Biography of Gumilyov. Gumilev Nikolay Stepanovich: short biography Need help studying a topic

In October 1911, a new literary association, the “Workshop of Poets,” was founded, whose leaders were N.S. Gumilev and S.M. Gorodetsky. The name of the circle indicated the attitude of the participants towards poetry as a purely professional field of activity. “The Workshop” was a school of formal mastery, indifferent to the peculiarities of the worldview of the participants.

The work of the outstanding poet, one of the founders of the “Workshop of Poets,” became an example of overcoming the aesthetic doctrine of Acmeism.

Nikolai Stepanovich Gumilyov was born on April 3, 1886 in Kronstadt into the family of a naval doctor. Previously, 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, whose director was I.F. Annensky. At this time, Nikolai's friendship began, first with Andrei Gorenko, and then with his sister Anna, the future poetess Akhmatova, to whom he began to dedicate his lyrical poems.

Gumilyov began writing poetry at the age of twelve and published his first story in a handwritten gymnasium journal. When his family moved to the Caucasus in 1900, he enthusiastically wrote poems about Georgia and early love. Gumilyov’s first poem, published in the Tiflis newspaper (1902), is of a romantic nature and depicts a lyrical hero rushing from the “cities into the desert”, who is attracted by the 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 noticeable 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 the older Symbolists, primarily K.D. Balmont and V.Ya. Bryusova. From the first, in Gumilyov’s early poems - the decorativeness of landscapes and a general craving for catchy external effects, from the second, the aspiring poet was brought together by the apology of a strong personality, reliance on solid qualities of character.

However, even against the background of Bryusov’s lyrical heroics, the position of early Gumilyov was distinguished by special energy. For his lyrical hero there is no gap between reality and dreams: Gumilyov asserts the priority of daring dreams and free imagination. His early lyrics are devoid of tragic notes; moreover, Gumilev is characterized by restraint in the manifestation of any emotions: he assessed a purely personal, confessional tone at that time 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 sensory perception, primarily visual, much more. The evolution of early Gumilev 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 mental movements or metaphysical insights, but also (and sometimes primarily) as a colorful component of the overall decoration.

In 1905, in St. Petersburg, Gumilyov published his first collection of poems, “The Path of the Conquistadors.” This youthful collection perfectly reflected the romantic mood and 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 feat and heroism. He finds for himself a kind of poetic mask - a conquistador, a brave conqueror of distant lands (“Sonnet”). The author considered this poem programmatic. In it, he likens himself to the ancient conquerors exploring new earthly spaces: “Like a conquistador in an iron shell, / I set out on the road...”. The poem glorifies a courageous duel with death and tireless movement towards the intended goal. Written in the form of a sonnet, it is interesting because it glorifies bold risk, courage, and overcoming obstacles. At the same time, Gumilyov’s hero is devoid of gloomy seriousness and menacing concentration: he walks “merrily,” “laughing” at adversity, resting “in a joyful garden.”

But another theme is revealed in the poem, its other plan is revealed in it. Gumilyov also referred to the “conquistadors” as conquerors who “filled the treasury of poetry with gold bars and diamond tiaras.” The poem, therefore, speaks 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 magazine “Scales”. This review, which inspired the young man, became the reason for the active correspondence between the poets, and Gumilyov’s further growth was largely determined by the influence of V. Bryusov, whom the young author called his teacher.

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

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

Gumilev continued his poetic development in the next collection “Pearl” (1910), dedicated to V. Bryusov. This is also a book of romantic poems. Intensifying the picturesqueness of his poems, Gumilyov often starts from works of fine art (“Portrait of a Man”, “Beatrice”), which encourage him to be descriptive. Another source of imagery are literary subjects (“Don Juan”) and motifs from the poems of the Symbolists (Balmont, Bryusov).

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 “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 movement - Acmeism. The principles of Acmeism were largely the result of Gumilyov’s theoretical understanding of his own poetic practice. The key categories in Acmeism turned out to be the categories of autonomy, balance, and specificity. The “scene of action” of the lyrical works of the Acmeists is earthly life, the source of eventfulness is the activity of man himself. The lyrical hero of the acmeistic period of Gumilyov’s work is not a passive contemplator of life’s mysteries, but an organizer and discoverer of earthly beauty.

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

For 1911 - 1912 There was a period of organizational unity and creative flowering of Acmeism. At this time, Gumilyov published his most “acmeistic” collection of poems - “Alien Sky” (1912). Here one feels moderation of expression, verbal discipline, balance of feeling and image, content and form. The book includes the poet's poems, published in 1910-1911 in Apollo.

It must be said that romantic motifs are still noticeable in the collection. In the book as a whole, the acmeistic features of N. Gumilyov’s poetry were clearly reflected: bright figurativeness, narration, a tendency to reveal the objective world, weakened musical and emotional principles, emphasized dispassion, expressiveness of descriptions, the plurality of faces of the lyrical hero, a clear view of the world, an Adamistic worldview, classical rigor of style, balance of volumes, precision of detail. To support and strengthen the acmeistic tendency of his collection, N. Gumilyov included translations of five poems by Théophile Gautier. The book also includes the “Abyssinian Songs” cycle, which shows how Gumilev’s approach to conveying the exotic world has changed significantly. Standing out in the collection are the poems “The Discovery of America” and “The Prodigal Son,” as well as the one-act play “Don Juan in Egypt.”

In the collection one can feel the author's obvious departure from the Russian theme. However, Gumilev dedicated 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,” which ends the first part of the collection.

The collection “Alien Sky” evoked 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 is 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 the First World War, the poet volunteered for the Uhlan regiment and was awarded two St. George's Crosses for his participation in hostilities. The poet spoke about his participation in battles in “Notes of a Cavalryman” (1915-1916).

Life-affirming pathos lives 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 the Nike of Samothrace, located in the Louvre, representing her “with her arms outstretched forward.” 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, “honey-smelling meadows” of childhood, lines appear about the art of monks and the insights of Andrei Rublev, his icons and frescoes.

Revolutionary events in Russia found N. Gumilyov in France. From there he moved to England, to London, where he worked on the story “The Merry Brothers”. During this period, he took a new approach to literary issues, believing that Russian writers had already overcome the period of rhetorical poetry, and now the time had come for verbal economy, simplicity, clarity and reliability.

Returning to Petrograd through Scandinavia in 1918, Gumilyov energetically became involved in the then turbulent literary life, from which he had been torn off for a long time by the war. He spoke openly about his monarchical preferences and did not seem to notice the dramatic changes in the country. He had a hard time with the collapse of his first family, but intense creative work helped him heal his mental wound. The poet publishes a new poem - "Mick" - on an African theme, re-publishes early collections of poetry, works enthusiastically at the World Literature publishing house, where Gorky was attracted and where he heads the French department; he himself organizes several publishing houses, recreates the “Workshop of Poets”, and 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 creatively. Gumilyov translates a lot, speaks at evenings reading his poems, theoretically comprehends the practice of Acmeism, publishes the collection “Tent” in Sevastopol, again dedicated 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 addresses the philosophical and cosmogonic theme.

The poet is preparing for publication a new significant collection of poems, “The Pillar of Fire.” It includes works created during the last three years of the poet’s life, mainly of a philosophical nature (“Memory”, “Soul and Body”, “The Sixth Sense”, etc.). The title of the collection, dedicated to Gumilyov’s second wife Anna Nikolaevna Engelhardt, goes back to biblical imagery, the Old Testament “Book of Nehemiah.”

Among the best poems in 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 amazing:

“And I will not die on a bed,

With a notary and a doctor,

And in some wild crevice,

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 investigation materials.

After the death of the poet, his lyrical collection “To the Blue Star” (1923), a book of Gumilev’s prose “Shadow from a Palm Tree” (1922), and much later - collections of his poems, plays and stories, books about him and his work were published.

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. Dementyev.

P: Nikolai Stepanovich Gumilyov lived a bright but short life. Unfairly accused of an anti-Soviet conspiracy, he was shot. He died in a creative upsurge, full of bright ideas, a recognized Poet, theorist of verse, and an active figure in the literary movement. For over 60 years his works were not republished, his name was kept silent. It was only in 1987 that his innocence was openly stated.

N. Gumilyov’s whole life is unusual, fascinating, and testifies to the fortitude of an amazing personality.

What are the ways to form N. Gumilyov’s extraordinary personality?

Goal: To do this, we will get acquainted with the life and creative path of the Poet and create an imaginary book on the biography and work of N. Gumilyov.

Here are her pages.

Milestones of Gumilyov's life

1. Childhood. Youth and first works.
2. The greatest love.
3. Trips.
4. Participation in World War I
5. Activities after the October Revolution.

Each page of the imaginary book was prepared by a creative group of students. The children turned to biographies, memoirs of contemporaries, critical and scientific articles. The materials they collected will be presented to you.

Your task is to write down the main facts of the life and work of N. Gumilyov.

1 page – Childhood, youth, first works (1886-1906)

Work, bend, fight!
And a light dream sleep
Will pour in
Into imperishable features.

N. Gumilev. "Art"

Nikolai Stepanovich Gumilev was born on April 3, 1886 in the family of a ship's doctor in Kronstadt. There was a storm on the night of his birth. The old nanny saw a kind of hint in this, saying that the newborn would have a stormy life. She turned out to be right. Gumilyov had an unusual destiny, a poet's talent that was imitated, he loved traveling, which became part of his life. Finally, he created a literary movement - Acmeism.

In 1887 the family moved to Tsarskoye Selo, where Nikolai began to study at the Tsarskoye Selo gymnasium, then at the St. Petersburg gymnasium, and when in 1900. the family moves to Tiflis - to the Tiflis gymnasium.

Gumilyov did not have a particular passion for science either in childhood or in his youth. Since childhood, Nikolai dreamed of traveling; it was not for nothing that his favorite lecture subjects were geography and zoology. He enthusiastically indulged in playing Indians, reading Fenimore Cooper, and studying the habits of animals.

From the age of 5 he rhymed words, and as a high school student he composed poems in which the main place was given to exoticism, adventures, travel, and dreams of the unusual.

In 1903 the family returns to Tsarskoe Selo, Gumilyov brings an album of poems - imitative, romantic, sincere, which he himself highly valued and even gave to girls.

Gumilyov again visited the Tsarskoye Selo gymnasium, he became friends with the director, Innokenty Annensky, who cultivated in his students a love of literature and poetry. Gumilev will give him his first real collection of poems. The wonderful lines of a grateful student are dedicated to his memory:

I remember the days: I, timid, hasty,
Entered the high office,
Where the calm and courteous one was waiting for me,
A slightly graying poet.

A dozen phrases, captivating and strange,
As if accidentally dropped,
He threw nameless people into space
Dreams - weak me...

Childhood was ending. 18 years. Gumilyov was in an uncertain state: on the one hand, he was a 7th grade student who painted the walls of his room to look like the underwater world, and on the other, he was 18 years old... And that means something.

But I myself did not feel this uncertainty, because... was busy - did myself.

Contemporaries describe “a blond, self-confident young man, extremely ugly in appearance, with a sidelong glance and a lisping speech.” In your youth, with a similar appearance, it doesn’t take long to fall into an inferiority complex and bitterness. But Gumilyov set himself a goal - to become a hero who challenged the world. Naturally weak and timid, he ordered himself to become strong and decisive. And so he did. Later his character will be described as firm, arrogant, and very self-respecting. But everyone loved and recognized him. He made himself.

As a child, despite his physical weakness, he tried to dominate the game. Perhaps he began to compose poetry out of a thirst for fame.

He always seemed calm, because he considered it unworthy to show excitement.

In 1905, a modest collection of poems by N. Gumilyov entitled “The Path of the Conquistadors” was published. Gumilev is only 19 years old.

– Who are the conquistadors?

Conquistadors –

1) Spanish and Portuguese conquerors of Central South America, brutally exterminating the local population;

2) invaders.

– Read the poem “I am a conquistador in an iron shell...” In what image does the lyrical hero appear? What can you say about him?

In the first line, the lyrical hero declares that he is a conquistador. One might say, a discoverer of new lands, he is distinguished by his activity and thirst for achievement:

Then I will create my own dream
And I will lovingly enchant you with the song of battles.

And then the hero declares that he is “an eternal brother to abysses and storms.”

– What can you say about the lyrical hero of other poems in the collection?

The hero of the poems is sometimes a proud king, sometimes a prophet, but he is always a courageous person, he strives to learn and feel a lot. The poems even sound courageous.

– N. Gumilyov managed to embody his own character in the poems of the first collection - strong, courageous. The poet and his hero strive for new impressions.

The conqueror's mask in the 1st collection is not a random image, not a tribute to youthful dreams, but a kind of symbol of the strong, arrogant a hero who challenges everyone. N. Gumilev wanted to become such a strong hero.

The poet never republished the collection. But the leader of the Symbolists, the poet V. Bryusov, gave a favorable review: The book is “only the path of the new conquistador” and that his victories and conquests are ahead, and also noted that the collection also contains several beautiful poems, truly successful images.

1906 Gumilev graduated from high school.

In 1908, Gumilyov published his second collection of poems, “Romantic Flowers.” I. Annensky, listing the merits of the book, noted the desire for exoticism: “The green book reflected not only the search for beauty, but also the beauty of the search.

And for Gumilev it was a time of searching. The first collection, “The Path of the Conquistadors,” was decadent, the second collection, “Romantic Flowers,” was symbolist. But the main thing for the poet was that he climbed one more step of self-affirmation.

Page 2 – The greatest love (1903-1906,1918).

And you left in a simple and black dress,
Looks like an ancient crucifix.

N. Gumilev

Here is an excerpt from a student’s essay, which was created based on a message on this topic.

The most remarkable pages of the life of N. S. Gumilyov.

N. Gumilyov is an amazing master of words, the founder of the literary movement Acmeism.

His biography seemed very interesting to me, and the fact that the poet was the husband of the famous Russian poetess Anna Andreevna Akhmatova became completely new to me.

On December 24, 1903, at the Tsarskoye Selo gymnasium, where young Gumilev was then studying, he met Anna Gorenko, the future poetess A. Akhmatova. This is how it happened. Nikolai Gumilyov and his brother Dmitry were buying Christmas gifts and ran into a mutual friend, Vera Tyulpanova, who was with a friend. Dmitry Gumilyov began to talk to Vera, and Nikolai remained with a light-eyed and fragile girl with black and long hair and a mysterious pallor of her face. Vera introduced them:

– My friend, Anna Gorenko, studies at our gymnasium. We live in the same house with her.

Yes, Anya, I forgot to tell you: Mitya is our captain, and Kolya writes poetry.

Nikolai looked at Anya proudly. She did not say that she writes poetry herself, but only asked:

– Could you read some of yours?

– Do you like poetry? – asked Gumilyov. – Or are you out of curiosity?

– I like them, but not all of them, only the good ones.

I am a conquistador in an iron shell,
I'm happily chasing a star
I walk through abysses and abysses
And I rest in a joyful garden.

- Well, are they good?

- Just a little unclear.

Their second meeting took place soon at the skating rink.

On Easter 1904, the Gumilevs gave a ball, and Anna Gorenko was among the invited guests. Their regular meetings began this spring. They attended evenings together at the town hall, climbed the Turkish Tower, watched Isadora Duncan's tour, attended a student evening at the Artillery Assembly, participated in a charity performance and even attended several seances, although they treated them very ironically. At one of the concerts, Gumilev met Andrei Gorenko, Anna’s brother. They became friends and loved to discuss poems by modern poets.

In 1905, Anna with her mother and brother moved to Yevpatoria. In October of the same year, Gumilyov published his first book of poems, “The Path of the Conquistadors.”

Soon Nikolai leaves for Paris and becomes a student at the Sorbonne. At the beginning of May 1907, Gumilyov went to Russia to serve his military service, but was released due to eye astigmatism. Then he went to Sevastopol. There, at Schmidt's dacha, Gorenko spent the summer.

Gumilyov proposes to Anna, but he is refused. He decides to take his own life by trying to drown, but remains alive and unharmed. The poet returns to Paris, where his friends try to distract him from his sad thoughts. Soon Andrei Gorenko arrived in Paris and, naturally, stayed with Gumilyov. There were stories about Russia, about the south, about Anna. Hope again... Gradually Nikolai's mood began to improve, and already in October, leaving Andrei in his room in the care of friends, he again went to Anna. And again a refusal... Gumilyov returned to Paris, but hid his trip even from his family. But he couldn’t get away from himself, so it was no coincidence that his new suicide attempt was poisoning. According to the story of A. N. Tolstoy, Gumilyov was found unconscious in the Bois de Boulogne. Akhmatova, having learned about this from her brother, sent Gumilev a magnanimous reassuring telegram. A spark of hope flared up again. The pain of Anna’s refusals, consents and again refusals drove Nikolai into despair, but one way or another he continued to write. At the beginning of 1908, a book of poems “Romantic Flowers”, dedicated to A. Akhmatova, was published. On April 20, Gumilev comes to see her again. And again he was refused. On August 18, 1908, the poet was enrolled as a student at the Faculty of Law. And in September he leaves for Egypt...

Upon his return, he continued his studies. And on November 26, 1909, at the European Hotel, he again proposed to A. Akhmatova and this time received consent. On April 5, 1910, Gumilyov submitted a petition to the rector of the university to allow him to marry A. Akhmatova. Permission was received on the same day, and on April 14 - permission to go on vacation abroad. On April 25, in the St. Nicholas Church in the village of Nikolskaya Slobodka, a wedding took place with the hereditary noblewoman Anna Andreevna Gorenko, who became Gumileva. But even after marriage, their love was strange and short-lived.

Page 3 – Travel (1906-1913)

I'll walk along the echoing sleepers
Think and follow
In the yellow sky, in the scarlet sky
Rail of running thread.

N. Gumilev

An excerpt from an essay based on a message on this topic.

And that's all life! Whirling, singing,
Seas, deserts, cities,
Flickering reflection
Lost forever.

N. Gumilev

Nikolai Stepanovich Gumilyov is an extraordinary person with a rare destiny. This is one of the greatest poets of the Silver Age. But he was also a tireless traveler who traveled to many countries, and a fearless warrior who risked his life more than once.

The poet's talent and the courage of the traveler attracted people to him and inspired respect.

Gumilyov's travels are one of the brightest pages of his life. As a child, he developed a passionate love of travel. No wonder he loved geography and zoology. Fenimore Cooper is Gumilyov's favorite writer. The boy's family moved a lot, and he had the opportunity to see other cities, another life. The Gumilevs lived first in Kronstadt, then in Tsarskoe Selo and for about 3 years in Tiflis. After graduating from the Tsarskoye Selo gymnasium in 1906. the poet leaves for Paris, where he plans to study at the Sorbonne.

The poet forever remembered his first trip to Egypt (1908). And in 1910 he reached the center of the African continent - Abyssinia. In 1913, Gumilev led an expedition of the Russian Academy of Sciences to this country. The expedition was difficult and long, but it introduced us to the morals and customs of the local residents. The impressions made made the difficulties worth it.

Gumilyov is drawn to exotic, little-studied countries, where she has to risk her life. What makes him make these trips? Contemporaries noted the youth of his soul: it was as if he had always been 16 years old. In addition, he had a great desire to understand the world. The poet understood that life is short, but there are so many interesting things in the world. But the main thing that Gumilyov brought back from his travels was a lot of impressions, themes, and images for poetry. In the collection “Romantic Flowers” ​​Gumilev draws images of exotic animals - jaguars, lions, giraffes. And his heroes are captains, filibusters, discoverers of new lands. Even the titles of the poems are striking in the breadth of geographical names: “Lake Chad”, “Red Sea”, “Egypt”, “Sahara”, “Suez Canal”, “Sudan”, “Abyssinia”, “Madagascar”, “Zambezi”, “Niger” . Gumilyov was fond of zoology and collected stuffed exotic animals and collections of butterflies.

Page 4 – participation in World War I (1914-1918).

Nikolai Stepanovich was constantly looking for tests of character. When World War I begins, Gumilyov, despite his release, enlists as a volunteer in the Life Guards Uhlan Regiment as a hunter, as they were then called. War is Gumilyov’s element, full of risk and adventure, like Africa. Gumilev took everything very seriously. Having achieved enlistment in the army, he improved in shooting, riding and fencing. Gumilyov served diligently and was distinguished by his courage - this is evidenced by his rapid promotion to ensign and 2 St. George Crosses - IV and III degrees, which were given only for courage. Contemporaries recalled that Gumilyov was faithful in friendship, courageous in battle, even recklessly brave. But even at the front, he did not forget about creativity: he wrote, drew, and debated poetics. In 1915 The book “Quiver” was published, in which the poet included what he created at the front. In it, Gumilyov revealed his attitude to the war, speaking about its hardships, death, and the torment of the rear: “That country that could have been a paradise became a lair of fire.”

In July 1917 Gumilyov was assigned to an expeditionary force abroad and arrived in Paris. He wanted to get to the Thessaloniki front, but the allies closed it, then the Mesopotamian front.

In 1918 In London, Gumilyov prepared documents to return to Russia.

Page 5 – Creative and social activity in 1918-1921.

And I won't die in bed
With a notary and a doctor...

N. Gumilev

Upon returning to his homeland, the most productive period of Gumilyov’s life began. This is explained by the combination of the flourishing of physical strength and creative activity. Outside of Russia, Gumilyov probably would not have been able to become a master of Russian poetry, a classic of the Silver Age. Since 1918 and until his death, Gumilyov was one of the prominent figures of Russian literature.

The poet became involved in intensive work to create a new culture: he lectured at the Institute of Art History, worked on the editorial board of the publishing house “World Literature”, in a seminar of proletarian poets, and in many other areas of culture.

The poet is glad to return to his favorite work - literature. Gumilyov's poetry collections are published one after another:

1918 - “The Bonfire”, “The Porcelain Pavilion” and the poem “Mick”.

1921 – “Tent”, “Pillar of Fire”.

Gumilev also wrote prose and drama, kept a unique chronicle of poetry, studied the theory of verse, and responded to the phenomenon of art in other countries.

M. Gorky offers to become the editor of World Literature, where he began to form a poetic series. Gumilyov literally united all the St. Petersburg poets around himself, created the Petrograd department of the “Union of Poets,” the House of Poets, and the House of Arts. He had no doubt that he could lead the literary life of Petrograd. N. Gumilyov creates the 3rd “Workshop of Poets”.

Gumilyov's creative and social activities made him one of the most significant literary authorities. Performances at institutes, studios, and at parties brought him wide fame and formed a wide circle of students.

The collection “Bonfire” (1918) is the most Russian in content of all Gumilyov’s books; on its pages we see Andrei Rublev and Russian nature, the poet’s childhood, a town in which “a cross is raised over the church, a symbol of clear, Fatherly power,” ice drift on the Neva.

In recent years he has written a lot of African poetry. In 1921 they will be included in the collection “Tent”. During these years, Gumilev comprehends life, teaches readers to love their native land. He saw both life and earth as endless, beckoning with their distances. Apparently, this is why he returned to his African impressions. The collection “Tent” is an example of the poet’s great interest in the life of other peoples. This is how he writes about the Niger River:

You flow like a solemn sea through Sudan,
You are fighting a predatory flock of sands,
And when you approach the ocean,
You can't see the shores in your middle.

You're wearing beads on a jasper plate,
Painted patterned boats are dancing,
And in the boats there are majestic black people
Your good deeds are praised...

The Russian poet admires the land that gave his homeland the ancestor of the great A.S. Pushkin. (Verse “Abyssinia”).

August 3, 1921 N. Gumilyov was arrested on suspicion of participation in a conspiracy against Soviet power. This was the so-called “Tagantsev case.”

August 24, 1921 Petrograd. Gubcheka adopted a resolution to shoot the participants in the “Tagantsev conspiracy” (61 people), including N. Gumilyov.

His participation in the conspiracy has not been established. Gumilyov did not publish a single counter-revolutionary line. I was not involved in politics. Gumilyov became a victim of cultural terror.

The poet lived for 35 years. Now his second life has begun - his return to the reader.

P: Let's sum it up results.

Gumilyov's personality is unusually bright. He is a talented poet, a brave traveler and a brave warrior. His childhood passed in a calm, unremarkable environment, but self-education strengthened Gumilyov’s character.

Homework:

1. Write an essay on the topic: “The most remarkable pages from the life of N. Gumilev.” (Tell about your favorite stage of N.S. Gumilyov’s life, justify your choice.

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Report on the poet of the “Silver Age”. Student 11 “B” class Alekseenko Nikolai. Nikolai Stepanovich Gumilev. (1886 - 1921) Outline of the report: Image of time. Definition of a literary movement. Creative biography of Gumilev. Analysis of his work. Conclusion. Thank you for your attention! 01/15/1996 School # 1278, class. 11 “B”. Acmeism. Nikolay Gumilyov. The following books were used to create the report: 1. “Gumilyov Nikolai Stepanovich. Poems and Poems.” The author of the preface is V.P. Enisherlov, the author of the biographical sketch is V.K. Luknitskaya. 2. “Russian literature of the 20th century.” L.A. Smirnova, A.M. Turkov, A.M. Marchenko and others. 3. Soviet Encyclopedic Dictionary. 4. “Tagantsev case.” V. Khizhnyak. (“Evening Moscow”). Literature of the 20th century developed in a climate of wars, revolutions, and then the emergence of a new post-revolutionary reality. All this could not but affect the artistic quest of the authors of this time. The social cataclysms of the beginning of our century intensified the desire of philosophers and writers to understand the meaning of life and art, to explain the shocks that befell Russia. Therefore, it is not surprising that any area of ​​literature of the early 20th century amazes with the unusualness and diversity of the author’s worldviews, forms, and structures. Artistic quests acquired a rare intensity and completely new directions. Each Master has firmly established the reputation of a pioneer of some new previously inaccessible direction or technique in literature. Modernists of the “Silver Age”. Literary movements opposed to realism were called modernist. Modernists (from French - “newest”, “modern”) denied social values ​​and tried to create a poetic culture that would promote the spiritual improvement of humanity. Each author presented this in his own way, as a result of which several trends emerged in modernist literature. The main ones were: symbolism, acmeism and futurism. There were also literary artists who were not organizationally associated with these literary groups, but were internally drawn to the experience of one or the other (M. Voloshin, M. Tsvetaeva, etc.). The development of modernism had its own, very tense history. In heated debate, one trend was replaced by another. Disputes often flared up between members of each association. This is how the bright originality of creative individuals manifested itself. The artistic achievements of the participants in the movement remain with us and for us forever. The period of creativity of the main representatives of modernism is usually called the “Silver Age” by analogy with the “golden” 19th century in Russian literature. Indeed, never before have there been such a multitude and variety of talented authors. Conventionally, the beginning of the “Silver Age” is considered to be 1892, when the ideologist and oldest participant in the Symbolist movement Dmitry Merezhkovsky read a report “On the causes of the decline and on new trends in modern Russian literature.” This is how the modernists first declared themselves. The actual end of the “Silver Age” came with the October Revolution. In the first years after it, any searches were still possible for individual poets, but with the decree “On the Party Policy in the Field of Literature” in 1925, all of them stopped, and only proletarian literature and only the method of socialist realism were recognized as the only possible ones. One of the most famous movements in modernist literature was Acmeism. The Association of Acmeists put forward its own aesthetic program for interaction with the world, its idea of ​​harmony, which it sought to bring to life. From the Soviet Encyclopedic Dictionary: “Acmeism (from the Greek akme - the highest degree of something, blooming power), a movement in Russian poetry of the 1910s (S. Gorodetsky, M. Kuzmin, early N. Gumilyov, A. Akhmatova, O . Mandelstam); proclaimed the liberation of poetry from symbolist impulses towards the “ideal”, from the polysemy and fluidity of images, complicated metaphors, a return to the material world, the subject, the element of “nature”, the exact meaning of the word. However, the “earthly” poetry of the Acmeists is characterized by modernist motifs, a tendency towards aestheticism, intimacy or poeticization of the feelings of primordial man.” The idea of ​​such a new direction in literature was first expressed by Mikhail Kuzmin (1872-1936) in his article “On Beautiful Clarity” (1910). It outlined all the basic postulates of future Acmeists. The acmeist movement proper arose in 1913 on the basis of the author’s association “Workshop of Poets,” which included Nikolai Gumilyov, Sergei Gorodetsky (1884-1967), Anna Akhmatova (1889-1966) and Osip Mandelstam (1891-1938). The first manifestos of Acmeism appeared in the magazine Apollo (a modernist literary magazine of the turn of the century) in January. In his article “The Legacy of Symbolism and Acmeism,” Gumilev subjected the Symbolists to strong criticism; Sergei Gorodetsky, in his article “Some Trends in Modern Russian Literature,” spoke out even more harshly, declaring the catastrophe of symbolism. But nevertheless, many Acmeists still gravitated towards the poetry of Balmont, Bryusov or Blok, although they considered Innokenty Annensky and Mikhail Kuzmin their Teachers. And although the Acmeists, as an association, did not last long, only 2 years, they, without a doubt, made a huge contribution to Russian literature. Biography of Nikolai Gumilev. One of the leading Acmeist poets was Nikolai Stepanovich Gumilyov. In reality, his work was much broader and more varied, and his life was extremely interesting, although it ended tragically. Nikolai Stepanovich Gumilyov was born on April 3 (old style) 1886 in Kronstadt, where his father worked as a military doctor. Soon his father retired, and the family moved to Tsarskoe Selo. Gumilyov began writing poems and stories very early, and for the first time in print his poem appeared in the Tiflis Leaf newspaper in Tiflis, where the family settled in 1900. Three years later, Gumilyov returned to Tsarskoe Selo and entered the 7th grade of the Nikolaev gymnasium, the director of which was the wonderful poet and teacher I.F. Annensky, who had a great influence on his student. Gumilyov studied poorly, especially in the exact sciences; he early recognized himself as a poet and set success in literature as his only goal. After graduating from high school, he left for Paris, having previously published his first collection, “The Path of the Conquistadors.” He apparently considered this book of youthful poetry a failure and never republished it. In Paris, Gumilev listened to lectures at the Sorbonne on French literature, studied painting and published three issues of the Sirius magazine, where he published his works, as well as poems by the Tsarskoye Selo poetess Anna Gorenko (the future famous Anna Akhmatova), who soon became his wife. In 1908, Gumilyov’s second book, “Romantic Flowers,” was published in Paris. The demanding V. Bryusov, who harshly assessed the poet’s first collection, in his review of “Romantic Flowers” ​​pointed out the prospects for the young author’s path: “Perhaps, continuing to work with the same tenacity as now, he will be able to go much further than we have planned, will open there are possibilities within us that we do not suspect.” Arriving in Russia, Gumilev becomes close to Vyach. Ivanov, under whose leadership the so-called “Academy of Verse” was created. One of the initiators of its organization was Gumilev. In the Apollo magazine founded by S. Makovsky, he began to constantly publish his “Letters on Russian Poetry,” collected in 1923 by G. Ivanov in a separate collection published in Petrograd. In 1910, Gumilev married A.A. Gorenko, and in the fall of that year he went to Abyssinia for the first time, making a difficult and dangerous journey. “I visited Abyssinia three times, and in total I spent almost two years in this country. I made my last journey as the leader of an expedition sent by the Russian Academy of Sciences,” Nikolai Stepanovich Gumilyov wrote in “Records about Abyssinia.” One can only admire the love of the Russian poet, traveler, for the great, its people and culture. Until now, the good memory of N. Gumilyov is preserved in Ethiopia. Gumilev’s African poems, included in the collection “Tent” he prepared, and the dry, precise prose of the diary are a tribute to his love for Africa. Gumilyov's third book, “Pearls” (1910), brought him wide fame. It was dedicated to V. Bryusov, whom the author called a teacher. Noting the romanticism of the poems included in the collection, Bryusov himself wrote: “... His verse has clearly become stronger. Gumilev is slowly but surely moving towards complete mastery in the field of form. Almost all his poems are written in beautifully thought out and sophisticated sounding verses.” A Vyach. It was in “Pearls” that Ivanov saw points of divergence between Gumilyov and Bryusov and predicted a different path for the young poet. It is characteristic that it is precisely with the liberation from Bryusov’s influence that the search for one’s place in Russian poetry of the beginning of the century by such different poets as Blok and Gumilyov is connected. Many poems of “Pearls” are popular, but, of course, first of all the famous ballad “Captains”. A fresh wind of true art fills the sails of “Captains,” which is certainly associated with the romantic tradition of Kipling and Stevenson. N. Gumilyov called his poetry the Muse of Distant Journeys. Until the end of his days, he remained faithful to this theme, and with all the variety of themes and philosophical depth of the poetry of the late Gumilyov, it casts a very special romantic light on his work. The controversy surrounding symbolism that flared up in 1910 revealed the deep crisis of this literary movement. As a reaction to symbolism, a new literary movement, created by N. Gumilev and S. Gorodetsky, arose - Acmeism, the forerunner of which was the literary association Workshop of Poets. The organizational meeting of the Workshop, which was attended by A. Blok, took place at the apartment of S. Gorodetsky on October 20, 1911. The Acmeists, opposing themselves not only to the Symbolists, but also to the Futurists, organized themselves organizationally around the Workshop of Poets, publishing a small magazine “Hyperboreas”. On the Acmeist shield it was inscribed: “clarity, simplicity, affirmation of the reality of life.” The Acmeists rejected the “obligatory mysticism” of the Symbolists. “Among the Acmeists,” S. Gorodetsky wrote in the Apollo magazine, “the rose again became good in itself, with its petals, smell and color, and not with its conceivable likenesses with mystical love or anything else.” The First World War broke the usual rhythm of life. Nikolai Gumilyov volunteered to go to the front. His courage and contempt for death were legendary. Rare awards for an ensign - two soldiers' "George" - serve as the best confirmation of his military exploits. The collection “Quiver” reflects the themes of war: And the weeks drenched in blood are dazzling and light, Shrapnel bursts above me, Blades fly faster than birds. I scream, and my voice is wild, This is copper striking copper, I, the bearer of a great thought, I cannot, I cannot die. Like thunder hammers Or the waters of angry seas, The golden heart of Russia beats rhythmically in my chest. Speaking about Gumilyov's military lyrics, one cannot help but remember the psychological characteristics of his personality. It was not for nothing that Gumilyov was called a poet-warrior. A contemporary of the poet wrote: “He accepted the war with modern simplicity, with straightforward fervor. He was perhaps one of those few people in Russia whose soul the war found in the greatest combat readiness.” But Gumilyov saw and recognized the horror of war, showed it in prose and poetry, and some romanticization of battle and feat was a feature of Gumilyov - a poet and a man with a pronounced, rare, courageous, knightly principle both in poetry and in life. In “Quiver” a new theme for Gumilyov begins to emerge - “about Russia”. Completely new motives are heard here - the creations and genius of Andrei Rublev and a bloody bunch of rowan trees, ice drift on the Neva and ancient Rus'. He gradually expands and deepens his themes, and in some poems even reaches frightening insight, as if predicting his own fate: He stands before a red-hot forge, A short old man. A calm look seems submissive from the blinking of reddish eyelids. All his comrades have fallen asleep, Only he is the only one still awake: He is all busy casting a bullet that will separate me from the earth. The October Revolution found Gumilyov abroad, where he was sent in May 1917. He lived in London and Paris, studied oriental literature, translated, and worked on the drama “The Poisoned Tunic.” In May 1918 he returned to revolutionary Petrograd. He was captured by the tense literary atmosphere of that time. N. Gumilyov, together with A. Blok, M. Lozinsky, K. Chukovsky and other major writers, works in the World Literature publishing house created by A. M. Gorky. In 1918, N. Gumilyov’s sixth collection “Bonfire” and a collection of translations of oriental poetry “Porcelain Pavilion” were published. The last lifetime collections of poems by N. Gumilyov were published in 1921 - these are “Tent” (African poems) and “Pillar of Fire”. In this collection we see a new, “pinnacle” Gumilyov, whose refined poetic art of the leader of Acmeism was enriched by the simplicity of high wisdom, pure colors, and the masterful use of intricately intertwined prosaic, everyday and fantastic details to create a multidimensional, deeply symbolic artistic image: I was walking along an unfamiliar street And suddenly I heard a crow, and the ringing of a lute, and distant thunder, and a tram flying in front of me. How I jumped on his bandwagon was a mystery to me. He left a trail of fire in the air even in the light of day. - - - - - - - - - - - - - - - - - - - - - Where I am? So languidly and so anxiously My heart knocks in response: Do you see the station where you can buy a ticket to the India of the Spirit? The completely politically illiterate Gumilyov had his own “theory” that he should, regardless of his convictions, serve his Motherland honestly and with conscience, regardless of what kind of power exists in it. Therefore, he recognized Soviet power and believed that he was obliged to be loyal in all respects, despite the fact that he was in difficult personal conditions of existence and the fact that the country was in a state of ruin. But N.S. Gumilyov’s life was tragically cut short in August 1921. For many years it was officially stated that the poet was shot for participating in the counter-revolutionary, so-called Tagantsevsky conspiracy. But in fact, his fault was only in not informing the authorities that he was offered to join a conspiratorial organization, which, by the way, is also subject to doubt. The “Tagantsev case” caused a wide negative resonance. The world community could not agree with such a verdict. Alexey Tolstoy wrote later: “I don’t know the details of his murder, but knowing Gumilyov, I know that standing at the wall he did not even give the executioners a look of confusion and fear. Dreamer, romantic, patriot, stern teacher, poet. His gloomy shadow, indignant, flew away from... his passionately beloved Motherland... Light to your soul. Glory to your name.” Analysis of Gumilyov's creativity. Gumilyov's poetry in different periods of his creative life is very different. Sometimes he categorically rejects the Symbolists, and sometimes he becomes 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: “A writer is a perennial plant... the soul of a 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 seem straight only in perspective, but following the writer along all stages of the path, you do not feel this straightness and inevitability, due to stops and curvatures.” These words of Blok, a poet highly valued by Gumilyov, and at the same time his main opponent in critical articles, are most suitable for describing Gumilyov’s creative path. Thus, the early Gumilyov gravitated towards the poetry of the senior symbolists Balmont and Bryusov, was fond of the romance of Kipling, and at the same time turned to foreign classics: W. Shakespeare, F. Rabelais, F. Villon, T. Gautier and even to the epic-monumental works of Nekrasov . Later, he moved away from the romantic decorativeness of exotic lyrics and the lush brightness of images to a more clear and strict form of versification, which became the basis of the Acmeistic movement. He was strict and unforgiving towards young poets; he was the first to declare versification a science and craft, which needs to be studied in the same way as music and painting are learned. Talent, pure inspiration should, in his understanding, have a perfect apparatus of versification, and he stubbornly and sternly taught the young people the skill. The poems of the Acmeistic period that made up the collection “Seventh Heaven” confirm Gumilyov’s sober, analytical, scientific approach to the phenomena of poetry. The main provisions of the new theory are outlined by him in the article “The Heritage of Symbolism and Acmeism.” The “new direction” was given two names: Acmeism and Adamism (from Greek - “a courageously firm and clear view of 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 “a childishly wise, painfully sweet feeling of one’s own ignorance.” Also dating back to this period is Gumilyov’s writing of a 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 a passionate theorist 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 ways of development of Russian poetry, and today we can see how accurate and perspicacious he was in his assessments. He expressed his understanding of poetry at the very beginning of his programmatic article “Anatomy of a Poem,” which opens the collection “Letters on Russian Poetry.” “Among the numerous formulas that define the essence of poetry, two stand out,” wrote N. Gumilyov, “proposed by poets who are thinking about the secrets of their craft. They read: “Poetry is the best words in the best order” and “Poetry is what is created and therefore does not need to be remade.” Both of these formulas are based on a particularly vivid sense of the laws by which words influence our consciousness. A poet is one who “takes into account all the laws that govern the complex of words he takes.” It is this position that underlies the enormous work that, after the revolution, Gumilev carried out with young poets, 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 “Letters on Russian Poetry.” But over the years, Gumilyov’s poetry changes somewhat, although the foundation remains strong. In the collections of the war era, distant echoes of Blok’s river-girdled Rus' and even Andrei Bely’s “Ashes” suddenly appear. This trend continues in post-revolutionary creativity. Amazingly, in the poems of “The Pillar of Fire” Gumilyov seemed to extend 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 and ambiguous. This is already a new romanticism, the lyrical and philosophical content of which differs significantly from the romanticism of the famous “Captains”, the acmeistic “beautiful clarity” and concreteness. Conclusion. Nikolai Gumilev was a far from ordinary person with an amazing and at the same time tragic fate. His talent as a poet and literary critic is beyond doubt. His life was full of severe trials, which he coped with valor: several suicide attempts in his youth, unhappy love, an almost duel, participation in a world war. But it was cut short at the age of 35, and who knows what brilliant works Gumilyov could still have created. 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 precision of poetic form, so valued by Gumilyov himself, one of the best Russian poets of the early 20th century.

Nikolai Stepanovich Gumilev (1886-1921) was born in Kronstadt. Father is a naval doctor. He spent his childhood in Tsarskoe Selo and studied at the gymnasium in St. Petersburg and Tiflis. He wrote poetry from the age of 12, his first published appearance was at the age of 16 - a poem in the newspaper “Tiflis Leaflet”.

In the fall of 1903, the family returned to Tsarskoe Selo, and Gumilyov graduated from the gymnasium there, the director of which was In. Annensky (was a poor student, passed his final exams at the age of 20). The turning point is acquaintance with the philosophy of F. Nietzsche and the poems of the Symbolists.

In 1903 he met high school student A. Gorenko (the future Anna Akhmatova). In 1905, the author published the first collection of poems - “The Way of the Conquistadors”, a naive book of early experiences, which, nevertheless, had already found its own energetic intonation and appeared the image of a lyrical hero, a courageous, lonely conqueror.

In 1906, after graduating from high school, Gumilev leaves for Paris, where he listens to lectures at the Sorbonne and makes acquaintances in the literary and artistic community. He is attempting 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. Sends correspondence to the magazine “Libra”, the newspapers “Rus” and “Early Morning”. In Paris, and also published by the author, Gumilev’s second collection of poems was published - “Romantic Poems” (1908), dedicated to A. A. Gorenko.

With this book, the period of mature creativity of N. Gumilyov begins. V. Bryusov, who praised his first book in advance, states with satisfaction that he was not mistaken in his predictions: now the poems are “beautiful, elegant and, for the most part, interesting in form.” In the spring of 1908, Gumilyov returned to Russia, made acquaintance with the St. Petersburg literary world (Vyacheslav Ivanov), and acted as a regular critic in the newspaper “Rech” (later he also began publishing poems and stories in this publication).

In the fall he makes his first trip to the East - to Egypt. He enters the Faculty of Law of the capital's university, and is soon transferred to the Faculty of History and Philology. In 1909, he took an active part in organizing a new publication - the Apollo magazine, in which later, until 1917, he published poems and translations and maintained a permanent column “Letters on Russian Poetry.”

Collected in a separate book (Pg., 1923), Gumilyov's reviews give a vivid idea of ​​the literary process of the 1910s. At the end of 1909, Gumilev left for Abyssinia for several months, and upon returning, he published a new book -.

On April 25, 1910, Nikolai Gumilyov married Anna Gorenko (their relationship broke down in 1914). In the fall of 1911, the “Workshop of Poets” was created, which demonstrated its autonomy from symbolism and the creation of its own aesthetic program (Gumilev’s article “The Legacy of Symbolism and Acmeism,” published in 1913 in Apollo). The first acmeistic work in the Workshop of Poets was considered to be Gumilyov’s poem (1911), which was included in his collection (1912). At this time, Gumilyov’s reputation as a “master”, “syndic” (leader) of the Workshop of Poets, and one of the most significant modern poets, was firmly established.

In the spring of 1913, as head of an expedition from the Academy of Sciences, Gumilyov went to 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).

At the beginning of the First World War, N. Gumilyov, a man of action, volunteered for the Uhlan regiment and earned two St. George Crosses for his bravery. His “Notes of a Cavalryman” were published in the “Birzhevye Vedomosti” in 1915.

At the end of 1915, a collection was published, and his dramatic works were published in magazines - “Child of Allah” (in “Apollo”) and “Gondla” (in “Russian Thought”). The patriotic impulse and intoxication with danger soon pass, and he writes in a private letter: “Art is dearer to me than both war and Africa.”

Gumilyov transferred to the hussar regiment and sought to be sent to the Russian Expeditionary Force on the Thessaloniki Front, but along the way he stayed in Paris and London until the spring of 1918. A cycle of his love poems dates back to this period, which was compiled in the posthumous book “Kenya Star” (Berlin, 1923) .

In 1918, upon returning to Russia, Gumilyov worked intensively as a translator, preparing the epic of Gilgamesh and poems by French and English poets for the publishing house “World Literature”. Writes several plays, publishes books of poetry