Biography of Gumilyov. Creative and life path of Gumilyov Nikolai Stepanovich

Lesson topic: “Nikolai Gumilyov. Review of early work. "Shop of poets".

The problem of life creation.

The teacher will talk about the early work of N. Gumilyov.

The heroes of his works are unusual and amazing characters.

The lesson analyzes poems that reflect the worldview of the author, his character.

Topic: Russian literature of the XX century

Lesson: Nikolai Gumilyov. Review of early work. "Shop of poets".

The problem of life creation

Everything in itself contains a person who loves the world and believes in God. N. Gumilyov

I'm lost forever... in the blind passages of space and time. N. Gumilyov

Nikolai Stepanovich Gumilyov was born in Kronstadt on April 3 (15), 1886. His father, Stepan (Stefan) Yakovlevich served as a doctor in the navy. Mother, Anna Ivanovna, nee Lvova, was from an old noble family.

The future poet spent his childhood in Tsarskoye Selo, then lived with his parents for some time in Tiflis (it was there that his first poem appeared in print in 1902). From childhood, Gumilyov was a weak and sickly child: he was constantly tormented by headaches, he reacted poorly to noise. Despite this, he often participated in games with peers, where he constantly tried to lead. But he preferred loneliness or the company of animals to communication with children - a “red dog”, a parrot, guinea pigs. He also wrote poetry...

I fled to the forest from the cities... I fled from the cities to the forest, I fled from the people to the desert... Now I'm ready to pray, To sob, as I did not sob before.

Here I am alone with myself ... It's time, it's time for me to rest: Merciless light, blind light My brain drank, burned my chest.

I am a terrible sinner, I am a villain: God gave me the strength to fight, I loved the truth and people; But I trampled on the ideal...

I could fight, but like a slave, Shamefully cowardly, I retreated And, saying: "Alas, I am weak!" - He crushed his aspirations ...

I am a terrible sinner, I am a villain... Forgive me, Lord, forgive me. Forgive my tormented soul, appreciating repentance!..

There are people with a fiery soul, There are people with a thirst for good, You give them your holy banner, They are attracted and attracted by the struggle. Forgive me!..” 09/08/1902.

In 1903, the Gumilev family returned to Tsarskoe Selo and the poet entered the gymnasium, the director of which was I.F. Annensky.

In 1906, after graduating from the gymnasium, Gumilyov left for Paris, where he listened to lectures at the Sorbonne and made acquaintances in the literary and artistic environment. He attempts to publish the Sirius magazine, in the three published issues of which he is published under his own name and under the pseudonym Anatoly Grant. He sends correspondence to the magazine "Vesy", the newspapers "Rus" and "Rannee Utro". In Paris, and also in the author's edition, the second collection of Gumilyov's poems, "Romantic Poems" (1908), dedicated to A. A. Gorenko, was published. The first collections of N. S. Gumilev: "The Way of the Conquistadors" (1907) and "Romantic Flowers" (1909). Here appeared recognizable verses of symbolist poetry (ascetic style, hero-warrior). These poems were neo-romantic.

Rice. 3. Monument to the conquistador in San Antonio ()

The gardens of my soul are always patterned,

In them the winds are so fresh and quiet,

They have golden sand and black marble,

Deep, transparent pools.

The plants in them, like dreams, are extraordinary,

Like the waters in the morning, the birds turn pink,

And - who will understand the hint of an ancient secret? -

In them is a girl in a wreath of a great priestess.

Eyes like a gleam of pure gray steel

Graceful forehead, whiter than oriental lilies,

Mouth that no one was kissed

And they never spoke to anyone.

And cheeks - pinkish pearls of the south,

Treasure of unthinkable fantasies,

And the hands that caressed only each other,

Intertwined in prayerful ecstasy.

At her feet are two black panthers.

With a metallic sheen on the skin.

Taking off from the roses of the mysterious cave,

Her flamingo swims in the blue.

I don't look at the world of running lines

My dreams are only submissive to the eternal.

Let the sirocco rage in the desert

The gardens of my soul are always patterned.

1907, Paris

In this poem, the opposition between inner and inner peace author.

Written in iambic pentameter.

In autumn he makes his first trip to the East - to Egypt. Enters the law faculty of the capital's university, soon transferred to the historical and philological. At this time, get acquainted with V. Ivanov. In 1909, he took an active part in the organization of a new publication - the journal "Apollo", in which later, until 1917, he published poems and translations and maintained a permanent column "Letters on Russian Poetry".

At the end of 1909, Gumilyov left for Abyssinia for several months, and when he returned, he published a new book - "Pearls". Contents of this collection of poems:

1. Black pearl

2. "Pearl gray"

3. "Pearl pink"

4. "Romantic flowers"

The collection "Pearls" becomes the most decadent in the work of N. Gumilyov.

On the polar seas and in the south,

Along the bends of the green swells,

Between basalt rocks and pearl

The sails of the ships rustle.

The swift-wings are led by captains,

Discoverers of new lands,

Who is not afraid of hurricanes

Who has known the maelstroms and stranded.

Whose is not the dust of lost charters -

The chest is soaked with the salt of the sea,

Who is the needle on the torn map

Marks his audacious path

And, having ascended the trembling bridge,

Remembers the abandoned port

Shaking off the blows of the cane

Shreds of foam from high boots,

Or, discovering a riot on board,

From behind the belt tears a gun,

So that gold pours from lace,

With pinkish Brabant cuffs.

The ships in this poem are animated.

April 25, 1910 Nikolai Gumilyov marries Anna Gorenko (their relationship broke up in 1914).

In the autumn of 1911, a "Poets' Workshop" was created, which manifested its autonomy from symbolism and the creation of its own aesthetic program (Gumilyov's article "The Heritage of Symbolism and Acmeism", published in 1913 in "Apollo"). The Gumilev's poem " Prodigal son"(1911), included in his collection "Alien Sky" (1912).

Rice. 7. The third book of poems by N. Gumilyov. Alien sky ()

At this time, Gumilyov's reputation as a "master", "sindik" (head) of the Poets' Workshop, one of the most significant modern poets, was firmly established.

Rice. 8. Magazine "Workshop of Poets" "New Hyperborean" No. 1 ()

For acmeists it was important to make the world tangible in verse.

Gumilyov's new ideas were criticized by his contemporaries. Distinguished lyricists N.S. Gumilyov, according to V. Zhirmunsky:

lack of emotional revelations,

muting the lyrical beginning,

interest in narrative genres,

striving for a concise, polished phrase.

In the spring of 1913, as the head of the expedition from the Academy of Sciences, Gumilyov left for Africa for six months (to replenish the collection of the ethnographic museum), kept a travel diary (excerpts from the African Diary were published in 1916, a more complete text was published recently).

Gumilyov at this time is considered a recognized poet. He acted arrogantly and coldly towards others. Many were surprised by his self-control, confidence. He is looking for danger: he asks himself to join the army.

Bibliography

1. Chalmaev V.A., Zinin S.A. Russian literature of the twentieth century.: Textbook for grade 11: In 2 hours - 5th ed. - M .: OOO 2TID " Russian word– RS”, 2008.

2. Agenosov V.V. . Russian literature of the 20th century. Toolkit M. Bustard, 2002

3. Russian literature of the 20th century. Tutorial for applicants to universities M. uch.-scient. Center "Moscow Lyceum", 1995.

N Gumilev (material collection) ().

Presentation "Gumilyov's Creativity" ().

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Ministry of Education and Science of the Russian Federation

federal state autonomous educational institution higher professional education

"Far Eastern Federal University" (Branch in Nakhodka)

abstract

By discipline: "Russian literature"

On the topic: "The life and work of Nikolai Gumilyov"

Completed by: student of group 15С-1321

Yashchuk Tatyana Alekseevna

Nakhodka, 2015

1. The life and work of Nikolai Gumilyov

2. Analysis of Gumilev's work

3. Analysis of the poem "Captains"

4. Analysis of the poem “Slave”

Conclusion

Literature

1. lifeb and the work of Nikolai Gumilyov

Nikolai Stepanovich Gumilyov was born on April 3 (15), 1886 in Kronstadt, where his father, Stepan Yakovlevich, who graduated from the gymnasium in Ryazan and Moscow University in the medical faculty, served as a ship's doctor. According to some reports, the father's family came from a clergy rank, which can be indirectly confirmed by the surname (from the Latin word humilis, "humble"), but the poet's grandfather, Yakov Stepanovich, was a landowner, owner of a small Berezka estate in the Ryazan province, where the Gumilyov family sometimes spent the summer. B. P. Kozmin, without indicating the source, says that the young N. S. Gumilyov, who was then fond of socialism and read Marx (he was at that time a Tiflis schoolboy - that means it was between 1901 and 1903), was engaged in agitation among the millers , and this caused complications with the governor. Berezki were later sold, and a small estate near St. Petersburg was bought in their place.

Gumilyov's mother, Anna Ivanovna, sister of Admiral L. I. Lvov, was the second wife of Stepan Yakovlevich and more than twenty years younger than her husband. The poet had an older brother, Dmitry, and a half-sister, Alexandra, in the marriage of Sverchkov. The mother outlived both sons, but the exact year of her death has not been established.

Gumilyov was still a child when his father retired and the family moved to Tsarskoe Selo. Gumilyov began his education at home, and then studied at the Gurevich gymnasium, but in 1900 the family moved to Tiflis, and he entered the 4th grade of the 2nd gymnasium, and then transferred to the 1st. But the stay in Tiflis was short-lived. In 1903, the family returned to Tsarskoye Selo, and the poet entered the 7th grade of the Nikolaev Tsarsko-Selo Gymnasium, the director of which at that time was and until 1906 the famous poet Innokenty Fedorovich Annensky remained. The latter is usually credited with a great influence on the poetic development of Gumilyov, who, in any case, held Annensky very highly as a poet. Apparently, Gumilev began to write poetry (and stories) very early, when he was only eight years old. His first appearance in print dates back to the time when the family lived in Tiflis: on September 8, 1902, his poem "I fled from the cities to the forest ..." was published in the newspaper "Tiflis Listok".

Gumilyov studied poorly, especially in mathematics, and graduated from the gymnasium late, only in 1906. But a year before graduating from high school, he published his first collection of poems called The Way of the Conquistadors, with an epigraph from Andre Gide, hardly known to many then, and later so famous French writer, whom he obviously read in the original.

Gumilyov entered St. Petersburg University in 1912, studied Old French literature at the Romano-Germanic department, but did not finish the course. He really went to Paris and spent 1907-1908 abroad, listening to lectures on French literature at the Sorbonne. In Paris, Gumilev took it into his head to publish a small literary magazine called "Sirius", in which he published his own poems and stories under the pseudonyms "Anatoly Grant" and "Co", as well as the first poems of Anna Andreevna Gorenko, who soon became his wife and became famous under the name of Anna Akhmatova - they knew each other from Tsarskoe Selo. Here in 1908 Gumilyov published his second book of poems - "Romantic Flowers". From Paris he made his first trip to Africa in 1907. Apparently, this trip was undertaken against the will of his father, at least, this is how A. A. Gumilyova writes about this: About this dream of his [to go to Africa] ... the poet wrote to his father, but his father categorically stated that neither money, nor his blessing for such an "extravagant journey" he will not receive until graduation from the university. Nevertheless, Nikolai, in spite of everything, set off in 1907, saving the necessary funds from his parents' monthly pay.

Subsequently, the poet enthusiastically told about everything he saw: - how he spent the night in the hold of the steamer with the pilgrims, how he shared their meager meal with them, how he was arrested in Trouville for trying to get on the steamer and drive "hare". This journey was hidden from the parents, and they learned about it only after the fact. The poet wrote letters to his parents in advance, and his friends carefully sent them every ten days from Paris.

In 1908 Gumilev returned to Russia. Now he already had some literary name. Between 1908 and 1910. Gumilyov makes literary acquaintances and enters the literary life of the capital. Living in Tsarskoye Selo, he communicates a lot with I. F. Annensky. In 1909, he met S.K. Makovsky and introduced the latter to Annensky, who a short time becomes one of the pillars of the Apollo magazine founded by Makovsky.

In the spring of 1910, Gumilyov's father died, having been seriously ill for a long time. A little later in the same year, on April 25, Gumilyov married Anna Andreevna Gorenko. After the wedding, the young people left for Paris. In the autumn of the same year, Gumilyov undertook a new trip to Africa, this time visiting the most inaccessible places in Abyssinia. In 1910, the third book of Gumilyov's poems was published, which brought him wide fame - "Pearls".

In 1911, the Gumilyovs had a son, Lev. The birth of the Guild of Poets dates back to the same year, Gumilev sets off on a new journey in 1913 to Africa, this time furnished as a scientific expedition, with an order from the Academy of Sciences (on this journey, Gumilev was accompanied by his seventeen-year-old nephew, Nikolai Leonidovich Sverchkov). Gumilyov wrote about this trip to Africa (and perhaps partly about the previous ones) in his "Iambas Pentameters" published for the first time in "Apollo":

But the months went by

I swam and took away the tusks of elephants,

Paintings by Abyssinian masters,

Panther furs - I liked their spots -

And what was previously incomprehensible,

Contempt for the world and fatigue of dreams.

Gumilyov spoke about his hunting exploits in Africa in an essay that will be included in the last volume of our Collected Works, along with other Gumilyov's prose. “Iambic Pentameters” is one of the most personal and autobiographical poems of Gumilyov, who had previously amazed with his “objectivity, his “impersonality” in verse. The bitter lines in these “Iambas” are clearly addressed to A. A. Akhmatova and reveal time in their relationship a deep and irreparable crack:

I know life has failed... and you,

You, for whom I sought in the Levant

The imperishable purple of royal robes,

I lost you like Damayanti

Once lost crazy Nal.

Bones flew up, ringing like steel,

Bones fell - and there was sadness.

You said thoughtfully, sternly:

"I believed, I loved too much,

And I'm leaving, not believing, not loving,

And before the face of the All-seeing God,

Perhaps destroying yourself

Forever I renounce you."

I did not dare to kiss your hair,

Not even to squeeze cold, thin hands.

I was ugly to myself, like a spider,

I was frightened and tormented by every sound.

And you left in a simple and dark dress,

Similar to the ancient Crucifix.

In July 1914, when the shot of Gabriel Princip was fired in distant Sarajevo, and then the fire of war engulfed all of Europe, a tragic era began. poet Gumilyov slave seal

A patriotic impulse then swept over the entire Russian society. But perhaps the only one among any prominent Russian writers, Gumilyov responded to the war that had befallen the country effectively, and almost immediately (August 24) signed up as a volunteer. He himself, in a later version of the Iambic Pentameter already mentioned, said it best:

And in the roar of the human crowd,

In the roar of passing guns,

In the silent call of the battle trumpet

I suddenly heard the song of my destiny

And ran where the people ran,

Dutifully repeating: wake up, wake up.

The soldiers sang loudly, and the words

They were indistinct, their heart caught:

- "Hurry forward! The grave is the grave!

Fresh grass will be our bed,

And the canopy is green foliage,

An ally is the Arkhangelsk force. "-

So sweetly this song flowed, beckoning,

That I went and accepted me

And they gave me a rifle and a horse,

And a field full of mighty enemies,

Buzzing menacingly bombs and melodious bullets,

And the sky in lightning and red clouds.

And the soul is burned with happiness

Since then; full of fun

And clarity, and wisdom, about God

She talks to the stars

The voice of God hears in military alarm

And God calls his roads.

In several of Gumilyov's poems about the war, included in the collection "Kolchan" (1916) - perhaps the best in all "military" poetry in Russian literature: not only romantic-patriotic, but also Gumilyov's deeply religious perception of the war was affected.

In January 1918 Gumilev left Paris and moved to London. Gumilyov left London in April 1918.

In the same year, he divorced A. A. Akhmatova, and the following year he married Anna Nikolaevna Engelhardt, the daughter of an Orientalist professor, whom S. K. Makovsky described as "a pretty, but mentally insignificant girl." In 1920, the Gumilevs, according to A. A. Gumileva, had a daughter, Elena.

In 1918, shortly after returning to Russia, he conceived the idea of republishing some of his pre-revolutionary poetry collections: new, revised editions of Romantic Flowers and Pearls appeared; were announced, but "Alien Sky" and "Quiver" did not come out. In the same year, Gumilev's sixth collection of poems, The Bonfire, was published, containing poems from 1916-1917, as well as the African poem Mick and the already mentioned Porcelain Pavilion.

There is no reason to think that Gumilyov returned to Russia in the spring of 1918 with the conscious intention of investing in the counter-revolutionary struggle, but there is every reason to believe that if he had been in Russia at the end of 1917, he would have found himself in the ranks of the White Movement.

Gumilyov was arrested on August 3, 1921 (he was found guilty of participating in a conspiracy in which he did not participate, he was simply acquainted with one of the leaders of the conspiracy, N.I. Lazarevsky), four days before the death of A.A. .block. Both V. F. Khodasevich and G. V. Ivanov in their memoirs say that some provocateur played a role in Gumilyov's death. Gumilyov was found guilty and shot.

In his memoirs about Gumilyov, a phrase from his letter to his wife from prison was quoted more than once: "Don't worry about me. I'm healthy, I write poetry and play chess." It was also mentioned that in prison before his death Gumilev read Homer and the Gospel. The poems written by Gumilyov in prison have not reached us. They were probably confiscated by the Cheka and maybe - who knows? - preserved in the archives of this sinister institution. And Gumilyov is the first great poet in the history of Russian literature, whose burial place is not even known. As Irina Odoevtseva said in her poem about him:

And not on his grave

No hill, no cross, nothing.

2. Analysis of Gumilev's work

Gumilyov's poetry in different periods of his creative life is very different. Sometimes he categorically denies the Symbolists, and sometimes he is so close to their work that it is difficult to guess that all these wonderful poems belong to one poet. Here we recall the words of the insightful A. Blok: “The writer is a perennial plant... the soul of the writer expands in periods, and his creation is only the external results of the underground growth of the soul. Therefore, the path of development can only appear straight in perspective, while following the writer along all 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 creative way Gumilyov. Thus, the early Gumilyov gravitated toward the poetry of the senior symbolists Balmont and Bryusov, was fond of Kipling's romance, and at the same time turned to foreign classics: W. Shakespeare, F. Rabelais, F. Villon, T. Gautier and even Nekrasov's epic-monumental works . Later, he moved away from the romantic decorativeness of exotic lyrics and the lush brightness of images to a clearer and more rigorous form of versification, which became the basis of the acmeist movement. He was strict and inexorable towards young poets, the first to declare versification a science and a craft that needs to be learned in the same way as music and painting are taught. Talent, pure inspiration, in his understanding, had to have a perfect apparatus for versification, and he stubbornly and sternly taught the young mastery. The poems of the acmeist period, which made up the collection "The Seventh Heaven", confirm such a sober, analytical, scientific approach of Gumilyov to the phenomena of poetry. The main provisions of the new theory are outlined by him in the article “The Legacy of Symbolism and Acmeism”. The “new direction” was given two names: acmeism and adamism(from Greek - “a courageously firm and clear outlook on life”). Gumilyov considered their main achievement to be the recognition of the "intrinsic value of each phenomenon", the displacement of the cult of the "unknown" by "childishly wise, painfully sweet feeling of one's own ignorance." Also of this period is the writing of Gumilyov's serious critical work "Letters on Russian Poetry", published later in 1923.

This book of exclusively poetic criticism occupies a special place in the history of Russian critical thought. The articles and reviews included in it were written by a great poet and passionate theoretician of verse, a man of impeccable poetic ear and precise taste. Possessing an unconditional gift of foresight, Gumilyov the critic outlines in his works the paths for the development of Russian poetry, and today we can see how accurate and far-sighted he was in his assessments. He expressed his understanding of poetry at the very beginning of his program article Anatomy of a Poem, which opens the collection Letters on Russian Poetry. “Among the numerous formulas that determine the essence of poetry, two stand out,” N. Gumilyov wrote, “proposed by poets who ponder the secrets of their craft. They say: "Poetry is best words in the best order” and “Poetry is what is created and, therefore, does not need to be altered.” Both of these formulas are based on a particularly vivid sense of the laws by which words affect our consciousness. A poet is one who "takes into account all the laws that govern the complex of words he has taken." It is this position that underlies the enormous work that Gumilyov did with young poets after the revolution, persistently teaching them the technique of verse, the secrets of that craft, without which, in his opinion, real poetry is impossible. Gumilyov wanted to write a theory of poetry, this book was not destined to be born, and his attitude to the "holy craft" of poetry is concentrated in several articles and reviews that made up the Letters on Russian Poetry.

But over the years, Gumilyov's poetry has changed somewhat, although the foundation remains solid. In the collections of the military era, distant echoes of Blok's Russia, surrounded by rivers, and even Andrei Bely's "Ashes" suddenly appear in it. This trend continues in post-revolutionary creativity. It is amazing, but in the poems of 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 lyric-philosophical content of which differs significantly from the romanticism of the famous "Captains", acmeistic "beautiful clarity" and concreteness.

3. Analysis of the poem "Captains"

This poem belongs to one of the first collections of Gumilyov, when "the muse of wanderings has not yet left him." In this poem, he glorifies the courage, strength and valor of the "discoverers of new lands", this image in him combines the captain of the navy and the Spanish pirate. His captains are people who lived at the time when America was discovered, so the image of the captain resembles the heroes of the then novels.

Many features of his early work are very clearly manifested here: exoticism, a riot of colors: “gold from lace”, “... pinkish ... cuffs”; A set of feelings, love for lush interior and exterior decoration, rigor of form.

The courage of the lyrical hero who is trying to find his happiness beyond the line of being is emphasized.

Gumilyov in this poem acts as a romantic poet, much here is idealized and exaggerated.

We liked this poem very much for its exoticism, and we especially liked the lyrical hero, reminiscent of an adventurer.

4. Analysis of the poem "Slave"

The poem was written by Gumilyov under the impression he received while traveling in Africa through Abyssinia. Gumilyov was amazed at the situation of the indigenous inhabitants of this country, slavery still existed in it, and it was the situation of the oppressed Negroes that served as the reason for writing this poem. Therefore, the theme here is: the oppressed and the oppressors.

A feature of the poem is that the narration is conducted from the faces of lyrical heroes - slaves. They speak of their oppressed misery:

We have to clean his things.

We must guard his mules,

And in the evening there is corned beef,

that got spoiled during the day.

As if in opposition to them, another lyrical hero becomes - a “European”, a slave owner:

He sits under the shade of a palm tree,

Wrapping your face in a veil of earth,

He puts a bottle of whiskey next to him,

And whips foaming slaves.

He is mockingly called brave, because his strength, courage lies only in a sharp saber and a “lashing whip” and “long-range weapon”. Through the words of the slaves, it is felt that Gumilyov condemns, despises this arrogant, soulless, evil coward, who can feel stronger only by oppressing the powerless.

The almost complete absence of epithets can also be attributed to the features of the poem. And since the story is being told on behalf of the oppressed, in my opinion, the author wanted to emphasize by this that the slaves cannot feel anything except anger and strong hatred for the “European”, which at the end of the poem turns into a threat:

He [a European] has a delicate body

It will be sweet to pierce him with a knife.

This is the essence of the poem. Gumilyov says that the humiliations that the indigenous people were subjected to will not go unnoticed and, sooner or later, they will take revenge on the uninvited guests from Europe and regain their freedom.

Conclusion

Nikolai Gumilyov was a far from ordinary personality 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, which he coped with valor: several suicide attempts in his youth, unhappy love, almost a duel, participation in the world war. But it ended at the age of 35, and who knows what brilliant works Gumilyov could still create. An excellent artist, he left an interesting and significant legacy, and had an undoubted influence on the development of Russian poetry. His students and followers, along with high romanticism, are characterized by the utmost accuracy of poetic form, so appreciated by Gumilyov himself, one of the best Russian poets of the early 20th century.

Lliterature

1) G. Mesnyaev "Renaissance" 1981-82 "In the iron shell."

2) “Gumilyov Nikolai Stepanovich. Poems and poems”, VK Luknitskaya.

3) “Russian literature of the XX century”. L.A. Smirnova, A.M. Turkov, A.M. Marchenko and others.

4) Soviet Encyclopedic Dictionary.

5) "Tagantsev business". V. Khizhnyak. (“Evening Moscow”).

6) http://ref.repetiruem.ru/referat/nikolajj-stepanovich-gumilev2

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mature creativity. Travels

After graduating from the gymnasium in 1906, Gumilyov left for Paris and entered the Sorbonne. While in France, Nikolai Stepanovich tried to publish the Sirius magazine (1907), which was exquisite for those times. In 1908, the writer's second collection "Romantic Flowers" was published, dedicated to Anna Akhmatova. This book laid the foundation for the mature work of Gumilyov.

Nikolai Stepanovich returns to Russia, but soon leaves again. The writer visits with expeditions Sinop, Istanbul, Greece, Egypt, African countries.

In 1909, Gumilyov entered St. Petersburg University, first at the Faculty of Law, but then transferred to the Faculty of History and Philology. The writer accepts Active participation in the creation of the Apollo magazine. In 1910, the collection "Pearls" was released, which received positive reviews from V. Ivanov, I. Annensky, V. Bryusov. The book includes the famous work of the writer "Captains".

In April 1910 Gumilev married Anna Akhmatova.

"Workshop of poets" and acmeism. World War I

In 1911, with the participation of Gumilyov, the poetic association "Workshop of Poets" was created, which included O. Mandelstam, S. Gorodetsky, V. Narbut, M. Zenkevich, E. Kuzmina-Karavaeva. In 1912, Nikolai Stepanovich announced the emergence of a new artistic movement, acmeism, soon the journal Hyperborea was created, and Gumilyov's collection Alien Sky was published. In 1913, the writer again went to the East.

With the outbreak of the First World War, Gumilyov, whose biography was already full of extraordinary events, voluntarily goes to the front, for courage he is awarded two St. George's crosses. While serving in Paris in 1917, the poet falls in love with Helena du Boucher and dedicates a collection of poems To the Blue Star to her.

post-war years. Doom

In 1918 Gumilev returned to Russia. In August of the same year, the writer divorces Akhmatova.

In 1919-1920, the poet worked at the World Literature publishing house, taught, translated from English and French. In 1919 he marries Anna Engelhardt, daughter of N. Engelhard. Gumilyov's poems from the collection Pillar of Fire (1921) are dedicated to his second wife.

In August 1921, Nikolai Gumilyov was arrested on charges of participating in the anti-government "Tagantsev conspiracy." Three weeks later, he was sentenced to death, executed the next day. The exact date of the execution and the place of burial of Gumilyov Nikolai Stepanovich are unknown.

Chronological table

Other biography options

In 1909, Gumilyov took part in an absurd duel with M. Voloshin due to the fact that Nikolai Stepanovich spoke unflatteringly about the poetess Elizaveta Dmitrieva. Both poets did not want to shoot themselves, Gumilyov fired into the air, Voloshin's pistol misfired.
In 1916, Gumilyov was enrolled in a special Fifth Alexandria Hussar Regiment, whose soldiers took part in the most fierce battles near Dvinsk.
Anna Akhmatova has always criticized Gumilyov's poetry. This often led to the fact that the poet burned his works.
For a long time, Gumilyov's works were not published. The poet was rehabilitated only in 1992.
Two documentaries were shot about Gumilyov's life - "Testament" (2011) and " A new version. Gumilyov against dictatorship” (2009).

In October 1911, a new literary association "Workshop of Poets" was founded, headed by N.S. Gumilyov and S.M. Gorodetsky. The name of the circle indicated the attitude of the participants to poetry as a purely professional field of activity. The "workshop" was a school of formal craftsmanship, indifferent to the peculiarities of the worldview of the participants.

The work of an outstanding poet, one of the founders of the "Poets' Workshop" became an example of overcoming the aesthetic doctrine of acmeism.

Nikolai Stepanovich Gumilyov was born on April 3, 1886 in Kronstadt in the family of a naval doctor. Earlier, the future poet spent his childhood in Tsarskoye Selo, where his parents moved after his father's dismissal from military service. There he studied at the Tsarskoye Selo gymnasium, the director of which was I.F. Annensky. At this time, Nikolai's friendship is established, first with Andrei Gorenko, and then with his sister Anna, the future poetess Akhmatova, to whom he begins to dedicate his lyrical poems.

Gumilyov began to write poetry at the age of twelve and placed his first story in the gymnasium handwritten journal. When his family moved to the Caucasus in 1900, he enthusiastically wrote poetry about Georgia and early love. Gumilyov's first poem, published in the Tiflis newspaper (1902), is romantic in nature and depicts a lyrical hero rushing from "cities into the desert", who is attracted by restless "people with a fiery soul" and with a "thirst for good" ("I ran into the forest from the cities...).

Gumilyov began his journey in literature at the time of the heyday of symbolist poetry. It is not surprising that in his early lyrics there is a very palpable dependence on symbolism. It is interesting that the future acmeist did not follow in his work the chronologically closest generation of young symbolists, but was guided by the poetic practice of older symbolists, primarily K.D. Balmont and V.Ya. Bryusov. From the first in Gumilyov's early poems - the decorativeness of landscapes and the general craving for catchy external effects, the apology brought the novice poet closer to the second strong personality, reliance on solid qualities of character.

However, even against the background of Bryusov's lyrical heroics, the position of the early Gumilyov was distinguished by special energy. For his lyrical hero there is no abyss between reality and dream: Gumilyov affirms the priority of bold dreams, free fantasy. His early lyrics are devoid of tragic notes, moreover, Gumilyov is characterized by restraint in the manifestation of any emotions: at that time he assessed a purely personal, confessional tone as neurasthenia. The lyrical experience in his poetic world is certainly objectified, the mood is conveyed by visual images, ordered into a harmonious, “picturesque” composition.

Gumilyov and the poets of his generation trusted much more sensory perception, primarily visual. The evolution of the early Gumilyov is the gradual consolidation of precisely this stylistic quality: the use of the visual properties of the image, the rehabilitation of a single thing, important not only as a sign of spiritual movements or metaphysical insights, but also (and sometimes in the first place) as a colorful component of the overall scenery.

In 1905, in St. Petersburg, Gumilyov published the first collection of poems, The Path of the Conquistadors. 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, cheerfully walking towards dangers, "leaning towards abysses and abysses." The poet glorifies a strong-willed personality, expresses his dream of a feat and heroism. He finds for himself a kind of poetic mask - a conquistador, a bold conqueror of distant lands ("Sonnet"). The author considered this poem programmatic. In it, he likens himself to the ancient conquerors, mastering new earthly spaces: "Like a conquistador in an iron shell, / I set out on a journey ...". The poem glorifies the courageous duel with death and the relentless movement towards the intended goal. Written in the form of a sonnet, it is interesting in glorifying bold risk, courage, overcoming obstacles. At the same time, Gumilyov's hero is devoid of gloomy seriousness, formidable concentration: he walks "merrily", "laughing" adversity, resting "in a joyful garden."

But another theme is also revealed in the poem, its other plan is revealed in it. Gumilyov referred to the "conquistadors" and the conquerors, "filling the treasury of poetry with gold bars and diamond tiaras." The poem speaks, therefore, of the discovery of new poetic continents, of courage in mastering new themes, forms, and aesthetic principles.

The collection was noticed by the most prominent symbolist poet V. Bryusov, who published a review of the first experience of the novice author in his journal Scales. This review, which inspired the young man, became the reason for the beginning of an active correspondence of poets, and Gumilyov's further growth was largely determined by the influence of V. Bryusov, whom the young author called his teacher.

In 1906, Gumilyov graduated from the gymnasium and then spent about three years in Paris, where he publishes the Sirius magazine, writes a number of short stories (Princess Zara, The Golden Knight, Stradivarius Violin) and publishes a collection of poems Romantic Flowers ( 1908). The collection contains poems dedicated to Cairo sailors and children, Lake Chad, rhino, jaguar, giraffe. But what is especially important, the poet learns to portray these heroes of his lyrics objectively, voluminously, convexly (“Hyena”, “Giraffe”). V. Bryusov highly appreciates the collection that Gumilyov "definitely draws his images."

Upon his return to Russia (1908), Gumilyov entered St. Petersburg University, actively collaborated in newspaper and magazine periodicals, founded the "Academy of Verse" for young poets. In 1909-1913 he made three trips to Africa. In 1910 he married A.A. Gorenko.

Gumilyov continued his poetic development in the next collection, The Pearl (1910), dedicated to V. Bryusov. This is also a book of romantic poetry. Enhancing the picturesqueness of poetry, Gumilyov often repels from works of fine art (“Portrait of a Man”, “Beatrice”), prompting him to be descriptive. Literary plots (“Don Juan”), motifs of symbolist poems (Balmont, Bryusov) become another source of imagery.

It is impossible not to note in the collection the greater elasticity of the verse, the refinement of poetic thought, which will later be felt in The Captains. Gumilyov timidly outlined the paths that would lead him to the collections Alien Sky and Bonfire.

In the early 1910s Gumilyov became the founder of a new literary trend - acmeism. The principles of acmeism were largely the result of Gumilyov's theoretical understanding of his own poetic practice. The key categories in acmeism were the categories of autonomy, balance, concreteness. The "place of action" of the lyrical works of the acmeists is earthly life, the source of eventfulness is the activity of the person himself. The lyrical hero of the acmeist period of Gumilyov's work is not a passive contemplator of life's mysteries, but the organizer and discoverer of earthly beauty.

From the lush rhetoric and decorative flamboyance of the first collections, Gumilyov gradually moves on to epigrammatic rigor and clarity, to a balance of lyricism and epic descriptiveness.

For 1911 - 1912 the period of organizational unity and creative flourishing of acmeism came. Gumilev published at that time his most "acmeistic" collection of poems - "Alien Sky" (1912). Moderation of expression, verbal discipline, balance of feeling and image, content and form are felt here. The book includes poems of the poet, published in 1910-1911 in Apollo.

I must say that romantic motives are still noticeable in the collection. In the book as a whole, the acmeistic features of N. Gumilyov's poetry were clearly affected: vivid depiction, narrative, inclination to reveal the objective world, weakening of the musical and emotional principles, impassivity, expressiveness of descriptions, the multiplicity of faces of the lyrical hero, a clear view of the world, adamistic worldview, classical rigor of style, balance of volumes, precision of detail. In order to support and strengthen the acmeist tendency of his collection, N. Gumilyov included in it translations of five poems by Theophile Gautier. The book also includes the cycle "Abyssinian Songs", which shows how Gumilyov's approach to the transfer of the exotic world has changed significantly. The poems "The Discovery of America" and "The Prodigal Son", as well as the one-act play "Don Juan in Egypt" stand apart in the collection.

In the collection, one can feel the author's obvious departure from the Russian theme. However, Gumilyov devoted one of the sections of the book to his compatriot Anna Akhmatova, who in 1910 became the poet's wife. To the seventeen poems of this section, one more can be added - "From the Lair of the Serpent", with which the first part of the collection ends.

The Alien Sky collection received many positive responses, making the name of its author widely known and earning him a reputation as a master.

One of the main characteristics of Gumilyov's work can be called the cult of courageous risk, which was embodied in his works of many genres. These are essays about a trip to Africa (1913-1914), "African Diary" (1913), stories "African Hunt" (1916) and "Forest Devil" (1917).

With the outbreak of World War I, the poet volunteered for the Lancers Regiment, and was awarded two St. George Crosses for participation in hostilities. The poet spoke about his participation in the battles in the Notes of a Cavalryman (1915-1916).

Life-affirming pathos lives on in the new collection of poems Quiver (1916), published at the height of the First World War.

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 arms." In the same book of poems, Gumilyov recreates Norway in his imagination, correlating its people and landscapes with the images of Ibsen and Grieg; Sweden and its "confused, discordant Stockholm". But here the Russian theme also matures. Many features of this collection can be found in the poem "Autumn". Naturally, among the poems about native expanses, rowan autumn, “meadows smelling of honey” of childhood, there are lines about the art of monks and the insights of Andrei Rublev, his icons and frescoes.

The revolutionary events in Russia found N. Gumilyov in France. From there he moved to England, to London, where he worked on the story "Merry Brothers". During this period, he approaches the issues of literature in a new way, believing that Russian writers have 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 joined the then stormy literary life, from which he had been torn off by the war for a long time. He openly spoke about his monarchical predilections and did not seem to notice the dramatic changes in the country. He had a hard time with the collapse of the first family, but the most intense creative work helped him heal his spiritual wound. The poet publishes a new poem - "Mick" - on an African theme, re-publishes early collections of poems, works enthusiastically at the publishing house "World Literature", where Gorky was attracted and where he is in charge of the French department; he organizes several publishing houses himself, recreates the "Poets' Workshop", manages its branch - the "Sounding Shell"; creates the Petrograd branch of the Union of Poets, becoming its chairman.

The last three years of the poet's life (1918-1921) were unusually fruitful in creative terms. Gumilyov translates a lot, speaks at evenings reading his poems, theoretically comprehends the practice of acmeism, publishes the collection "Tent" in Sevastopol, 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 refers to the philosophical and cosmogonic theme.

The poet is also preparing a new significant collection of poems, The Pillar of Fire, for publication. It includes works created over three recent years the life of the poet, mainly of a philosophical nature ("Memory", "Soul and Body", "The Sixth Sense", etc.). The name of the collection, dedicated to Gumilyov's second wife Anna Nikolaevna Engelhardt, goes back to the 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.

Gumilyov’s prediction of “his” unusual death is striking:

"And I will not die in bed,

With a notary and a doctor,

And in some wild crack,

Drowned in thick ivy…”

confirmed.

On August 3, 1921, he was arrested by the Cheka, accused of participating in the counter-revolutionary Tagantsev conspiracy, and on August 24 he was shot along with sixty others involved in this case. However, no documentary evidence of this participation was found in the surviving materials of the investigation.

After the death of the poet, his lyrical collection "To the Blue Star" (1923), the book of Gumilyov's prose "The Shadow from the Palm Tree" (1922), and much later - collections of his poems, plays and stories, books about him and his work.

It would not be an exaggeration to say that Gumilyov 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. Dementiev.

Nikolay GUMILEV (1886-1921)

Gumilyov's childhood and youth.
Gumilyov's early work.
Travels in the works of Gumilyov.
Gumilyov and Akhmatova.
Love lyrics of Gumilyov.
Philosophical lyrics of Gumilyov.
Gumilyov and the First World War.
War in the works of Gumilyov.
The theme of Russia in the work of Gumilyov.
Dramaturgy Gumilev.
Gumilyov and the revolution.
Biblical motifs in Gumilyov's lyrics.
Arrest and execution of Gumilyov.

The legacy of N. S. Gumilyov, a poet of rare individuality, only recently, after years oblivion, came to the reader. His poetry attracts with novelty and sharpness of feelings, excited thought, graphic clarity and strictness of poetic drawing.

Gumilyov's childhood and youth.

Nikolai Stepanovich Gumilyov was born on April 3 (15), 1886 in Kronstadt in the family of a naval doctor. Soon his father retired, and the family moved to Tsarskoye Selo. Here, in 1903, Gumilyov entered the 7th grade of the gymnasium, the director of which was the wonderful poet and teacher I. F. Annensky, who had a huge influence on his student. Gumilyov wrote about the role of I. Annensky in his fate in the 1906 poem “In Memory of Annensky”:

To such unexpected and melodious nonsense,

Calling with me the minds of people,

Innokenty Annensky was the last

From Tsarskoye Selo swans.

After graduating from the gymnasium, Gumilyov left for Paris, where he listened to lectures on French literature at the Sorbonne University and studied painting. Returning to Russia in May 1908, Gumilyov devoted himself entirely to creative work, showing himself as an outstanding poet and critic, theorist of verse, the author of the now widely known book of art criticism Letters on Russian Poetry.

2. Gumilyov's early work.

Gumilev began to write poetry at the gymnasium age. In 1905, the 19-year-old poet published his first collection, The Path of the Conquistadors. Soon, in 1908, the second one followed - "Romantic Flowers", and then the third one - "Pearls" (1910), which brought him wide popularity.

At the very beginning of his career, N. Gumilyov joined the Young Symbolists. However, he became disillusioned with this movement quite early and became the founder of acmeism. At the same time, he continued to treat the Symbolists with due respect, as worthy teachers and predecessors, virtuosos of the art form. In 1913, in one of his program articles “The Heritage of Symbolism and Acmeism,” Gumilyov, stating that “symbolism has completed its circle of development and is now falling,” added: “Symbolism was a worthy father.”

Gumilyov's early poems are dominated by an apology for a strong-willed principle, romanticized ideas about a strong personality who resolutely asserts himself in the fight against enemies ("Pompeii at the Pirates"), in tropical countries, in Africa and South America.

The heroes of these works are imperious, cruel, but also courageous, albeit soulless conquerors, conquistadors, discoverers of new lands, each of whom, in a moment of danger, hesitation and doubt

Or, discovering a rebellion on the Borg,

From behind the belt tears a gun,

So that gold pours from lace,

With pinkish Brabant cuffs.

The quoted lines are taken from the ballad "Captains", included in the collection "Pearls". They very clearly characterize Gumilyov's poetic sympathies for people of this type,

Whose is not the dust of lost charters -

The chest is soaked with the salt of the sea,

Who is the needle on the torn map

Marks his audacious path.

A fresh breeze of real art fills the "sails" of such poems, certainly connected with the romantic tradition of Kipling and Stevenson.

3. Travel in the work of Gumilyov.

Gumilyov traveled a lot. A voluntary wanderer and pilgrim, he traveled and walked thousands of miles, visited the impenetrable jungle Central Africa, languished from thirst in the sands of the Sahara, bogged down in the swamps of Northern Abyssinia, touched the ruins of Mesopotamia with his hands ... And it is no coincidence that exoticism has become not only the theme of Gumilyov's poems: it is saturated with the very style of his works. He called his poetry the Muse of Far Wanderings, and he remained faithful to it until the end of his days. With everything a lotThe imagery of the themes and philosophical depth of the late Gumilyov, poems about his travels and wanderings cast a very special reflection on all of his work.

The leading place in Gumilyov's early poetry is occupied by the African theme. Poems about Africa, so distant and mysterious in the imagination of readers at the beginning of the century, gave a special originality to Gumilyov's work. The poet's African poems are a tribute to his deep love for this continent and its people. Africa in his poetry is fanned with romance and full of attractive power: “The heart of Africa is full of singing and burning” (“Niger”). This is a magical country full of charm and surprises ("Abyssinia", "Red Sea", "African Night", etc.).

Deafened by the roar and stomp,

Clothed in flames and smokes,

About you, my Africa, in a whisper

Seraphim speak in heaven.

One can only admire the love of the Russian poet-traveler for this continent. He visited Africa as a true friend and ethnographer. It is no coincidence that in distant Ethiopia they still keep a good memory of N. Gumilyov.

Glorifying the discoverers and conquerors of distant lands, the poet did not leave the image of the fate of the peoples they conquered. Such, for example, is the poem "Slave" (1911), in which slave slaves dream of piercing the body of a European oppressor with a knife. In the poem "Egypt" the sympathy of the author is caused not by the rulers of the country - the British, but by its true masters, those

Who, with a plow or a harrow, leads Black buffaloes into the field.

Gumilyov's works about Africa are characterized by vivid imagery and poetry. Often even a simple geographical name (“Sudan”, “Zambezi”, “Abyssinia”, “Niger”, etc.) entails in them a whole chain of various pictures and associations. Full of secrets and exoticism, sultry air and unknown plants, amazing birds and animals, the African world in Gumilyov's poems captivates with the generosity of sounds and colors, a multi-color palette:

All day long above the water, like a flock of dragonflies,

Golden flying fish are visible,

At the sandy, sickle-curved braids,

Shallow, like flowers, green and red.

("Red sea").

Evidence of the poet's deep and devoted love for the distant African continent was Gumilyov's first poem "Mik", a colorful story about a little Abyssinian prisoner named Mick, his friendship with an old baboon and a white boy Louis, their joint escape to the city of monkeys.

As the leader of acmeism, Gumilyov demanded great formal skill from poets. In his treatise "The Life of the Verse", he argued that in order to live through the ages, a poem, in addition to thought and feeling, must have "the softness of the outlines of a young body ... and the clarity of a statue illuminated by the sun; simplicity - for her alone the future is open, and - refinement, as a living recognition of continuity from all the joys and sorrows of past centuries ... ". His own poetry is characterized by the sharpness of the verse, the harmony of the composition, the emphasized rigor in the selection and combination of words.

In the poem "To the Poet" (1908), Gumilyov expressed his creative credo as follows:

Let your verse be flexible and resilient,

Like the poplar of a verdant valley,

Like the chest of the earth, where the plow has stuck,

Like a girl who didn't know a man.

Take care of confident rigor,

Your verse should neither flutter nor beat.

Although the muse has light steps

She is a goddess, not a dancer.

Here you can clearly feel the echo with Pushkin, who also considered art the highest sphere of spiritual existence, a shrine, a temple, which should be entered with deep reverence:

The service of the Muses does not tolerate fuss, The beautiful must be majestic.

Already the first poems of the poet are replete with vivid comparisons, original epithets and metaphors, emphasizing the diversity of the world, its beauty and variability:

And the sun is lush in the distance

Dreamed of abundance dreams

And kissed the face of the earth

In the languor of sweet impotence.

And in the evenings in the sky

Scarlet clothes burned

And reddened, in tears,

Weeping Doves of Hope

("Autumn Song")

Gumilyov is predominantly an epic poet, his favorite genre is the ballad with its energetic rhythm. At the same time, the exotic, pathetically elevated poetry of early Gumilyov is sometimes somewhat cold.

4. Gumilyov and Akhmatova.

Changes in his work occur in the 1910s. And they are connected in many respects with personal circumstances: with an acquaintance, and then marriage with A. Akhmatova (then Anna Gorenko). Gumilyov met her back in 1903, at the skating rink, fell in love, made proposals several times, but received consent to marriage only in the spring of 1910. Gumilyov writes about it this way: From the lair of the serpent, From the city of Kiev, I took not a wife, but a sorceress. And I thought - a funny woman, Guessed - a wayward, A cheerful songbird.

If you call, it frowns, If you hug it, it bristles, When the moon comes out, it becomes languishing, And it looks and groans, As if it is burying Someone, and wants to drown itself. ("From the Lair of the Serpent"")

After the publication of the collection "Pearls" for Gumilyov, the title of a recognized master of poetry was firmly entrenched. As before, from many of his works it breathes exotic, unusual and unfamiliar images of Africa dear to his heart. But now the dreams and feelings of the lyrical hero are becoming more tangible and earthly. (In the 1910s, love lyrics, the poetry of spiritual movements began to appear in the poet’s work, there was a desire to penetrate into the inner world of his characters, previously battened up with a hard shell of inaccessibility and dominance, and especially into the soul of a lyrical hero. This did not always work out successfully, because Gumilyov resorted to some poems on this subject to a false romantic entourage, such as:

I approached, and here's an instant,

Like a beast, fear gripped me:

I met a hyena head

On slender girlish shoulders.

But in Gumilyov's poetry there are many poems that can rightly be called masterpieces, the theme of love sounds so deep and piercing in them. Such, for example, is the poem “About You” (1916), imbued with a deep feeling, it sounds like an apotheosis of a beloved:

About you, about you, about you

Nothing, nothing about me!

In human dark fate

You are a winged call to the heights.

Your noble heart

Like the emblem of bygone times.

It illuminates life

All earthly, all wingless tribes.

If the stars are clear and proud

Turn away from our land

She has two top stars:

These are your bold eyes.

Or here is the poem "Girl" (1911), dedicated to the 20th anniversary of Masha Kuzmina-Karavaeva, the poet's maternal cousin-niece:

I don't like languor

your crossed arms,

And calm modesty

And shamefaced fear.

The heroine of Turgenev's novels,

You are haughty, gentle and pure,

There are so many restless autumn in you

From the alley where the sheets are circling.

Many of Gumilyov's poems reflected his deep feeling for Anna Akhmatova: "Ballad", "Poisoned", "Tamer of Beasts", "By the Fireplace", "One Evening", "She" and others. Such, for example, is beautifully created by the master poet the image of the wife and the poet from the poem "She":

I know a woman: silence,

Fatigue bitter from words

Lives in a mysterious shimmer

Her dilated pupils.

Her soul is open greedily

Only the copper music of the verse,

Before a distant and gratifying life

Arrogant and deaf.

She is bright in the hours of languor

And holds lightning bolts in his hand,

And her dreams are clear, like shadows

On heavenly fiery sand.

5. Gumilyov's love lyrics.

The best works of Gumilyov's love lyrics should also include the poems "When I was in love", "You could not or did not want", "You regretted, you forgave", "Everything is pure for a clear look" and others. Love in Gumilyov appears in a variety of manifestations: either as a “gentle friend” and at the same time a “merciless enemy” (“Scattering the Stars”), or as a “winged call to the heights” (“About You”). “Only love is left for me ...,” the poet makes a confession in the poems “Canzone One” and “Canzona Second”, where he comes to the conclusion that the most gratifying thing in the world is “the trembling of our lovely eyelashes / / And the smile of our beloved lips.”

Gumilyov's lyrics present a rich gallery female characters and types: fallen, chaste, royally inaccessible and calling to themselves, humble and proud. Among them: a passionate oriental queen (“Barbarians”), a mysterious sorceress (“The Sorceress”), the beautiful Beatrice, who left paradise for the sake of her beloved (“Beatrice”) and others.

The poet lovingly draws a noble facea woman who knows how to forgive insults and generously give joy, understand the storms and doubts crowding in the soul of her chosen one, filled with deep gratitude "for the dazzling happiness / At least sometimes to be with you." The chivalrous beginning of Gumilyov's personality also manifested itself in the poeticization of a woman.

6. Philosophical lyrics of Gumilyov.

In the best poems of the Zhemchuga collection, the pattern of Gumilev's verse is clear and deliberately simple. The poet creates visible pictures:

I look at the melting block,

At the glow of pink lightning,

And my smart cat catches fish

And lures birds into the net.

The poetic picture of the world in Gumilyov's poems attracts with its specificity and tangibility of images. The poet materializes even music. He sees, for example,

Sounds rushed and screamed Like a vision, like giants, And rushed about in the echoing hall, And dropped diamonds.

The "diamonds" of words and sounds of Gumilyov's best poems are exceptionally colorful and dynamic. His poetic world is extremely picturesque, full of expression and love of life. A clear and elastic rhythm, bright, sometimes excessive imagery are combined in his poetry with classical harmony, accuracy, thoughtfulness of form, adequately embodying the richness of content.

In his poetic depiction of life and man, N. Gumilyov was able to rise to the depths of philosophical reflections and generalizations, revealing an almost Pushkin or Tyutchev force. He thought a lot about the world, about God, about the purpose of man. And these reflections found a diverse reflection in his work. The poet was convinced that in everything and always "the word of the Lord feeds us better than bread." It is no coincidence that a significant part of his poetic heritage consists of poems and poems inspired by gospel stories and images, imbued with love for Jesus Christ.

Christ was the moral and ethical ideal of Gumilyov, and New Testament- table book. The gospel stories, parables, instructions are inspired by Gumilyov's poem "The Prodigal Son", the poems "Christ", "Gate of Paradise", "Paradise", "Christmas in Abyssinia", "Your Temple. Lord, in heaven…” and others. Reading these works, one cannot fail to notice what a tense struggle takes place in the soul of his lyrical hero, how he rushes between opposite feelings: pride and humility.

The foundations of the Orthodox faith were laid in the mind of the future poet as early as childhood. He was brought up in a religious family. His mother was a true believer. Anna Gumilyova, the wife of the poet's older brother, recalls: “Children were brought up in strict rules Orthodox religion. Mother often went with them to the chapel to light a candle, which Kolya liked. Kolya liked to go to church, light a candle, and sometimes prayed for a long time in front of the icon of the Savior. From childhood he was religious and remained the same until the end of his days - a deeply believing Christian.

About Gumilyov's visits church services and his convinced religiosity is written in his book "On the Banks of the Neva" and who knew the poet well, his student Irina Odoevtseva. The religiosity of Nikolai Gumilyov helps to understand a lot in his character and work.

Gumilyov's thoughts about God are inseparable from thoughts about man, his place in the world. The worldview concept of the poet was extremely clearly expressed in the final stanza of the poetic novel "Fra Beato Angelico":

There is a God, there is a world, they live forever,

And the life of people is instantly and miserable.

But a person contains everything.

Who loves the world and believes in God.

All the work of the poet is the glorification of man, the possibilities of his spirit and willpower. Gumilev was passionately in love with life, in its diverse manifestations. And he tried to convey this love to the reader, to make him a “knight of happiness”, because happiness depends, he is convinced, first of all on the person himself.

In the poem "Knight of Fortune" he writes:

How easy it is to breathe in this world!

Tell me who is dissatisfied with life.

Tell me who takes a deep breath

I am free to make everyone happy.

Let him come, I will tell him

About a girl with green eyes.

About the blue morning darkness.

Pierced by rays and verses.

Let him come. I have to tell

I have to tell again and again.

How sweet it is to live, how sweet it is to win

Seas and girls, enemies and the word.

What if he doesn't understand?

My beautiful will not accept faith

And will complain in his turn

To world sorrow, to pain - to the barrier!

It was a symbol of faith. Pessimism, despondency, dissatisfaction with life, "world sorrow" he categorically did not accept.Gumilyov was called a poet-warrior for a reason. Traveling, testing oneself with danger were his passion. About himself he prophetically wrote:

I AM I won't die in bed

With a notary and a doctor,

And in some wild crack.

Drowned in thick ivy ( "Me and you).

7. Gumilyov and the First World War.

When did the first World War, Gumilyov volunteered to go to the front. His bravery and contempt for death are legendary. Two soldier Georges - the highest awards for a warrior, serve as the best confirmation of his courage. Gumilyov told about the episodes of his combat life in the “Notes of a Cavalryman” of 1915 and in a number of poems in the collection “Quiver”. As if summing up his military fate, he wrote in the poem "Memory":

He knew the pain of cold and thirst.

A disturbing dream, an endless path.

But Saint George touched twice

Bullet untouched chest.

One cannot agree with those who consider Gumilyov's military poems chauvinistic, glorifying the "sacred cause of war." The poet saw and realized the tragedy of war. In one of his poems, he wrote;

And the second year is drawing to a close. But banners also fly. And the war also violently scoffs at our wisdom.

8. War in the work of Gumilyov.

Gumilyov was attracted by the vivid romanticization of the feat, for he was a man of a knightly soul. The war in his image appears as a phenomenon akin to a rebellious, destructive, disastrous element. Therefore, we so often meet in his poems likening a battle to a thunderstorm. The lyrical hero of these works plunges into the fire element of battle without fear and despondency, although he understands that death lies in wait for him at every step:

She is everywhere - and in the glow of the fire,

And in the dark, unexpected and close.

Then on the horse of the Hungarian hussar,

And then with the gun of the Tyrolean shooter.

The courageous overcoming of physical difficulties and suffering, the fear of death, the triumph of the spirit over the body became one of the main themes of N. Gumilyov's works about the war. He considered the victory of the spirit over the body the main condition for the creative perception of being. In Notes of a Cavalryman, Gumilyov wrote: “I find it hard to believe that a person who dines every day and sleeps every night could contribute something to the treasury of the culture of the spirit. Only fasting and vigil, even if they are involuntary, awaken in a person special powers that were dormant before. The same thoughts permeate the poems of the poet:

The spirit blossoms like a May rose.

Like fire, it breaks the darkness.

Body without understanding

Boldly obey him.

The fear of death, the poet claims, is overcome in the soul of Russian soldiers by the realization of the need to protect the independence of the Motherland.

9. The theme of Russia in the work of Gumilyov.

The theme of Russia runs like a red thread through almost all of Gumilyov's work. He had every right to say:

Golden heart of Russia

Beats rhythmically in my chest.

But this theme manifested itself especially intensively in a cycle of poems about the war, participation in which for the heroes of his works is a righteous and holy deed. So

Seraphim, clear and winged.

Behind the shoulders of the soldiers are visible.

For their exploits in the name of the Motherland, Russian soldiers are blessed higher powers. That is why the presence of such Christian images is so organic in Gumilyov's works. In the poem "Iambic Pentameters" he states:

And the soul is burned with happiness

Since then; fun soldered

And clarity, and wisdom; about God

She talks to the stars

The voice of God hears in military alarm

And God calls his roads.

Gumilyov's heroes fight "for the sake of life on earth."This idea is affirmed with particular insistence in thecreation of the "Newborn", imbued with Christiansmotives of sacrifice in the name of the happiness of futuregenerations. The author is convinced that he was born. under the roarguns baby -

... will be the favorite of God,

He will understand his triumph.

He must. We fought a lot

And we suffered for it.

Gumilyov's poems about the war are evidence of the further growth of his creative talent. The poet still loves the "magnificence of magnificent words", but at the same time he has become more legible in his choice of vocabulary and combines his former desire for emotional intensity and brightness with graphic clarity. artistic image and depth of thought. Remembering the famous picture of the battle from the poem "War", striking with an unusual and surprisingly accurate metaphorical series, simplicity and clarity of the figurative word:

Like a dog on a heavy chain

A machine gun yapping behind the forest,

And buzzing shrapnel like bees

Collecting bright red honey.

We will find in the poet's poems many accurately noticed details that make the world of his military poems both tangibly earthly and uniquely lyrical:

Here is a priest in a cassock full of holes

He sings a psalm rapturously.

Here they play a majestic chant

Over a barely visible hill.

And a field full of mighty enemies. Buzzing menacingly bombs and melodious bullets, And the sky in lightning and menacing clouds.

The collection “Quiver”, published during the First World War, includes not only poems that convey the state of a person in war. Equally important in this book is the depiction of the inner world of the lyrical hero, as well as the desire to capture a variety of life situations and events. Many poems reflect important stages in the life of the poet himself: farewell to the gymnasium youth (“In Memory of Annensky”), a trip to Italy (“Venice”, “Pisa”), memories of past travels (“African Night”), about home and family ( "Old Estates"), etc.

10. Dramaturgy Gumilev.

Gumilyov also tried himself in dramaturgy. In 1912-1913, three of his one-act plays in verse appeared one after another: Don Juan in Egypt, The Game, Acteon. In the first of them, recreating the classic image of Don Juan, the author transfers the action to the conditions of modern times. Don Juan appears in the image of Gumilyov as a spiritually rich personality, head and shoulders above his antipode, the learned pragmatist Leporello.

In the play "The Game" we also face a situation of acute confrontation: the young impoverished romantic Count, who is trying to regain the possession of his ancestors, is contrasted with the cold and cynical old royalist. The work ends tragically: the collapse of dreams and hopes leads the Count to suicide. The author's sympathies are entirely given here to people like the dreamer Graf.

In Actaeon, Gumilyov rethought the ancient Greek and Roman myths about the goddess of hunting Diana, the hunter Actaeon and legendary king Cadme is a warrior, architect, worker and creator, the founder of the city of Thebes. Skillful contamination of ancient myths allowed the author to highlight positive characters - Actaeon and Cadmus, to recreate life situations full of drama and poetry of feelings.

During the war years, Gumilyov wrote a dramatic poem in four acts "Gondla", in which the physically weak but powerful in spirit medieval Irish skald Gondla is depicted with sympathy.

Gumilyov's Peru also owns the historical play The Poisoned Tunic (1918), which tells about the life of the Byzantine emperor Justinian I. As in previous works, the main pathos of this play is the idea of confrontation between nobility and meanness, good and evil.

Gumilyov's last dramatic experience was the prose drama Hunt for Rhinos (1920) about the life of a primitive tribe. V bright colors the author recreates exotic images of savage hunters, their existence full of dangers, the first steps towards self-awareness and the world around.

11. Gumilyov and the revolution.

The October Revolution found Gumilyov abroad, where he was sent in May 1917 by the military department. He lived in Paris and London, translating oriental poets. In May 1918, he returned to revolutionary Petrograd and, despite family troubles (divorce from A. Akhmatova), need and hunger, works together with Gorky, Blok, K. Chukovsky at the World Literature publishing house, lectures in literary studios.

During these years (1918-1921), the last three collections of the poet's lifetime were published: "Bonfire" (1918), "Tent" (1920) and "Pillar of Fire" (1921). They testified to the further evolution of Gumilyov's work, his desire to comprehend life in its various manifestations. He is concerned about the theme of love (“About You”, “Son”, “Ezbekiye”), national culture and history (“Andrey Rublev”), native nature(“Ice drift”, “Forest”, “Autumn”), life (“Russian estate”).

Gumilyov the poet is not fond of the new “screaming Russia”, but the former, pre-revolutionary one, where “human life is real”, and in the bazaar “the word of God is preached” (“Gorodok”), The lyrical hero of these poems is dear to the quiet, measured life of people, in which there are no wars and revolutions, where

Cross raised over the church

A symbol of clear, paternal power.

And the crimson ringing is buzzing

Speech wise, human.

("Cities").

There is in these lines with their inexpressible longing for the lost Russia something from Bunin, Shmelev, Rachmaninov and Levitan.In "Bonfire" for the first time Gumilyov appears the image of a simple man, a Russian peasant with his

With a look, a smile of a child,

Such a mischievous speech, -

And on the chest of the young

The cross shone golden.

("Mules").

12. Biblical motifs in Gumilyov's lyrics.

The name of the collection "Pillar of Fire" is taken from the Old Testament. Turning to the foundations of being, the poet saturated many of his works with biblical motifs. He writes especially much about the meaning of human existence. Thinking about the earthly path of man, about eternal values, about the soul, about death and immortality, Gumilyov pays a lot of attention to the problems of artistic creativity. Creativity for him is a sacrifice, self-purification, ascent to Golgotha, a divine act of the highest manifestation of the human "I":

True creativity, according to Gumilyov, following the traditions of patristic literature, is always from God, the result of the interaction of divine grace and the free will of man, even if the author himself is not aware of this. Granted from above "as a kind of benevolent covenant" poetic talent is the duty of honest and sacrificial service to people:

And a symbol of greatness.

Like a beneficent covenant

High tongue-tied

You are granted, poet.

The same idea is heard in the creation of "The Sixth Sense":

So, century after century - soon. Lord?

Under the scalpel of nature and art

Our spirit screams, exhausted flesh.

Giving birth to an organ for the sixth sense.

In recent collections, Gumilyov has grown into a great and demanding artist. Gumilev considered the work on the content and form of works to be the first task of every poet. It is not for nothing that one of his articles devoted to the problems of artistic creativity is called "The Anatomy of a Poem".

In the poem "Memory" Gumilyov defines the meaning of his life and creative activity as follows:

I am a gloomy and stubborn architect

Temple rising in the darkness

I was jealous of the glory of my father,

As in heaven and on earth.

The heart will be a flame

Until the day when they rise, clear,

Walls of New Jerusalem

In the fields of my native country.

Never tired of reminding his readers of the biblical truth that “in the beginning was the Word,” Gumilyov sings a majestic hymn to the Word with his poems. There were times, says the poet, when "the sun was stopped by a word//Cities were destroyed by the word." He elevates the Word - Logos above the "low life", kneels before it like a Master, always ready for creative study from the classics, for obedience and achievement.

Gumilev's aesthetic and spiritual landmark is Pushkin's creativity with its clarity, accuracy, depth and harmony of the artistic image. This is especially noticeable in his latest collections, which reflect the motley and complex dynamics of being with truly philosophical depth. In the poem-testament “To My Readers” (1921), included in the collection “Pillar of Fire”, Gumilev is full of desire calmly and wisely:

...Immediately recall

All the cruel, sweet life -

All native, strange land

And standing before the face of God

With simple and wise words.

Wait quietly for His judgment.

At the same time, in a number of poems in the Pillar of Fire collection, the joy of accepting life, falling in love with the beauty of God's world is interspersed with anxious forebodings associated with the social situation in the country and with one's own destiny.

Like many other outstanding Russian poets, Gumilyov was endowed with the gift of foresight of his fate. His poem “Worker” is deeply shocking, the hero of which casts a bullet that will bring death to the poet:

The bullet cast by him will whistle

Over the gray-haired, foamed Dvina.

The bullet cast by him will find

My chest, she came for me.

And the Lord will reward me in full

For my short and bitter age.

I did it in a light gray blouse,

A short old man.

V recent months Gumilyov's life did not leave the feeling of imminent death. I. Odoevtseva writes about this in her memoirs, reproducing episodes of their visit to the Church of the Sign in Petrograd in the fall of 1920 and the subsequent conversation at the poet’s apartment over a cup of tea: “Sometimes it seems to me,” he says slowly, “that I will not escape the common fate, that my end will be terrible. Quite recently, a week ago, I had a dream. No, I don't remember him. But when I woke up, I clearly felt that I had very little time left to live, a few months, no more. And that I will die very terribly.”

This conversation took place on October 15, 1920. And in January next year in the first issue of the magazine "House of Art" N. Gumilyov's poem "The Lost Tram" was published, in which he allegorically depicts revolutionary Russia in the form of a tram rushing into obscurity and sweeping everything in its path.

"The Lost Tram" is one of the most mysterious poems that has not yet received a convincing interpretation. In his own way, deeply and originally from the position of Christian eschatology, the poet develops here the eternal theme of world art - the theme of death and immortality.

The poem recreates the state when a person, according to Christian doctrine, lies between physical death and the resurrection of the soul. Death for Gumilyov is the end of the earthly path and at the same time the beginning of a new, afterlife. In the poem, she is personified by a carriage driver who takes the lyrical hero away from earthly life on a strange, fantastic hearse - a tram that has the ability to move on land and in air, in space and time. The image of the tram is romanticized, acquiring the features of a cosmic body, rushing into infinite space with colossal speed. This is a symbol of the poet's fate in its earthly and transcendental dimensions.

To depict the journey to the afterlife, the author uses the traditional motif of travel in religious literature. Time in the poem is open into eternity, unites the past, present and future.

The work captures many biographical details of the life of the lyrical hero, a retrospective review is given major events his life, the transphysical wanderings of his spirit are shown. All of them are presented in allegorical and surreal lighting. Thus, the bridges over the Neva, Nile, Seine, through which the tram is carried, evoke associations with a bridge leading, according to popular beliefs, to the other world, and the rivers themselves can be considered as an analogue of the river of oblivion, which the soul of the deceased must overcome in the afterlife journey.

The path to the Kingdom of the Spirit, where the soul of the lyrical hero aspires, is complicated by wandering and throwing in time dimensions. The posthumous fate of the lyrical hero is, as it were, programmed by earthly life, and the tram, lost "in the abyss of time", on a new, metaphysical turn, seems to repeat the lifetime wanderings of the poet. Performing intense spiritual work to reassess the earthly life lived, the lyrical hero hopes for eternal and endless life, for gaining the kingdom of God, the "India of the Spirit". Orthodox memorial service in St. Isaac's Cathedral is an important step towards that.

Faithful stronghold of Orthodoxy

Isaac is embedded in the sky.

There I will serve a prayer for health

Mashenki and memorial service for me.

13. Arrest and execution of Gumilyov.

The memorial service was drawing near. In the same year, 1921, on the initiative of Zinoviev, the Petrograd Cheka inspired the so-called "Tagantsev case", named after its organizer, Professor V. N. Tagantsev, who, together with his like-minded people, allegedly plotted a counter-revolutionary coup. The investigator of the Cheka, Y. Agranov, who led the case, attracted criminal liability more than 200 people, among whom were famous scientists, writers, artists and public figures.

On August 3, N. Gumilyov was also arrested, shortly before that he had been elected chairman of the Petrograd Union of Poets. Gumilyov was charged with the fact that when one of his old acquaintances offered him to join this organization, he refused, but did not report this offer to the authorities.

The code of honor did not allow him to do this, as well as his civic position: according to the testimony of the writer A. Amfiteatrov, who knew him well, N. Gumilyov “was a monarchist - strong. Not loud, but not hiding at all. In the last book of his poems, which were already published under Soviet fear, he did not hesitate to print a small poem about how he, traveling in Africa, visited the demigod prophet "Mahdi" and -

I gave him a gun

And a portrait of my Sovereign.

On this, he must have stumbled, already being under arrest. On August 24, the Petrograd Cheka sentenced 61 people to death, including N. Gumilyov. The poet was shot on August 25, 1921 at one of the Irinovskaya stations. railway near Leningrad.

As V. Soloukhin writes in his “Pebbles on the Palms”: “The artist Yuri Pavlovich Annenkov testifies that Gumilyov, an officer, twice Knight of St. George, a brilliant poet, smiled at the execution.

From other sources it is known that Zinoviev crawled on the floor during the execution and licked the boots of the Chekists with a drooling mouth. And this creature and scum killed the Russian knight Gumilyov!

The life of Nikolai Gumilyov ended at the age of 35, in the prime of his outstanding talent. How many beautiful works could still come out from under his talented pen!

N. S. Gumilyov can rightfully be called one of the poets of the Russian spiritual and national revival. As an optimistic prophecy, the lines of his poem “The Sun of the Spirit” sound:

I have a feeling that autumn is coming soon.

Solar works will end,

And people will remove from the drain of the spirit

Golden, ripe fruits.

This confidence breathes all creativity. wonderful poet which is gaining more and more popularity. According to the fair statement of G. Adamovich, “Gumilyov's name has become glorious. His poems are read not only by literary specialists or poets; the "ordinary reader" reads them and learns to love these poems - courageous, smart, slender, noble - in the best sense of the word.

Creativity Gumilyov

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