Николаи Гумилаов: поетът пред лицето на духовната родина
Nikolay Gumilyov: the Poet in the Face of His Spiritual Native Land

Summary/Abstract: The paper examines the dialectics of the interrelations between the personality of the lyrical “I” and the person in process of its spritual native land in Nikolay Gumilyov’s lyric poetry. 208 The paper theoretically molds the mutual relations between three basic manifestations of the lyrical and of the biographical “I” of the poet, the indication of which had become a common place to criticism: 1) they both put on and put off “masks” (with certain cultural-historical meaning); 2) the biographical “I” stands at the head of the poetical movement Acmeism and its corresponding Guild of Poets social structure; 3) the complete “I” of the poet shows unfailing interest and sympathy for the Orient. The poems’ analysis confirms the fruitfulness of the suggested model and enriches it. Gumilyov’s lyric poetry lays the “arts synthesis” as an aim immanent in poetry; thus “curing” the synthesis. It premises the synesthetic image of classical art, which is different from the antique Greek or Greco-Roman one, and from the one conditioned by the dynamics of Classicism and Romanticism, “classical” and “barbarian”. In Gumilyov’s lyric poetry the culture of a spirit much different from the European spirit of the New Age is being professed (expressed as vital). The analysis dwells on the poems: “I Threw My Boring Mask Off” (1906), “I am an Iron-Clad Conquistador ” (“The Path of the Conquistadors”; 1905) and its revisions; “Iambic Pentameters” (1912-1915; “The Quiver”, 1916), “Andrey Rublyov” (“The Pyre”, 1918), “Niger” (“The Tent”, 1921); as well as on the cultural-historical and psychological meaning of the title of “The Pillar of Fire” volume of poetry (1921); other Gumilyov texts are treated here as well.

• Details
• Contents