perfectly reflected the romantic mood and the emerging heroic character of the author: the book was dedicated to brave and strong heroes who cheerfully go to meet dangers, "leaning towards abysses and abysses." The poet glorifies a strong-willed personality, expresses his dream of heroism and heroism. He finds for himself a kind of poetic mask - a conquistador, a brave conqueror of distant lands ("Sonnet"). The author considered this poem to be programmatic. In it, he likens himself to the ancient conquerors, mastering new earthly spaces. The work begins with this comparison: Gumilev's verses sound ponderous and heavy, abruptly and impressively: "Like a conquistador in an iron shell / I went out ...". The glorified line is repeated in the poem, and this time it sounds even more definite, since the grammatical comparison is removed: "I, the conquistador in an iron shell." The degree of identification is enhanced and the symmetrically located verses, like a strong hoop, cover the first 2 stanzas. The two quatrains are replaced by two three verses, in which a courageous duel with death is glorified (I will fight with her to the end ... ") and tireless movement towards the intended goal. This is said in traditional romantic language, and it is no coincidence that the image of the cherished blue lily, obtained by the hand of a dead man, arises here. Written in the form of a sonnet (“sonnet, from ital.Sonetto - solid form: a verse of 14 lines, forming two quatrains (for 2 rhymes) and two three verses (for 2-3 rhymes). Originated in the 13th century in Italy; especially popular in the poetry of the Renaissance, baroque, romanticism, partly symbolism and modernism. "), the poem is interesting for the glorification of bold risk, courage, overcoming obstacles, struggle" at the edge of the abyss "(A.S. Pushkin). That is why the conquistador is ready to go forward, "leaning towards abysses and abysses." At the same time, the hero of Gumilyov is devoid of gloomy seriousness, formidable concentration: he walks "cheerfully", "laughing" at adversity, resting "in a joyful garden." The poem says about the discovery of new poetic continents, about courage in the development of new themes, forms, aesthetic principles. For Gumilyov during this period, the only reality is the world of dreams. And with it he colors his early romantic poem, filled with Gothic. The collection was noticed by the most prominent poet - symbolist V. Bryusov, who published a review of the first experience of the novice author in his journal "Libra". Bryusov noted that “the book also contains several beautiful poems, really successful images. Let us assume that she is only the path of the new conquistador and that his victories and conquests are ahead. " This response inspired the young man, became the reason for the active correspondence of the poets that began, and the further growth of Gumilyov was largely determined by the influence of V. Brusov, whom the young author considered his teacher. Annensky, whose work Gumilyov knew and appreciated well, had a well-known influence on the aspiring poet. After graduating in 1906. gymnasium, Gumilyov immediately went to Paris, where he continued his education at the Sorbonne, published the magazine "Sirius" (1907), wrote a number of short stories ("Princess Zara", "Golden Knight", "Stradivarius Violin", "The Last Court Poet") , masters the technique of poetry, is fond of painting and theater, creates the play "The Jester of King Batignol". And, having returned to Russia (1908), he entered the St. Petersburg University, where he studied at the beginning at the Faculty of Law, and then at the Faculty of History and Philology, where he listened to lectures by prominent professors D.K. Petrov, V.F. Shishmarev, specialists on Romano-Germanic culture. This is how Gumilyov's creative life began, full of ardor, craving for extensive knowledge, and tireless poetic inspiration.

Early romanticism . Gumilyov's life was surprisingly hectic, permeated with a desire for search and risk. The same was his artistic work, marked by the features of high romance, the poeticization of the heroic, so unlike the drab everyday life and dull everyday life. It is no coincidence that his heroes were Odysseus, the Greek traveler Baboanius, the navigator Columbus. Following the first collection, a book appeared - "Romantic flowers"(1908), where there was still a lot of poetic acuteness, a lot of beauty, artificial flowers ("gardens of the soul", "secrets of moments"), but there was also what was stated in the first word of the name - romance. The inspiration of the poet is the Muse of Far Wanderings. The lyrical hero of the poems wanders "following Sinbad the Sailor", wandering through unfamiliar waters and he sees an eagle with red plumage, throwing the traveler on a stone. He dreams of Lucifer's "secret cave", where there are tall tombs. The poet contrasts the modern grayness with the colorful world of the past. Hence - an appeal to the distant Romulus and Remus, Pompey, surrounded by pirates, the emperor "with an eagle profile." There is a lot of "neo-romantic fairy tale" here. No wonder that this is the name of one of the collection's poems. Colorful is conveyed by numerous definitions for colors. However, among these images, born of an ardent imagination, there are pictures spied on in reality itself. The poet saw many exotic characters during his first African journey. Thus, the collection contains poems dedicated to Cairo sailors and children, Lake Chad, rhinoceros, jaguar, giraffe. But what is especially important, the poet learns to portray these heroes of his lyrics in detail, volume, and convexity.

On the mysterious lake Chad

Among the centuries-old baobabs

Cutout feluccas strive

At the dawn of the stately Arabs.

Along its wooded banks

And in the mountains, at the green foothills

Worship strange gods

Priestess maidens with ebony skin.

Such is the poem "Hyena", in which the predator is drawn so expressively that we very clearly imagine it: the rearing fur, and the lights of her eyes, and terrible, threatening teeth, and furious groans. And the giraffe in the poem of the same name is depicted in such a way that we cannot help but admire its sophistication, its "graceful harmony", the magic pattern of its cover.

Today, I see your especially sad look

And the arms are especially thin, hugging the knees.

Listen: far, far, on Lake Chad

An exquisite giraffe wanders.

He was given graceful harmony and bliss,

And his skin is adorned with a magic pattern,

With which only the moon will dare equal

Crushing and swaying on the moisture of wide lakes.

In the distance he is like the colored sails of a ship

And his run is smooth, like a joyful bird flight.

I know that the earth sees many wonderful things,

When at sunset he hides in a marble grotto.

The very rhythm of this famous poem conveys the unhurried, calm step of the majestic giraffe. The beauty of this exotic animal, according to the poet, can be a kind of consolation for the mourners. Addressing his girlfriend, the author reminds:

You cry? Listen ... far away on Lake Chad

An exquisite giraffe wanders.

It is noteworthy that among the works of the collection there was also the poem "Glove", dedicated to the thing. This is evidence that the poet is making an attempt to break through the dense exotic and orientalist (oriental) theme to real life and the material world. Bryusov, appreciating the collection, noted this readiness of Gumilyov "to definitely draw his images", to be precise, attentive to the form. A.I. Annensky in his review noted that this green book “reads quickly. You drink it like a sip of a green shertrez. "

In 1910. Gumilyov married A.A. Gorenko, and in the autumn of the same year he went to Africa, where he stayed until the end of March 1911. Traveling through the wilds and deserts of Abyssinia, the poet brought notes of Abyssinian songs, a collection of household items and paintings by African painters.

Gumilyov's third book "Pearls" (1910) brought him wide fame. It was dedicated to V. Brusov, whom the author called a teacher. Noting the romanticism of the poems included in the collection, Bryusov himself wrote: “... his verse has clearly grown stronger, Gumilyov is slowly and surely moving towards complete mastery in the field of form. Almost all of his poems are written in beautifully thought out, sophisticated-sounding verses. "Many of the poems of "Pearls" are popular, but, of course, above all, the famous ballad "Captains".

Let the sea go mad and splash

The crests of the waves rose to the sky -

Not a single one trembles before a thunderstorm,

Neither will fold the sails.

Are cowards given these hands

This sharp, confident look

What can the enemy felucca know

Suddenly abandon the frigate

Marked by a bullet, sharp iron

Overtake giant whales

And take note of the many stars in the night

Lighthouse safety lights?

A fresh breeze of real art fills the sails of the Captains, certainly associated with the romantic tradition of Kipling and Stevenson. N. Gumilev called his poetry the Muse of Far Wanderings.

Until the end of his days, he remained faithful to this theme, and with all the variety of themes and philosophical depth of poetry of the late Gumilyov, it throws a very special romantic response to his work. Enhancing the picturesqueness of his poems, Gumilev often makes a start from works of fine art ("portrait of a man", "Beatrice"), which encourage him to be descriptive. Bryusov even called Gumilyov "the poet of visual paintings." Another source of imagery is literary plots ("Don Juan"), the motives of the poems of the Symbolists (Balmont, Bryusov), Kipling, Stevenson. But one cannot fail to notice in the collection the great elasticity of the verse, the refinement of poetic thought. So, in Don Juan, Gumilev, through the lips of a hero, aphoristically conveys his motto:

My dream is haughty and simple:

Grab the paddle, put your foot in the stirrup

And cheat the slow time

Always kissing new lips.

And in old age, accept the covenant of Christ,

Dull the eyes, sprinkle ashes on the crown of the head

And take on my chest the saving burden

Heavy iron cross!

And only when, amid the victorious orgy

I suddenly wake up like a pale sleepwalker,

Scared in the silence of my ways

I remember that, an unnecessary atom,

I had no children from a woman

And he never called a man brother.

"Alien Sky". B1912. the fourth book of poems by Gumilyov "Alien Sky" was published. This includes the poet's poems published in 1910-1911 in Apollo. Romantic motives are still felt in the collection. The poet makes extensive use of contrasts, contrasting the sublime and the base, the beautiful and the ugly, good and evil, the West and the East. The dream sharply opposes the rough reality, the exceptional characters - the ordinary, ordinary characters ("By the fireplace"). However, the poet now less often resorts to the exquisite language of previous poems, refuses verbal tinsel, colorful exoticism and excessive hyperbole, although sometimes even now he has "rhymes of the ancient sun, the world is unexpectedly large ... / The sharp profile of a Creole with a swan soul." Increasingly, Gumilev turns to realistic Shakespearean, Goethean and Turgenev images ("Dream", "Margarita", "Girl"), transforming them in his poems.

And most importantly, the poet glorifies the beauty of earthly life, the diversity of the real world. Here is one of the poems in this collection - "On the sea"... It was first published in the Birzhevye Vedomosti newspaper under the title "Fear". Later this title was removed as completely inconsistent with the spirit of the work.

Sunset. Like snakes the waves bend

But they don't run to touch

Invincible shores.

And only from afar, kind

Burun, who believed in the darkness,

Will come in, wild madman

On a shiny rock.

The poem vividly paints a romantic landscape in the enduring traditions of Russian seascape poets. By the sunset time, the sea space gradually changes its exuberant appearance, the waves lose their "angry scallops". And yet the stubborn warlike breaker (a wave breaking against surface or underwater obstacles at a distance from the coast) rebelliously rises upward, and the poet finds apt definitions for his characterization: he is "violent", "crazy." But a shuttle equipped with a sail is just as rebellious. He is as "cheerful" as the Gumilevian conquistador, he also conquers sea spaces. A direct conflict between the breaker and the shuttle is not indicated, however, the adversarial "but" from which a poetic story about the sail is outlined, and the very pathos of fighting the waves presupposes this collision. Lyrical lines of Gumilyov evoke a number of associations: with Pushkin's raft and helmsman ("Arion"), with Lermontov's sail in the poem of the same name, with the swimmer Yazykov.

The poem reveals a number of signs of acmeistic poetry: visible graphics ("like snakes, waves bend", "Latin sail" - a sail in the form of a right-angled triangle), the feeling of solid stone (glossy rock "), transmission of sounds (" burst with a whoop and roar ") and odor (breathing the "invigorating scent of tar").

In the book as a whole, other acmeistic features of Gumilyov's poetry were clearly expressed: bright depiction, narrativeness, gravitation towards the discovery of the object world ("The Pilgrim"), the weakening of the musical and emotional principles, emphasized dispassion, expressiveness of descriptions ("Turkestan generals") hero ("Ragged Man", "Animal Tamer"), a clear view of the world, an adamistic attitude (it is expressed in relief in the "Ballad"), classical severity of style, balance of volumes, accuracy of details ("I believed, I thought ..."), accurate correspondence of a word to a concept, compositional harmony, courageous rhythms of verses with omission of accents, stamping of form. To support and strengthen the acmeistic tendency of his collection, Gumilev included translations of five poems by Tuofile Gauthier, who, in his pursuit of the “majestic ideal of life,” professed principles of ignoring the “vague, abstract” and “accidental, concrete” akin to the Russian poet. the idea of \u200b\u200bthe immortality of the imperishable beauty of art. In the poem Art, presented here, Gaultier declared:

The creation is more beautiful

Than the material taken

More dispassionately -

Verse, marble or metal.

In this statement, Gumilev saw the formula for acmeism. The book includes the cycle "Abyssinian Songs", which shows how Gumilyov's approach to the transfer of the exotic world has changed significantly.

I served five years for a rich man

I guarded his horses in the fields,

And for that the rich man gave me

Five bulls trained to the yoke.

One of them was slaughtered by a lion

I found his tracks in the grass, -

We must better guard the kraal,

We need to light a fire at night.

And the second got mad and fled,

Ringing stung by a wasp.

I wandered through the thicket for five days

But I couldn't find him anywhere.

Two others were poured by my neighbor

In the swill of poisonous henbane,

And they were lying on the ground

With a blue tongue sticking out.

I stabbed the last one myself,

To have something to feast on

At the hour when the neighbor's house was burning

And a bound neighbor yelled at him.

The poems "The Discovery of America" \u200b\u200b(it tells about the journey of Columbus and reveals the romance of wanderings) and "The Prodigal Son" (a woeful story about wandering "without thought and purpose" using biblical imagery), as well as the one-act play "Don Juan in Egypt ”, re-interpreting the eternal theme of world literature. This obvious departure of the author from the Russian theme explains the title of the collection - "Alien Sky". It will take some time for the poet to turn to the "heavens of his native Motherland" and, most importantly, to its long-suffering land. However, one of the sections of the book Gumilev dedicated to his compatriot Anna Akhmatova, who in 1910. became the wife of a poet. To the seventeen poems in this section, you can add one more "From the lair of the serpent", which ends the first part of the collection.

From the serpent's lair,

From the city of Kiev,

I took not a wife, but a sorceress.

I thought I was a funny girl

Fortuneteller - wayward

A cheerful songbird.

You click - frowns,

You hug - bristles,

And if the moon comes out, it will dim,

And looks, and groans,

As if burying

Someone - and wants to drown himself.

This poem is very characteristic of the poet's love lyrics of that period - it creates a very conventional and ironically colored image of a woman. It would seem that the lyrical hero should be glad that next to him "a cheerful songbird", but he sadly complains about his unfortunate fate. The one that seemed to be a creature of a cheerful disposition appeared in the form of a witch. And instead of love and tenderness, unkind prophecies, fortune telling, "languor" appeared. Hence - the gloomy coloring of the poem, the images of funeral, death, whirlpool, drowned woman that arose in them. ... And from the side of the lyrical hero there is no more affection and sympathy, and he exclaims: "I am not busy with you now". Alienation and contrast of characters led to a system of antitheses transmitted by means of adversary conjunctions and dashes:

You click - frowns,

You hug - bristles,

And if the moon comes out, it will dim ...

Kiev itself is declared a "lair serpent", especially since it is associated with the serpent by its legend. The hero is alien to the "Dnieper pools" and other folklore-real places, up to Lysaya Gora, where, according to legend, witches gather. Tragically ending the poem, the poet prophesies in the spirit of his witch: to be his beloved "dug up a birch", "a bird shot down", "sworn by God." Resurrecting the image of Chekhov's wounded seagull, Gumilyov, in his own way, presciently guessed the fate of his beloved, his wife-poet.

The collection "Alien Sky" caused a lot of positive responses, making the name of its author widely known and bringing him a reputation as a master. V. Khodasevich noted that in his book “Gumilyov finally takes off his mask. Before us is an interesting and peculiar poet. In the movement of his verse there is confidence, in the images - content, in the epithets - vigilance. " According to M. Kuzmin, with the best pieces of this collection, Gumilev opened "wide doors to new opportunities for himself and new air." V. Brusov welcomed the increased skill of the young poet.

Gumilev made another trip to Africa in 1913.

It was a business trip of the Museum of Anthropology and Ethnography of the Academy of Sciences. Poet, traveler, scientist met in one person. Gumilyov was almost the first European to come to these lands with serious scientific goals. With a feeling of a perfectly completed task, Gumilev returned to St. Petersburg. The exhibits brought by him formed the basis of the African Fund of the Museum of Ethnography.

... There is a museum of ethnography in this city,

Over the wide, like the Nile, abounding Neva,

At the hour when I get tired of being only a poet,

I will not find anything more desirable than him.

No matter how filled Gumilyov's time with travel, research, meeting people, he never interrupted creativity.

In the meantime, it was approaching war. As you know, in 1907. Gumilyov was declared incapable of military service and released from it. But seven years later, when the First World War broke out, Gumilev volunteered for the army. His bravery and contempt for death were legendary. In1916. Was written his next collection of poems "Quiver". Here, like many poets of those years, the trumpet calls of a victorious battle sound, participation in which the author perceives as the highest destiny and blessing. So, in the poem "War" the author declares:

And truly light and holy

A great deal of war.

Seraphim, clear and winged,

Behind the shoulders of the soldiers are visible.

Slow-walking workers

On fields soaked in blood

feat of those who sow and reap the glory,

now, Lord, bless.

Like those who bend over the plow,

Like those who pray and grieve

Their hearts are burning before you

They burn with wax candles.

But to that, O Lord, and strength

And grant victory to the royal hour,

who will say to the defeated: “Darling,

here, take my brotherly kiss! "

The same notes are heard in "Offensive". The poet does not seem to notice the "blood-soaked weeks", so what is happening is seen by him as a "bright hour", and he seems to himself "the bearer of great thought." This misconception gives rise to the poet's conviction of his immortality. But along with this pathos in the collection of Gumilyov there are terrible sketches of a military meat grinder, human mush, decay. In these cases, the poet is exceptionally accurate in details, and the contrasts of light and darkness, day and night, living and dead serve him perfectly.

And shrapnel buzz like bees

collecting bright red honey ...

Gumilyov saw and realized the horror of the war, showed it in prose and poetry, and a certain romanticization of battle and feat was a feature of Gumilyov - a poet and a man with a pronounced, rare, courageous beginning both in poetry and in life.

In "Quiver", a new theme for Gumilyov began to appear - "About Russia". Completely new motives sound here - creations and genius Andrei Rublev and a bloody bunch of mountain ash, ice drift on the Neva and ancient Russia.

This copper strikes copper

I, the bearer of great thoughts,

I can’t, I can’t die.

Like thunder hammers

Or waters of angry seas,

Golden heart of Russia

Beats rhythmically in my chest.

He gradually expands and deepens his themes, and in some poems he even achieves frightening insight, as if predicting his own destiny:

He stands before a red-hot mountain,

A short old man.

A calm look seems submissive

From the blinking of reddish eyelids.

All his comrades fell asleep,

Only he alone is still awake.

Because he's busy casting a bullet

That will separate me from the earth.

In the collection "Bonfire" (1918), which includes poems created in 1916 - 1917, the poet continues to explore the layers of world culture. This time he turns to ancient art, creating a hymn to Nike of Samothrace, located in the Louvre, presenting her "with outstretched hands." In the same book of poems, Gumilev recreates in his imagination Norway, the "sapphire treasury of ice", correlating its people and landscapes with the images of Ibsen and Grieg; Sweden, the "country of life-giving coolness" and its "confused, discordant" Stockholm, similar to "a powerful organ, shocked immensely."

But here the Russian theme also matures. Many features of this collection can be found in the poem "Autumn":

Orange-red sky ...

Gusty wind shakes

Bloody bunch of mountain ash.

Chasing a running horse

Past the glass of the greenhouse

The grates of the old park

And the swan pond ...

Shaggy, redhead nearby

My dog \u200b\u200bis racing

Which is nicer to me

Even a sibling

That I will remember

If she dies

The pounding of hooves has increased

The dust is getting higher.

It combines the description inherent in the landscape with the narrative so characteristic of the poet in an extremely peculiar way. This poem is dedicated to M.F. Larionov, an outstanding Russian artist (1881 - 1964). This circumstance, like the previous name "Picture", is not accidental: the work is brightly picturesque, flowering, colorful. We visually and emotionally perceive both the “orange-red sky”, and the “bloody bunch of mountain ash”, and the “shaggy, red… dog”, and the blue of the “swan pond”. Tyk is clearly represented in this landscape, the world of sounds. The reader clearly hears the "clatter of hooves", "the screaming piercing wind" and the rapid breathing of a desperate hunter. Here is also presented the characteristic acmeistic motif of the stone with its volume and shape (it is "wide and flat"), with its staticity opposed to the gusty wind, swaying mountain ash branches and the running of an Arab horse.

Finally, these are poems about the culture of the East, which originated in the "Quiver" ("Chinese girl"), continued in "Fire" ("The Serpent") and widely presented in the collection "Porcelain Pavilion" (1918), which became an original experience of imitating ancient Chinese poets. At the same time, Gumilev found in Eastern lyric poetry that which was close to the "material" acmeistic poetry. The Muse of Far Wanderings, to which the poet remained faithful, attracted him to new lands, allowing him to discover the next continents of world culture.

The last three years of life. The revolutionary events in Russia found Gumilyov in France, in the Russian expeditionary corps. From here he moved to England, to London, where he worked on the novel The Merry Brothers. During this period, he approached literary issues in a new way, believing that Russian writers had already overcome the period of rhetorical poetry and now the time has come for verbal economy, simplicity, clarity and reliability.

Returning in 1918. through Scandinavia to Petrograd, Gumilev energetically joins the then stormy literary life, from which he was torn away by the war for a long time. He did not feel the acuteness of the situation that developed after the revolutionary situation, he spoke openly about his monarchist predilections and did not seem to notice the dramatic changes in the country. He took the breakup of the first family hard, but the most intense creative work helped him to heal a mental wound. In conditions of severe cold and hunger, he knew how to forget about the difficulties of life and was overwhelmed with artistic ideas. The poet prints a new poem - "Mick" - on an African theme, re-publishes early collections of poems, enthusiastically works in the publishing house "World Literature", where he was attracted by Gorky and where he is in charge of the French department; himself organizes several publishing houses, recreates the "Workshop of Poets", manages its branch - "The Sounding Shell"; creates the Petrograd branch of the "Union of Poets", becoming its chairman.

These three years (1918 - 1921) were unusually fruitful in a creative sense. Gumilev translates a lot ("folk ballads about Robin Hood", "a poem about an old sailor", French folk songs, works by Voltaire, Heine, Byron, Rimbaud, Rolland); speaks at evenings with the reading of his poems, theoretically comprehends the practice of acmeism; publishes in Sevastopol the collection "Shater", again devoted to the African theme (this was the last book published during the author's lifetime); creates the "Poem of the Beginning" (1919 - 1921), in which he turns to the philosophical-cosmogonic theme, basing it on the Assyrian, Babylonian and Slavic epics. The poet is also preparing for publication a new significant collection of poems - "Pillar of Fire", printed in August 1921, after the death of the author. It includes works created during three recent years life of the poet, mainly of a philosophical nature ("Memory", "Soul and Body", "Sixth Sense").

Only snakes shed their skins

So that the soul grows old and grows

We change souls, not bodies.

Memory, you are by the hand of a giantess

You lead life as if by the bridle of a horse,

You will tell me about the ones that used to be

They lived in this body before me.

The very first: ugly and thin,

Who loved only the dusk of the groves,

Fallen leaf, witch child

In a word, he stopped the rain.

The tree is like a red dog -

This is who he took as his friend.

Memory, memory, you won't find a sign

You cannot assure the world that it was me.

The title of the collection, dedicated to Gumilyov's second wife Anna Nikolaevna Engelhardt, goes back to biblical imagery, the Old Testament "Book of Nehemiah". Among the best poems of the new book - "Lost Tram", the most famous and at the same time complex and mysterious work. This poem can be divided into three main plans. The first of them is a story about a real tram, which makes its unusual journey. Carriages rush non-stop on the rails. But soon the fast running of the tram turns into flight (this is expressed in the verbs "rushed", "flew"). Reality gives way to fantasy. It is not usual that the tram is “lost”.

I walked along an unfamiliar street

And suddenly I heard a raven's sky,

And the ringing of the lute, and the thunders, -

A tram flew in front of me.

How I jumped on his bandwagon

Was a mystery to me

A path of fire in the air

He left in the light of day.

He raced like a dark winged storm,

He got lost in the abyss of time ...

Stop, tram driver,

Stop the car now.

Late. We have already rounded the wall

We slipped through a grove of palm trees

Across the Neva, across the Nile and the Seine

We thundered across three bridges.

And, flashing by the window frame,

Threw us an inquisitive look after us

An old beggar, of course, the one

That he died in Beirut a year ago.

This motive, outlined in the poem "Stockholm": gets its folded development and is included in the title of the poem.

I stood on the mountain, as if to the people

I wanted to talk about something

And I saw clear calm water

Nearby groves, forests and fields.

“Oh God,” I cried out in alarm, “what if

is this country truly my homeland?

Was it not here that I loved, and died not here,

In this green and sunny country? "

And I realized that I was lost forever

In the blind transitions of spaces and times,

And somewhere dear rivers rush,

To which my path is forever forbidden.

But even more fantastic is the fact that the tram, having rounded the wall, jumps out of the city, native for passengers, and rushes to the grove of palm trees, then - across the Neva - to the Nile and Seine and finally gets to the "India of the Spirit". Space and time are overcome by the artist's whim. The symbolism of this "wandering" becomes clear when we comprehend the background of the poem. This is a poetic confession of a literary hero about himself. His life largely coincides with the author's biography (expeditions to the Nile, trips to Paris). And the lyrical hero and the author prophesy to themselves near death (her foresight was characteristic of Gumilyov). The letters of the signboards (original signs of revolutionary slogans and banners) are filled with blood, and at the station

Instead of cabbage and instead of turnip

Dead heads are being sold.

Both plans are coming closer together. In his spiritual quests and in his family life, the poet got lost in the same way as his tram, on the bandwagon of which he jumps.

The third plan of the poem is philosophical and generalized. Life appears now in everyday life ("And in the alley there is a boardwalk fence ..."), now in festive radiance ("We slipped through a grove of palm trees ..."), now it looks beautiful, now ugly, now it walks along straight rails, now it revolves in a circle and returns to the starting point (the previously abandoned Petersburg reappears with the images of Isaac and the Bronze Horseman). The cultural past is an important asset in this life, and here in the text of the poem Mashenka appears, that is, Masha Mironova, and the empress from Pushkin's "The Captain's Daughter".

All three plans of this poetic masterpiece are surprisingly intertwined into a single whole, making the work surprisingly rich in content, intense in thought and artistically perfect in form.

Gumilyov's striking prediction of "his" unusual death:

And I will not die in bed

With a notary and a doctor,

And in some wild crack,

Drowned in thick ivy

The theme of the poet's romantic separation in this poem refers not only to death, but to all life, artistic tastes, occupations, love. Gumilyov unexpectedly (as in all his later poems) comes close to the shocking futurists and their predecessors - the French "damned" poets, but in everything he opposes bourgeois tidiness and correctness:

... And I don't like the guitar,

and the savage melody of zurna.

And indeed his predictions were confirmed. August 3, 1921 he was arrested by the Cheka, accused of participating in the counter-revolutionary Tagantsev conspiracy, and on 24 August was shot along with sixty others involved in this case. Now it has become known that the basis for the accusation "was only the testimony of one person, who had not been verified and not proven," (S. Khlebnikov, Shagreen bindings. The Gumilyov case. - Ogonek. 1990, No. 18. P.16). There was no conspiracy of scientists, there was no participation of the poet in them. It was the tragic day of the "Black / Month of Russian Poetry" (G. Ivanov). After the death of the poet, his lyric collection "To the Blue Star" (1923), the book of Gumel's prose "Shadow from the Palms" (1922), and much later - collections of his poems, plays and stories, books about him and his work were published. Gumilev made a huge contribution to the development of Russian poetry. His traditions were continued by N. Tikhonov, E. Bagritsky, V. Rozhdestvensky, V. Sayanov, B. Kornilov, A. Dementyev. According to M. Dudin, Gumilev unusually "expanded our world of knowledge of the unknown."

III ... ANALYSIS OF GUMILEV'S CREATIVITY.

Images of world culture. In their theoretical constructions and creative practice, the Acmeists affirmed the idea that, with all the irreversibility of time, this property can be artistically overcome. On this basis, representatives of the current often returned to the past, defending the retrospective and historicity of creativity. They gravitated towards past eras and knew how to convey their charm and essence, followed the “sprouting of time” and its exit from one era to another. The expression of this retrospection was the theme of cultural memory, the preservation of the “dust of centuries”, “longing for world culture” (O. Mendnlstam). And for Gumilyov, this striving to restore the connection between cultural eras was extremely characteristic.

We have already seen how often Gumilev comprehends the images of the Bible. In Alien Heaven, the Gospel themes are reflected in the "Fragment" ("Christ said:" The poor are blessed ... "), in the poem" The Prodigal Son ". In The Quiver, he interprets the main episode of the biblical “Book of Judith” and the theme of paradise (“Judith” and “paradise”). The poet connects these themes with his autobiography, talking about his own wanderings, the search for paradise on earth and love, and leads the reader to comprehend the eternal philosophical and ethical issues of life ("Eternal").

We have already passed numerous images of Africa, where the poet is trying to trace the difficult destinies of the peoples of this continent.

The Italian theme became extremely stable in Gumilyov's work, which was comprehended extremely deeply - from Ancient Rome to modern Italy in the twentieth century. As an acmeist, Gumilyov has a special passion for the cities of this country, its architecture, stone history, sculpture and painting. These are the poems "Cathedral of Padua", "Venice", "Bologna", "Genoa", "Naples". Time seems to Gumilev continuous. In the poem "Pisa" the poet states:

Everything passes like a shadow, but time

Remains, as before, avenging,

And the old, dark burden

Continues to live in the present.

The poet speaks of “the times of the connecting thread” and even feels a certain weight, the weight of the past in the present. Both the real city (Pisa) and the human personality are "shrouded" in the past, embody a consanguineous union with the past. The poet is convinced that the history of the country can be traced back to the “Writer - the history of its culture:

The destiny of Italy is in destiny

Her solemn poets.

And Gumilev recalls Virgil, Dante, Tasso ("Ode d Annucio"). The fate of Italy is in the history of her painting and sculpture. The poet builds another line of succession: Fra Beato Angelico, Raphael, Leonardo da Vinci, Michelangelo, S. Rosa, Canova. Gumilyov's concept of Italian culture differs significantly from Blok's. Both poets visited the country at about the same time. But how differently they saw Italy! Blok is convinced of the decline of the past and, referring to Dante's country, states: "Your features are distorted."

And Gumilyov is fascinated by what he saw and happily greets Italy, where "colors, colors are bright and pure." He uses this picturesque color in his poems.

The poetry of Gumilyov at different periods of his creative life is very different. Sometimes he categorically denies the Symbolists, and sometimes he gets so close to their work that it is difficult to guess that all these wonderful poems belong to one poet. Here I recall the words of the discerning A. Blok: "The writer is a perennial plant ... the soul of the soul." Therefore, the path of development can appear straight only in perspective, while following the writer along all the stages of the path, you do not feel this straightness and steadiness, due to stops and distortions. "

These words of Blok, a poet highly valued by Gumilyov, and at the same time his main opponent in critical articles, are most suitable for describing Gumilyov's career. So, the early Gumilev gravitated towards the poetry of the senior Symbolists Balmont and Bryusov, was fond of the romanticism of Kipling, and at the same time turned to foreign classics: W. Shakespeare, F. Rabelais, F. Villon, T. Gauthier and even to the epic - monumental works of Nekrasov ... Later, he moved away from romantic lyrics and lush brightness of images to a clearer and more strict form of versification, which became the basis of the Acmeist movement. He was strict and implacable towards young poets, the first to declare versification a science and a craft that needs to be learned. The poems of the acmeist period, which compiled the collection "The Seventh Heaven", confirm such a sober, analytical, scientific approach of Gumilyov to the phenomena of poetry. Also, possessing an unconditional gift of foresight, Gumilev - a critic outlines in his works the ways of development of Russian poetry. But over the years, Gumilyov's poetry changes somewhat, although the foundation remains solid. In the collections of the war era, the distant echoes of Blok, girded by rivers, Russia and even the "ashes" of A. Bely suddenly appear in it. This trend continues in post-revolutionary creativity. It is striking that in the poem "The Pillar of Fire" Gumilyov, as it were, extended his hand to the rejected and theoretically denounced symbolism. The poet seems to be immersed in a mystical element. In his poems, fiction is intricately intertwined with reality, the poetic image becomes multidimensional, ambiguous. This is already a new romanticism, the lyrical and philosophical content of which differs significantly from the romanticism of the famous "Captains", the acmeistic "beautiful clarity" and concreteness. Gumilyov approaches the understanding of the unity and interconnection of all layers of human culture, including poetry and social activities. In the famous poem "The Word" Gumilev expresses his final understanding of the high name of poetry and the poetic word:

But we forgot that it was shining

Only a word amid earthly troubles,

And in Ivangelia from John

It is said that the word is God.

IV. CONCLUSION.

Nikolai Gumilyov was far from being an ordinary person, with an amazing and at the same time tragic fate. There is no doubt about his talent as a poet and literary critic. His life was full of severe trials, with which he coped with valor: several suicide attempts in his youth, unhappy love, almost a duel, participation in a world war. But it ended at the age of 35, and who knows what kind of brilliant works Gumilyov could still create. An excellent artist, he left an interesting and significant legacy, undoubtedly influenced the development of Russian poetry. His students and followers, along with high romanticism, are characterized by the utmost accuracy of the poetic form, so appreciated by Gumilev himself, one of the best Russian poets of the early twentieth century.

“The fate of the poets of all the tribes is bitter” - this line from Kuchelbecker, who was dying in Siberia, alas, stretched into the twentieth century. But the severity and fatality of fate, albeit posthumously, is softened if the poet manages to find his reader, whose soul is in tune with the soul of the deceased author and who can read the message addressed to him not by glancing indifferently along the lines, but by being transported into the world of the writer and hoping for sympathy. Therefore, you need to look for those sides in your soul that will allow it at least for short time to sound in tune with the soul of the deceased poet.

List of used literature:

1. “Russian literature of the late 19th early 20th century and the first emigration”. P. Basinsky, S. Fedyakin (Publishing House of the Center "Academy")

2. "When I was in love ..." N. Gumilev (Moscow "School press")

3. "Russian literature of the end XIX beginning XX century "L.A. Smirnova (Moscow" Enlightenment "1993)

5. "Taganskoe business". V. Khizhiyak ("Evening Moscow")

6. Soviet Encyclopedic Dictionary.

MOU Raduzhnenskaya average comprehensive school Kolomensky municipal district Moscow region Teacher: Elena Nikolaevna Privezentseva

Lesson in grade 11

• Expand the meaning of the concept "acmeism".
• What traditions of Russian literature is Acmeism based on?
• How do you see the difference between acmeism and symbolism? What do they have in common?

The poetry of the "Silver Age" is unthinkable without the name of Nikolai Stepanovich Gumilyov

(1886-1921). Creator of the literary movement Acmeism,

he won the interest of readers not only with his talent, the originality of his poems, but also with an unusual fate, a passionate love for travel, which became an integral part of his life and work.

M.V. Farmakovsky. Portrait of N.S. Gumilyov. 1908

The son of a military doctor, N.S. Gumilev graduated from the Tsarskoye Selo gymnasium, the director and teacher of which was the famous poet I.F. Annensky, who brought up in his student a love of literature.

Contemporaries described "a blond, self-confident young man, outwardly extremely ugly, with a squinting look and a lisping speech."

N. S. Gumilyov - high school student

I.F. Annensky - director and teacher of the Tsarskoye Selo gymnasium

Tsarskoye Selo Nikolaev gymnasium.

However, this somewhat ironic attitude was soon replaced by respect and universal acceptance.

The young poet has firmly set himself the goal of becoming a hero, a daredevil, choosing difficult and dangerous paths, challenging the whole world. Shy by nature, physically weak, he ordered himself to become strong and determined.

I had to break my character, deny myself the joys of life, go on long risky journeys through the jungles of Africa, the sands of the Sahara, the mountains of Abyssinia, the exotic forests of Madagascar, hunt lions and rhinos, volunteer to the front in the first world war, where he was awarded two St. George's crosses for bravery.

N. S. Gumilev. The photo. 1914

The first book of poetry, "The Way of the Conquistadors", published at the expense of his parents, Gumilyov published as a schoolboy in 1905. Already in this first book, Gumilyov's constant lyrical hero appeared - a conqueror, a wanderer, a sage, a soldier who trustingly and joyfully learns the world. This hero is opposed to modernity with its everyday life and the hero of decadent poetry.

After graduating from high school (three in all the exact sciences, four in the humanities, five only in logic), Gumilev left for Paris.

In Paris, Gumilev attended lectures at the Sorbonne, wrote a lot, studied poetry technique, trying to develop his own style.

The young Gumilyov's demands to verse are energy, clarity and clarity of expression, the return of the original meaning and brilliance to such concepts as honor, duty, heroism.

The collection, published in Paris in 1908, Gumilev called "Romantic Flowers".

On his first visit to Paris, Gumilev sent poetry to Moscow, to the main symbolist magazine Vekhi.

At the same time, he began to publish his own magazine "Sirius", promoting "new values \u200b\u200bfor an exquisite worldview and old values \u200b\u200bin a new aspect."

Cover of the magazine "Sirius", 1907, No. 3

N. Gumilyov in Paris. 1908

As a schoolboy, Gumilyov first saw Anna Akhmatova, then - Anya Gorenko. Akhmatova recalled: "They said that the future leader of the Acmeists fell in love with a young poetess ... In fact, a seventh grade schoolboy fell in love with a fourth grade schoolgirl."

From Paris, a poet in love sends Anna a marriage proposal and invariably gets rejection after rejection.

By 1909, Gumilyov's novel with the poetess E. Dmitrieva is related, which eventually led to a duel between Gumilyov and M. Voloshin.

And in November 1909 he finally received consent to marry Anna Akhmatova. In April 1910 they got married. According to Akhmatova's recollections, the wedding was not the beginning, but the end of the relationship - or, rather, the beginning of the end. And even the birth of a son (1912) could not prevent their breakup.

A.A. Akhmatova

A. Akhmatova and N. Gumilev with their son Leo.

In 1911, Gumilev, together with Sergei Gorodetsky, created a new literary group - the "Workshop of Poets".

In February 1912, in the editorial office of Apollo, Gumilev announced the birth of a new literary movement, which was given the name Acmeism.

Nikolay Gumilyov and Sergey Gorodetsky. 1915 g.

Collections of poetry

Nikolay Gumilyov

• The path of the conquistadors
• Romantic flowers
• Pearls
• Alien sky
• Quiver
• Bonfire
• Porcelain pavilion
• Pillar of fire
• Tent

Traveled in Africa, the Middle East, Italy. He volunteered for World War I, served in the Russian Expeditionary Force in Paris. Having returned to Russia in 1918, together with Gorky he headed the publishing house "World Literature", became the chairman of the All-Russian Union of Poets after Blok.

Pictures of Abyssinian artists brought by Gumilev from Africa.

Gumilyov on an expedition to Africa.

In May 1917, Gumilyov was sent on a business trip to the Thessaloniki front, but he did not get there, left in Paris. There, Gumilyov fell in love with a young beauty, half-Russian, half-French, Elena Karlovna Dubuche, to whom the poet dedicated a cycle of poems that was included in the posthumous collection "To the Blue Star", published in 1923. In January 1918, after the disbandment of the office of the military commissar to which he was assigned, Gumilev went to London and from there in April 1918 returned to Russia.

Gumilyov, who predicted his death in the poem "Worker", was shot for taking part in the so-called "Tagantsev conspiracy." They say that before the execution he sang "God Save the Tsar", although he was never a monarchist. (According to the testimony of Father Alexander Turintsev, one day Gumilyov stayed to sit down and threw champagne over his shoulder, when everyone around them jumped loyally to toast to the Emperor.) Gumilyov behaved with his executioners like a true conspirator - proudly, contemptuously. Subsequently, it turned out that he was not actually involved in any conspiracy. As can be judged from the memoirs of Odoevtseva, he was apparently let down by his penchant for talkative mystery, which he flaunted like a boy.

Place of the alleged execution of N.S. Gumilyov. Photo by S.P. Lukhnitsky.

Unusual, romantic, exotic was also the poetry of N.S. Gumilyov. He brilliantly mastered poetic skills, his lyrics are distinguished by harmony of form, harmony and completeness, sophistication of rhymes, euphony of verse. The heroes of his works are captains, filibusters, discoverers of new lands, hunters, knights, and seafarers. Even the names of Gumilyov's poems amaze with the geographical scope of his impressions: "Lake Chad", "Sahara", "Abyssinian songs", "African night", "Zambezi", "Niger", etc. There are many exotic animals in the verses (hyena, jaguar, kangaroo , parrot, giraffe, rhino), not only described with a deep knowledge of their habits, but also endowed with an inner world.

Today, I see, your look is especially sad, And your hands are especially thin, hugging your knees. Listen: far, far away, a giraffe roams on Lake Chad the Gourmet.

Graceful harmony and bliss is given to him, And his skin is adorned with a magical pattern, With which only the moon dares to be equal, Crushing and swaying on the moisture of wide lakes.

In the distance, it is like the colored sails of a ship, And its run is smooth, like a joyful bird flight. I know how many wonderful things the earth sees, When at sunset he hides in a marble grotto.

I know funny fairy tales of mysterious countries About the black maiden, about the passion of the young leader, But you inhaled the heavy fog for too long, You don't want to believe in anything but rain.

And how can I tell you about a tropical garden, About slender palms, about the smell of unthinkable herbs ... Are you crying? Listen ... far away, on Lake Chad Gourmet, a giraffe roams.

• What is the theme of this poem?
• If it's about love, why is it called “Giraffe”?
• To answer this question,

let's watch over the text.

What is the mood of the poem?

• Can you retell its plot?
• Where does the action take place? How does it happen?
• When does the action take place?
• Who is leading the story?
• How do you imagine it?
• Did the fairy tale help?

• What is the composition of the poem, how much is in it

stanzas, how many sentences are there in each stanza?

• Identify the types of rhymes, name the rhymes
• Give examples of sound writing.
• Give examples emotionally

colored vocabulary.

• How is artistic expression
• Find a mistake in the use of the adverbial
• Why is this verse line one of the most

mesmerizing in the text?

Reading and analysis of poems "Captains", "Sixth Sense", "Lost Tram".

Learn the poem "Giraffe" by heart.

Write the work "Reflection on N. Gumilyov's poem"

The writing

Poet Nikolai Stepanovich Gumilev. "Gloomy and stubborn architect." Amazing, bright, unique, his creative path, tragic fate. Two features determined, in fact, all of his work. He is a very Russian poet of the most revolutionary era in the life of Russia. But how can you say "Russian" about a poet who was almost immediately called a foreigner? As for the revolutionary era, it immediately turned tragic for the poet: in 1921 Gumilyov was shot.

Glory came to Gumilyov long before his death, he was recognized as the author of several books, and he was already a famous Russian poet during his lifetime.

The motives and images of NS Gumilyov's lyrics are varied. The poems of his first collections are “battle songs”. This is how the most important principle that characterizes Gumilyov's romanticism appeared - the beginning of the effectiveness of the hero's position, activity, rejection of the dullness, the ordinariness of existence, will. This beginning will never leave his poetry.

In 1902, the first poem by the schoolboy Gumilyov appeared in the Tiflis Leaflet, "I fled to the forest from the cities ...":
I fled to the forest from the cities,
He fled to the desert from people ...
Now I'm ready to pray
Weep as I have never wept before.

But the hero of Gumilyov did not just run into the forest from the “captivity of stuffy cities”. The romantic "forest" of Gumilyov is a special conditional country, the country of only his dreams. Such as in the collection "The Ways of the Conquistadors". The Conquistador is a person who discovers a new, unusual, romantic world:
And if there are no half-day words to the stars,
Then I will create my own dream
And I will enchant you with the song of battles.

Such is the romantic hero of Gumilyov. The dream of Gumilyov's heroes is not just ethereality and abstraction, it is not only a departure from the present, but also a flight into the future. "People of the present", doomed "to be heavy stones for future generations", are opposed to the appeal to "people of the future":
But you are not people, you live,
An arrow of dreams, piercing the firmament.

The East and most of all Africa were the poet's dream. Gumilyov the poet in his poems about Africa, brightly, festively perceiving the world, remaining a romantic and a dreamer, was already a professional researcher. The poem "Mick" tells about a fearless boy who was taken prisoner when he was still a little boy. This poem affirms the human right to independence, the right to fight. The poem very clearly shows the nature of Africa, its exotic. Over the years, the world of romantic poetry Gumilyov continued to be romantic, but not modern. And he felt it:
And I realized that I was lost forever
In the blind transitions of spaces and times,
And somewhere dear rivers flow,
To which my path is forever forbidden.

But Nikolai Gumilyov is a truly Russian poet. The heartfelt lines of his best collection of poems, The Pillar of Fire (1921), are addressed to Russia:
Oh Russia, sorceress harsh,
You will take yours everywhere.
Run? But do you love new
Or can you live without you?

No, a poet cannot live without Russia, because "... the golden heart of Russia beats peacefully in my chest." Russia really took "its own": such motives and images appear in the poet's work: "Childhood", "Town", "Andrei Rublev".

The poet dreamed of the prosperity of his native land, the prosperity of his native land. At the time of the birth of a new world, Gumilev was tormented by the sensation of the birth of a new, "sixth" human feeling and tried to put together a grandiose picture of life and comprehend the connection between times and spaces.

In the modern reader's mind, Nikolai Gumilyov is as he presented himself in the poem "My Readers":
I do not offend them with neurasthenia,
I do not humiliate with warmth,
I don't get bored with meaningful hints
On the contents of the eaten egg
But when bullets are flying around
When the waves break the sides
I teach them how not to be afraid
Do not be afraid and do what you need to do.

Perhaps this is why the influence of Gumilyov's poetic images and rhythms on Russian poetry of the 20th century is so great.

The world of images of Nikolai Gumilyov (1886-1921)

Lesson objectives: to give an idea of \u200b\u200bthe personality and poetry of N. Gumilyov; to consolidate the concept of acmeism.

Lesson equipment: portrait of N. S. Gumilyov, collections of his poems.

Methodological techniques: a conversation on the theory of literature, a teacher's lecture, analysis of poems.

During the classes

I... Homework check

- Expand the meaning of the concepts "acmeism", "adamism".

- What traditions of Russian literature is Acmeism based on?

- How do you see the differences between symbolism and acmeism? What do they have in common?

Teacher's word

Nikolai Stepanovich Gumilev is a poet, translator, critic, literary theorist, one of the masters of acmeism. He lived a very bright, but short life. He was accused of participating in a counter-revolutionary conspiracy and was shot.

II. A message from a teacher or a previously prepared student about the biography of N. S. Gumilyov

Gumilyov was born and spent his childhood in Kronstadt, studied in Tiflis and in Tsarskoe Selo at the gymnasium, where In. Annensky. He attended lectures in Paris, traveled to African countries. In 1910 he married Anna Gorenko (Akhmatova). Having left in 1914 as a volunteer for the front, he received two St. George's crosses for bravery. An enthusiastic glorification of danger, struggle and the "edge of the abyss" became an invariable feature of Gumilyov's poetry. The strong-willed purposefulness of nature was also reflected in the tireless work on the verse. Already in the first collections (The Way of the Conquistadors, 1905; Romantic Flowers, 1908; Zhemchuga, 1910), the features of Gumilyov's poetic world are visible: an emphasized alienation from vulgar modernity, an attraction to romantic exoticism, bright decorative colors, an intense and sonorous verse ...

Together with Gorodetsky, he became the founder of Acmeism, which proclaimed the "intrinsic value" of the phenomena of life, the cult of art as mastery. But the work of Gumilyov himself often came into conflict with the postulates of acmeism: in his poems there was no everyday reality, but there was an exotic reality - the nature and art of Africa, the realities of the First World War. The major pathos of Acmeism was contradicted by the sad and sometimes tragic moods of Gumilyov's poetry.

In his artistic imagination, the poet freely moved in space and time: China, India, Africa, ocean expanses; the ancient world, the era of knights, the time of great geographical discoveries. Already in the early poems, a romantic and courageous striving for a dream is manifested, and not utopian, but quite achievable. Romance and heroism are the basis and feature of Gumilyov's worldview, his reaction to the "ordinary" in life.

III. Reading and analyzing poems

1. We read and analyze one of the early poems "Giraffe" (1907).

- What is the meaning of the appeal to exotic in this poem?

(The description of the beauties and wonders of distant Africa is detailed, multicolored, visible. This is not an invention, but the recollections of a person who really watched pictures unusual for the eye, accustomed to the calm Russian landscape. But the story of the "exquisite giraffe" is magical, the lyrical hero transforms even without Colorful epithets help this transformation: "graceful harmony", "magic pattern", "colored sails", "marble grotto", "unthinkable herbs"; comparisons: a giraffe is compared with the colored sails of a ship, its run is likened to a joyful bird The picture is revived by movement, which is felt both in the smooth running of the giraffe and in the changeable reflection of the moon crushing in the lake. All this is a fabulous description in order to distract the beloved from sad thoughts in Russia saturated with fogs and rains. "Cheerful tales of mysterious countries" could would save from boredom and the severity of everyday life, but only aggravate the loneliness and alienation of the heroes: the last lines of the poem They repeat the end of the first stanza, but already almost hopelessly:

You cry? Listen ... far away on Lake Chad

An exquisite giraffe wanders.

2. Word of the teacher:

Romantic dreams were developed in the collection "Pearls". The emphasis is on the difficult search for values \u200b\u200bhidden away from human eyes. The title of the collection refers to the lines about the unattainable land of dreams, "Where a human foot did not knock, / Where giants live in sunny groves, / And pearls shine in the transparent water")

3. We read and analyze a poem from the cycle "Captains" (1909).

- What is the meaning of the cycle name?

(The poem has a bright romantic coloring, is distinguished by the richness of color: "green swell pearl rocks", "gold with lace", pinkish Brabant cuffs "; pronounced instrumentation for hissing and whistling" f "," z "," h "," s " , "Sh" in combination with sonorous "r", "m" and sonorous labial "b", which conveys the music of the unfolding sea element and gives energy and masculinity to the verse.)

- What are the images of the poem?

(The images of the poem are not specific, generalized. This is not about some real people, but about the heroic type of brave dreamers, stubborn and strong, not afraid of trials. Generalization is achieved, first, by describing the scene of action "scattered" around the world:

On the polar seas and in the south

On the bends of green swells

Between basalt rocks and pearl

The sails of the ships rustle.)

- What is the specificity of the plot of the poem?

(The action takes place outside of real time and space, and at the same time, the description is replete with expressive realistic details, details, up to the scraps of foam on the boots and gilding on the lace of the cuffs. These details are decorative, theatrical in nature (torn map, cane, pistol).

- What are the means of generalization in the poem?

(The generality emerges simply from the syntactic construction requiring the singular in the subordinate clause with the union word "who":

The swift-winged captains lead

Discoverers of new lands

For whom hurricanes are not afraid

Who tasted the malstroms and the stranded ...

Further, in three stanzas, this effect operates, allowing you to see a generalized image of the hero. Courageous character, decisiveness, audacity, confidence - the ideal of the poet himself, who was carried away by the strong heroes of Kipling. Therefore, he glorifies courageous people, of whom

Not a single one trembles before a thunderstorm,

Neither will fold the sails.)

4. Word of the teacher:

After the collection "Pearls" from 1912 to 1921. six more books of Gumilyov's lyrics were published. Each is a deep description of the refined spheres of spiritual life and creativity. The suicide book "Pillar of Fire" - the pinnacle of Gumilyov's poetry - is full of these motives.

5. Reading and analysis of the poem "The Sixth Sense".

- Why did this poem become a symbol of the creative search for the entire Silver Age?

(The poem can be considered programmatic, it reflects in a concise, expressive, energetic form the moods of Gumilyov's contemporaries, hopes for a man's breakthrough into the unknown. The lyrical “we” unites people in these hopes. The usual values \u200b\u200bare “wine in love”, “good bread”, a woman is beautiful. But there is something that cannot be “neither eaten, nor drunk, nor kissed”, that cannot be held back and felt to the end: “the pink dawn over the chilling skies”, “immortal verses.” This requires some other organ , some kind of “sixth sense.” And if not nature, then art is designed to give the exhausted human flesh, his spirit the opportunity, even after going through the torment, to feel the beyond:

So century after century - how soon, Lord? -

Under the scalpel of nature and art

Our spirit screams, flesh is exhausted,

Giving birth to an organ for the sixth sense.)

IV... Homework implementation

V... Teacher's lecture

The revolutionary events in Russia found N. Gumilyov in France, in the Russian expeditionary corps. From there he moved to England, to London, where he worked on the novel The Merry Brothers. During this period, he approached literary issues in a new way, believing that Russian writers had already overcome the period of rhetorical poetry and now the time has come for verbal economy, simplicity, clarity and reliability.

Returning in 1918 through Scandinavia to Petrograd, Gumilyov energetically joins the then stormy literary life, from which he was torn away by the war for a long time. He did not feel the severity of the post-revolutionary situation, he spoke openly about his monarchist predilections and did not seem to notice the dramatic changes in the country. He had a hard time going through the collapse of his first family, but the most intense creative work helped him to heal his emotional wound. In conditions of severe cold and hunger, he knew how to forget about the difficulties of life and was overwhelmed with artistic ideas. The poet prints a new poem - "Mick" - on an African theme, re-publishes early collections of poems, enthusiastically works in the publishing house "World Literature", where he was attracted by Gorky and where he is in charge of the French department; he organizes several publishing houses, recreates the "Workshop of Poets", manages its branch - "The Sounding Shell"; creates a Petrograd branch of the "Union of Poets", becoming its chairman; conducts a poetry seminar at the studio of the House of Arts, teaches at the Institute of Living Word.

These three years (1918-1921) were unusually fruitful in terms of creativity. Gumilev translates a lot (folk ballads about Robin Hood, "Poem about an Old Sailor" by S. Coleridge, French folk songs, works by Voltaire, Heine, Byron, Rimbaud, Rolland); speaks at evenings with the reading of his poems, theoretically comprehends the practice of acmeism; publishes in Sevastopol the collection Tent, again devoted to the African theme (this was the last book published during the author's lifetime); creates the "Poem of the Beginning" (1919-1921), in which he turns to the philosophical and cosmogonic theme, basing it on the Assyrian, Babylonian and Slavic epics.

The poet is also preparing for publication a new significant collection of poems - "The Pillar of Fire", printed in August 1921, after the death of the author. It includes works created during the last three years of the poet's life, mainly of a philosophical nature ("Memory", "Soul and Body", "Sixth Sense", etc.). The title of the collection dedicated to Gumilev's second wife Anna Nikolaevna Engelhardt goes back to biblical imagery, the Old Testament Book of Nehemiah.

Among the best poems of the new book is "The Lost Tram" - the most famous and at the same time complex and mysterious work.

VI... Reading and analysis of the poem "Lost Tram"