"Sonnet" Nikolai Gumilyov
I'm really sick: there's fog in my heart,
I'm bored by everything, people and stories,
I dream of royal diamonds
And the wide scimitar is covered in blood.It seems to me (and this is not a hoax)
My ancestor was a cross-eyed Tatar,
Fierce Hun... I am a breath of infection,
Having survived through the centuries, I am overwhelmed.I am silent, I languish, and the walls recede -
Here is the ocean all in shreds of white foam,
Granite bathed in the setting sun,And a city with blue domes,
With blooming jasmine gardens,
We fought there... Oh, yes! I was killed.
Analysis of Gumilyov's poem "Sonnet"
Unlike reflective contemplatives, whose images abound in the poetry of the Silver Age, the lyrical subject of Gumilyov’s creativity is a man of action. The strong-willed principle dominates in him, and despite the variety of roles - conqueror and hunter, warrior and sailor - one thing remains unchanged: the courageous essence of the hero’s nature.
Gumilyov's work began with a poetic declaration of the conquistador, which was presented in the form of a sonnet. A brave and strong romantic who feels close to “chasms and storms” is ready to go his way to the end. In "Sonnet", published in 1912, the hero's mood changed. Boredom and “fog” in the soul, similar to illness, are reminiscent of the state of Pushkin’s Onegin, who suffered from “English spleen.”
The melancholy of inaction is accompanied by fantastic visions. First, some exotic details appear: “royal diamonds” and a bloody scimitar. Vivid “material” signs are replaced by images of warriors of the distant past, with whom the hero feels a family connection. The two time layers are brought together by a complex alloy of thirst for activity, craving for danger and the pursuit of luck, metaphorically designated as the “breath of contagion.”
The first terzetto, following the canons of the genre, synthesizes the feelings of the lyrical subject. The melancholy and silence in the foggy gray present is contrasted with the bright landscape of the past. The beautiful city, whose “blue domes” are bathed in the rays of the “sunset sun,” is surrounded by a double row of “white foam” of flowering gardens and ocean waters.
The last line of the sonnet unexpectedly interrupts the picturesque sketch. After the message about a duel with an unknown opponent, there is a pause, and after it - a shocking reminder of one’s own death. The denouement offers a new look at the relationship between the present and the past: the fantastic images that flashed through the mind are not ancestors, but doubles of the lyrical subject. Plunging into imaginary spheres, the hero encounters a multi-layered structure that determines the deep qualities of his own nature.
The picture of a bizarre world in which variegated space-time layers are intertwined is presented in the classical form of the French type of sonnet.
The wandering of the lyrical “I,” covering various historical eras, is one of the leading motives in Gumilyov’s poetics. The mixture of times and spaces, concentrated in the soul of the hero, reaches its culmination in the poetic text "".
Nikolai Stepanovich Gumilyov
I'm really sick: there's fog in my heart,
I'm bored by everything, people and stories,
I dream of royal diamonds
And the wide scimitar is covered in blood.
It seems to me (and this is not a hoax)
My ancestor was a cross-eyed Tatar,
Fierce Hun... I am a breath of infection,
Having survived through the centuries, I am overwhelmed.
I’m silent, I’m languishing, and the walls are receding -
Here is the ocean all in shreds of white foam,
Granite bathed in the setting sun,
And a city with blue domes,
With blooming jasmine gardens,
We fought there... Oh, yes! I was killed.
Unlike the reflective contemplatives, whose images abound in the poetry of the Silver Age, the lyrical subject of Gumilev’s work is a man of action. The strong-willed principle dominates in him, and despite the variety of roles - conqueror and hunter, warrior and sailor - one thing remains unchanged: the courageous essence of the hero’s nature.
Gumilyov's work began with a poetic declaration of the conquistador, which was presented in the form of a sonnet. A brave and strong romantic who feels close to “chasms and storms” is ready to go his way to the end. In "Sonnet", published in 1912, the hero's mood changed. Boredom and “fog” in the soul, similar to illness, are reminiscent of the state of Pushkin’s Onegin, who suffered from “English spleen.”
The melancholy of inaction is accompanied by fantastic visions. First, some exotic details appear: “royal diamonds” and a bloody scimitar. Vivid “material” signs are replaced by images of warriors of the distant past, with whom the hero feels a family connection. The two time layers are brought together by a complex alloy of thirst for activity, craving for danger and the pursuit of luck, metaphorically designated as the “breath of contagion.”
The first terzetto, following the canons of the genre, synthesizes the feelings of the lyrical subject. The melancholy and silence in the foggy gray present is contrasted with the bright landscape of the past. The beautiful city, whose “blue domes” are bathed in the rays of the “sunset sun,” is surrounded by a double row of “white foam” of flowering gardens and ocean waters.
The last line of the sonnet unexpectedly interrupts the picturesque sketch. After the announcement of a duel with an unknown opponent, there is a pause, followed by a shocking reminder of one’s own death. The denouement offers a new look at the relationship between the present and the past: the fantastic images that flashed through the mind are not ancestors, but doubles of the lyrical subject. Plunging into imaginary spheres, the hero encounters a multi-layered structure that determines the deep qualities of his own nature.
The picture of a bizarre world in which variegated space-time layers are intertwined is presented in the classical form of the French type of sonnet.
The wandering of the lyrical “I,” covering various historical eras, is one of the leading motives in Gumilyov’s poetics. The mixture of times and spaces, concentrated in the hero’s soul, reaches its culmination in the poetic text of “The Lost Tram.”
In the section on the question I am looking for the title, text and artist of the song by line: asked by the author Igor Igorevich the best answer is Sonnet
I'm probably sick - there's fog in my heart,
I'm bored by everything - people and stories,
I dream of royal diamonds
And covered in blood, a heavy scimitar.
It seems to me, and this is not a hoax -
Fierce Hun, I am a breath of infection,
Having survived through the centuries, I am overwhelmed.
I am silent, I languish, and the walls recede,
Here is the ocean, all in shreds of white foam,
And a city with golden domes,
With blooming jasmine gardens.
We fought there - oh, yes, I was killed.
Nikolay Gumilyov
Reply from 22 answers[guru]
Hello! Here is a selection of topics with answers to your question: I am looking for the title, lyrics and artist of the song by line:
Reply from Slope[guru]
Nikolay Gumilyov home
Sonnet
I'm probably sick: there's fog in my heart,
I'm bored by everything - people and stories.
I dream of royal diamonds
And the wide scimitar is covered in blood.
It seems to me (and this is not a hoax)
My ancestor was a cross-eyed Tatar,
Fierce Hun... I am a breath of infection,
Having survived through the centuries, I am overwhelmed.
I am silent, I languish, and the walls recede:
Here is the ocean all in shreds of white foam,
Granite bathed in the setting sun,
And a city with blue domes,
With blooming jasmine gardens,
We fought there... Oh yes! I was killed.
content:
The romantic heritage is visible in everything here: in the abstract,
“sublime” words that describe the world surrounding the hero (“path”,
"abyss", "abyss"); and in typically romantic symbols of what he strives for - “my star”, “blue lily”; finally, in the very figure of the conquistador, knight, tramp, looking for something unknown, existing only in legend, myth, dream.
The entire poem (we are still talking about its later edition) is a consistent “ciphering” by the poet of his destiny - his past, present and future - using a kind of romantic cipher. The distribution of grammatical tense forms is curious: I came out - I’m going - I’m growing - I’m laughing - I’m waiting - I’m coming - I’m calling - I’ll fight - I’ll get it; from the past - through the present - to the future tense.
At the same time, verbs of the perfect form frame the entire poem, and the absolute majority are verbs of the imperfect form, which report what happens constantly, regularly. But these verbs, in essence, do not report anything about real events, they only express some higher (emotional, symbolic) meaning of these events:
“went out” - “started doing something”, “going” - “keep doing it”,
“I laugh and wait” - “ready to overcome difficulties by doing something”, etc.
The same is true for nouns: “chasms and abysses” are some kind of “dangerous places”, “joyful garden” is “a place of rest”, “fog” is “unknown, uncertainty”. We will not learn anything intelligible about this; Moreover, it is not always clear what the author means - for example, what the “last link” is, what chain it is from, and what it means to “unchain.” It can be assumed that we are talking about the inevitability of death
as the last moment of life; but this remains only an assumption, which is partly confirmed by the further... development of the poem.
Thus, the poet is trying to create an image of himself as a person involved in some very important, emotionally significant process, ready to participate in it and accept any challenge. At the same time, he undertakes to accomplish the impossible, fighting even with the inevitable - death.
As already said, this is a typical romantic figure; in essence,
Gumilyov did not add anything to this standard image.
Let us dwell briefly on the changes that the poet made when revising the poem. They are quite significant: for example, Gumilev tried to bring the form of his poem closer to the strict canon of the sonnet, in particular, he streamlined the rhyme scheme, which in the first edition differed in the first and second quatrains.
But the semantic changes are more important: for example, in the first edition there is no theme of death; the poet only says that what he is looking for may not exist in the world - and he is ready to create his dream, this will be his victory. In general, the first version of the poem is more focused on the future (suffice it to say that there are no forms of the past tense at all, and there are 4 forms of the future, and all of them are from perfective verbs, that is, they depict the future as something that will definitely happen) and is more “self-intoxicated” : the first three lines starting with “I” evoke a feeling of monotony, which is supported by multiple repetitions of this “I” in the future.
When reworking the poem, Gumilyov tried to avoid this monotony and removed repetitions of syntactic constructions (and lexical ones - “abyses”, which appear twice in the first edition). Thus, he somewhat “grounded” the image and emphasized his detachment from the image of the “conquistador”; moved the action of the poem from the “eternally present and necessarily future” to the framework of human life; Finally, I thought about the price that I would have to pay to make my impossible dream come true.
