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«Глоток зеленого шартреза» – сборник стихов и прозы Николая Степановаича Гумилева, включающий ранние лирические и романтические произведения. В издании также содержится краткая биография поэта, отражающая его творчество и судьбу. Книга представляет собой сочетание художественного текста и исторического материала о «серебряном веке» русской литературы. Читатель знакомится с экзотическими темами и личной жизнью автора, погружаясь в атмосферу начала XX века.
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Николай Гумилевпоэзияпрозабиографиясеребряный векрусская литературапесниромантикаэкзотикадраматургия
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Яркий представитель блестящей плеяды поэтов русского «серебряного века» (первой четверти XX столетия), Николай Степанович Гумилев (1886–1921) многое успел за недолгую жизнь. Автор десятка поэтических сборников, каждый из которых стал заметным событием в литературной жизни России, он также пробовал себя в драматургии, прозе, литературной критике. В этом издании отражена литературная биография Гумилева. Противоречивые отзывы и воспоминания современников о Гумилеве – литераторе и человеке – дополняют выразительный портрет безвременно погибшего художника слова.
Глоток зеленого шартреза:
Радости земной любви
СТИХИ И ПРОЗА 1905–1910 гг.
РАДОСТИ ЗЕМНОЙ ЛЮБВИ
Из книги «РОМАНТИЧЕСКИЕ ЦВЕТЫ»
Из книги «ЖЕМЧУГА» ВОЛШЕБНАЯ СКРИПКА
СОЛНЦЕ ДУХА
IV ПОЭМЫ
Из книги «КОЛЧАН»
Колдовская страна
Из книги «ФАРФОРОВЫЙ ПАВИЛЬОН»
Из книги «ШАТЕР»
Из книги «ОГНЕННЫЙ СТОЛП»
ВЕСЕЛЫЕ БРАТЬЯ
МОЕ ПРЕКРАСНОЕ УБЕЖИЩЕ
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Глоток зеленого шартреза: Стихи, проза, поэмы
Радости земной любви
Николай Гумилев.
Рисунок Н. Войтинской. 1909 г.
ФЛАМИНГО В ЛАЗУРИ
В одном из ранних стихотворений Николай Гумилев так отозвался о своих эстетических вкусах и пристрастиях:
Сады моей души всегда узорны, В них ветры так свежи и тиховейны, В них золотой песок и мрамор черный, Глубокие, прозрачные бассейны. Растенья в них, как сны, необычайны, Как воды утром, розовеют птицы, И – кто поймет намек старинной тайны? – В них девушка в венке великой жрицы. <<…>> У ног ее две черные пантеры С отливом металлическим на шкуре. Взлетев от роз таинственной пещеры, Ее фламинго плавает в лазури…
В этих строках емко сформулирована квинтэссенция поэтического мироощущения Гумилева. Говоря коротко, основную, доминирующую черту его творчества можно определить понятием экзотика. Причем экзотика в самом широком, можно сказать, универсальном, смысле: зоологическом, ботаническом, географическом, историческом… С первых шагов в литературе Гумилева всегда влекли необычные, загадочные, удивительные страны и материки, эпохи и персонажи. Вот почему он на протяжении многих лет, от сборника к сборнику, вновь и вновь возвращается к африканским, или скандинавским, или китайским сюжетам, к темам войны, охоты и опасных путешествий, к мифологическим героям и легендарным сильным личностям – от хитроумного Одиссея и Дон Жуана, чья мечта «надменна и проста», до конквистадоров «в панцире железном» и отважных капитанов «с ликом Каина»… Именно тягой к экзотике объясняется его пристрастие к ситуациям, как говорится, пограничным, когда приходится балансировать на опасном рубеже между жизнью и смертью, добром и злом, раем и адом, Богом и дьяволом, когда, как писал он в одном из стихотворений, надо вести страшную игру в прятки «со смертью хмурой»…
Но вместе с тем только экзотикой Гумилев отнюдь не исчерпывается. Скорее, его неполные полтора десятилетия жизни в искусстве показывают, как он, по мере литературного взросления и мужания, стремился преодолевать экзотику – так, как его собратья по цеху акмеистов, по выражению критика Жирмунского, «преодолевали символизм». Творческий путь Гумилева – это попытка возвращения из окутанных чарующей дымкой и благоуханным дурманом таинственных далей в овеянную пороховым дымом и смрадом крови жестокую будничность «страшных лет России», по слову другого выдающегося поэта той эпохи Александра Блока. Этот крутой маршрут оказался для Гумилева долгим, непростым и завершился для поэта неожиданной катастрофой: гибелью…
В отличие от других крупнейших российских писателей ХХ века, чье творчество замалчивалось или в лучшем случае не афишировалось при советской власти (Булгаков, Мандельштам, Ахматова, Набоков), Гумилев, расстрелянный в 1921 году по подлому и конъюнктурному обвинению в контрреволюционном заговоре, был попросту запрещен. Негласный запрет на имя и творчество Гумилева продержался более полувека. Лишь в 1990-е годы он вновь занял подобающее ему место в литературной истории страны.
В этом сборнике литературная биография Гумилева представлена в двух измерениях – в более известной широкому читателю поэтической ипостаси и менее известной – прозаической . Наверное, мало кто знает, что проза всегда занимала довольно важное место в творчестве выдающегося русского поэта начала ХХ века. В письме от 1 февраля 1907 года двадцатилетний Гумилев писал Валерию Брюсову: «Идей и сюжетов у меня много. С горячей любовью я обдумываю какой-нибудь из них, все идет стройно и красиво, но когда я подхожу к столу, чтобы записать все те чудные вещи, которые только что были в моей голове, на бумаге получаются только бессвязные отрывочные фразы, поражающие своей какофонией. И я опять спешу в библиотеки, стараясь выведать у мастеров стиля, как можно победить роковую инертность пера». И еще Гумилев писал мэтру о своем увлечении французскими хрониками и рыцарскими романам: он даже намеревался написать «модернизированную повесть в стиле ХIII или XIV века» . Этим замыслам, правда, не суждено было осуществиться, и от них остались лишь интригующие осколки – фантазии восторженного почитателя европейской классики. Интересно, что многие сюжеты ранней лирики Гумилева варьировались им в новеллах или, точнее, литературных сказках, написанных по мотивам прочитанных в детстве и юности книг. Был момент, когда Гумилев решил издать свои ранние новеллы отдельной книгой: в августе 1908 года газета «Русь» анонсировала выход первого тома «Рассказов» Гумилева, печатавшихся в периодике на протяжении всего этого года, однако издание так и не осуществилось. По-видимому, из-за того, что сам Гумилев относился – и в начале своего творческого пути и впоследствии – к собственным опытам в прозе не слишком серьезно: всего лишь как к старанию «победить роковую инертность пера», чтобы воспользоваться плодами этой победы в поэзии – искусстве «высокого косноязычия».
О. А.
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Автор десятка поэтических сборников, каждый из которых стал заметным событием в литературной жизни России, он также пробовал себя в драматургии, прозе, литературной критике. В этом издании отражена литературная биография Гумилева. Противоречивые отзывы и воспоминания современников о Гумилеве – литераторе и человеке – дополняют выразительный портрет безвременно погибшего художника слова."},{"id":"id442:2","kind":"paragraph","text":"Глоток зеленого шартреза:"},{"id":"id442:3","kind":"paragraph","text":"Радости земной любви"},{"id":"id442:4","kind":"paragraph","text":"СТИХИ И ПРОЗА 1905–1910 гг."},{"id":"id442:5","kind":"paragraph","text":"РАДОСТИ ЗЕМНОЙ ЛЮБВИ"},{"id":"id442:6","kind":"paragraph","text":"Из книги «РОМАНТИЧЕСКИЕ ЦВЕТЫ»"},{"id":"id442:7","kind":"paragraph","text":"Из книги «ЖЕМЧУГА» ВОЛШЕБНАЯ СКРИПКА"},{"id":"id442:8","kind":"paragraph","text":"СОЛНЦЕ ДУХА"},{"id":"id442:9","kind":"paragraph","text":"IV ПОЭМЫ"},{"id":"id442:10","kind":"paragraph","text":"Из книги «КОЛЧАН»"},{"id":"id442:11","kind":"paragraph","text":"Колдовская страна"},{"id":"id442:12","kind":"paragraph","text":"Из книги «ФАРФОРОВЫЙ ПАВИЛЬОН»"},{"id":"id442:13","kind":"paragraph","text":"Из книги «ШАТЕР»"},{"id":"id442:14","kind":"paragraph","text":"Из книги «ОГНЕННЫЙ СТОЛП»"},{"id":"id442:15","kind":"paragraph","text":"ВЕСЕЛЫЕ БРАТЬЯ"},{"id":"id442:16","kind":"paragraph","text":"МОЕ ПРЕКРАСНОЕ УБЕЖИЩЕ"},{"id":"id442:17","kind":"paragraph","text":"notes"},{"id":"id442:18","kind":"paragraph","text":"1"},{"id":"id442:19","kind":"paragraph","text":"2"},{"id":"id442:20","kind":"paragraph","text":"3"},{"id":"id442:21","kind":"paragraph","text":"4"},{"id":"id442:22","kind":"paragraph","text":"5"},{"id":"id442:23","kind":"paragraph","text":"6"},{"id":"id442:24","kind":"paragraph","text":"7"},{"id":"id442:25","kind":"paragraph","text":"8"},{"id":"id442:26","kind":"paragraph","text":"9"},{"id":"id442:27","kind":"paragraph","text":"10"},{"id":"id442:28","kind":"paragraph","text":"11"},{"id":"id442:29","kind":"paragraph","text":"12"},{"id":"id442:30","kind":"paragraph","text":"13"},{"id":"id442:31","kind":"paragraph","text":"14"},{"id":"id442:32","kind":"paragraph","text":"15"},{"id":"id442:33","kind":"paragraph","text":"16"},{"id":"id442:34","kind":"paragraph","text":"17"},{"id":"id442:35","kind":"paragraph","text":"18"},{"id":"id442:36","kind":"paragraph","text":"19"},{"id":"id442:37","kind":"paragraph","text":"20"},{"id":"id442:38","kind":"paragraph","text":"21"},{"id":"id442:39","kind":"paragraph","text":"22"},{"id":"id442:40","kind":"paragraph","text":"23"},{"id":"id441:0","kind":"heading","text":"Глоток зеленого шартреза: Стихи, проза, поэмы"},{"id":"id440:0","kind":"heading","text":"Радости земной любви"},{"id":"id440:1","kind":"paragraph","text":"Николай Гумилев."},{"id":"id440:2","kind":"paragraph","text":"Рисунок Н. Войтинской. 1909 г."},{"id":"id440:3","kind":"heading","text":"ФЛАМИНГО В ЛАЗУРИ"},{"id":"id440:4","kind":"paragraph","text":"В одном из ранних стихотворений Николай Гумилев так отозвался о своих эстетических вкусах и пристрастиях:"},{"id":"id440:5","kind":"paragraph","text":"Сады моей души всегда узорны, В них ветры так свежи и тиховейны, В них золотой песок и мрамор черный, Глубокие, прозрачные бассейны. Растенья в них, как сны, необычайны, Как воды утром, розовеют птицы, И – кто поймет намек старинной тайны? – В них девушка в венке великой жрицы. \u003C\u003C…\u003E\u003E У ног ее две черные пантеры С отливом металлическим на шкуре. Взлетев от роз таинственной пещеры, Ее фламинго плавает в лазури…"},{"id":"id440:6","kind":"paragraph","text":"В этих строках емко сформулирована квинтэссенция поэтического мироощущения Гумилева. Говоря коротко, основную, доминирующую черту его творчества можно определить понятием экзотика. Причем экзотика в самом широком, можно сказать, универсальном, смысле: зоологическом, ботаническом, географическом, историческом… С первых шагов в литературе Гумилева всегда влекли необычные, загадочные, удивительные страны и материки, эпохи и персонажи. Вот почему он на протяжении многих лет, от сборника к сборнику, вновь и вновь возвращается к африканским, или скандинавским, или китайским сюжетам, к темам войны, охоты и опасных путешествий, к мифологическим героям и легендарным сильным личностям – от хитроумного Одиссея и Дон Жуана, чья мечта «надменна и проста», до конквистадоров «в панцире железном» и отважных капитанов «с ликом Каина»… Именно тягой к экзотике объясняется его пристрастие к ситуациям, как говорится, пограничным, когда приходится балансировать на опасном рубеже между жизнью и смертью, добром и злом, раем и адом, Богом и дьяволом, когда, как писал он в одном из стихотворений, надо вести страшную игру в прятки «со смертью хмурой»…"},{"id":"id440:7","kind":"paragraph","text":"Но вместе с тем только экзотикой Гумилев отнюдь не исчерпывается. Скорее, его неполные полтора десятилетия жизни в искусстве показывают, как он, по мере литературного взросления и мужания, стремился преодолевать экзотику – так, как его собратья по цеху акмеистов, по выражению критика Жирмунского, «преодолевали символизм». Творческий путь Гумилева – это попытка возвращения из окутанных чарующей дымкой и благоуханным дурманом таинственных далей в овеянную пороховым дымом и смрадом крови жестокую будничность «страшных лет России», по слову другого выдающегося поэта той эпохи Александра Блока. Этот крутой маршрут оказался для Гумилева долгим, непростым и завершился для поэта неожиданной катастрофой: гибелью…"},{"id":"id440:8","kind":"paragraph","text":"В отличие от других крупнейших российских писателей ХХ века, чье творчество замалчивалось или в лучшем случае не афишировалось при советской власти (Булгаков, Мандельштам, Ахматова, Набоков), Гумилев, расстрелянный в 1921 году по подлому и конъюнктурному обвинению в контрреволюционном заговоре, был попросту запрещен. Негласный запрет на имя и творчество Гумилева продержался более полувека. Лишь в 1990-е годы он вновь занял подобающее ему место в литературной истории страны."},{"id":"id440:9","kind":"paragraph","text":"В этом сборнике литературная биография Гумилева представлена в двух измерениях – в более известной широкому читателю поэтической ипостаси и менее известной – прозаической . Наверное, мало кто знает, что проза всегда занимала довольно важное место в творчестве выдающегося русского поэта начала ХХ века. В письме от 1 февраля 1907 года двадцатилетний Гумилев писал Валерию Брюсову: «Идей и сюжетов у меня много. С горячей любовью я обдумываю какой-нибудь из них, все идет стройно и красиво, но когда я подхожу к столу, чтобы записать все те чудные вещи, которые только что были в моей голове, на бумаге получаются только бессвязные отрывочные фразы, поражающие своей какофонией. И я опять спешу в библиотеки, стараясь выведать у мастеров стиля, как можно победить роковую инертность пера». И еще Гумилев писал мэтру о своем увлечении французскими хрониками и рыцарскими романам: он даже намеревался написать «модернизированную повесть в стиле ХIII или XIV века» . Этим замыслам, правда, не суждено было осуществиться, и от них остались лишь интригующие осколки – фантазии восторженного почитателя европейской классики. Интересно, что многие сюжеты ранней лирики Гумилева варьировались им в новеллах или, точнее, литературных сказках, написанных по мотивам прочитанных в детстве и юности книг. Был момент, когда Гумилев решил издать свои ранние новеллы отдельной книгой: в августе 1908 года газета «Русь» анонсировала выход первого тома «Рассказов» Гумилева, печатавшихся в периодике на протяжении всего этого года, однако издание так и не осуществилось. По-видимому, из-за того, что сам Гумилев относился – и в начале своего творческого пути и впоследствии – к собственным опытам в прозе не слишком серьезно: всего лишь как к старанию «победить роковую инертность пера», чтобы воспользоваться плодами этой победы в поэзии – искусстве «высокого косноязычия»."},{"id":"id440:10","kind":"paragraph","text":"О. А."}],"toc":[{"id":"id442:0:1","label":"Annotation","page":1,"pageUrl":"/books/2g3MFz2Y#reader-content"},{"id":"id441:0:1","label":"Глоток зеленого шартреза: Стихи, проза, поэмы","page":1,"pageUrl":"/books/2g3MFz2Y#reader-content"},{"id":"id440:0:1","label":"Радости земной любви","page":1,"pageUrl":"/books/2g3MFz2Y#reader-content"},{"id":"id440:3:1","label":"ФЛАМИНГО В ЛАЗУРИ","page":1,"pageUrl":"/books/2g3MFz2Y#reader-content"},{"id":"id439:0:2","label":"СТИХИ И ПРОЗА 1905–1910 гг. 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